Surely, I can't be dumber than this 512 Manual?

Hi Tom-Scott and welcome to the forums.

Sounds like some of the channels on the dimmer are set to switch mode vs dim mode. Check that out and you should be good to go.

I think this goes a bit deeper.

Now, I'm no expert, but I've yet to see any DIP switches on a controller.

I've seen DIP switches on dimmers and fixtures. But I've also seen digital programming capabilities on fixtures and dimmers as well.

It's good to understand and know about DIP switches.

Now, your dimmer packs are not mentioned. Please share the make/model of the dimmer you're using.

Dimmers such as the AmericanDJ/Elation DP-DMX20L are programmed via a menu driven system. You can set the dimmers to be single channel, 2 channels or 4 channels. It sounds like you need to get a litle deeper and set the number of channels used. It might be something to check.

Also, these might also have dim/switch on a per channel basis. This is what Serra Ava suspects and I think it could be as well based on your description.

Set your parcan channels to dimming and any high-tech FX channels to Switched mode.

Of course, since you're from Little Rock, I'm worried some of your peers might think that "Dip switches" mean scooping from the chewing tobacco with the other hand....

Yes, these 'dip-switches' certainly are cause for pause, reminding me of more than a few situations involving ozark-engineering!

Technically, 'RS-485' is a simple enough description of this system for a newbie DMX-Operator, having patched together a few SONY-Beta video suites. More importantly, it seems really similar to the RS-232 system from ADA, whereby each keypad has TWO rows of dip-switches, one allows you to set the color-output of the glowing buttons, just to put the kabosh on these geniuses at 'Elation.' {..It's probably too early to pour another double, as I ponder some logical word-play on their corporate meme, }

In my left hand, I present the DMX-512. (Actually, I've bolted it to a shelf so the bar owner wouldn't return it to the bin,) and in my right hand, I present a DP-DMX20L, attached with a standard, [Chinese] Mic cable, daisy-chained to another DMX20L, with a similar, 25' cable. ...Look Ma, no terminator!

Doubtless, that auspicously missing 'terminator' is not nearly so much at fault as the operator, -aka: 'master' Ozark-engineer!

On page #10, we begin today's lesson with an exercise in 'Resetting All Scenes,' which means little or nothing when the 'brain' is not attached to the chosen 'dimmers.'

Naturally, I've done it both ways, and I chose to try a default pattern at the switcher(s): 'A'= 001, all channels are active [4] each is set to 'switch' [S] instead of 'dim' [d]. For simplicity, I detached the second pack, before attempting to figure out the right method of selecting (addressing)the first four units, which all conviently function by activating Scanner button #1, and using the first four vertical (CH) sliders.

Page #9 procedes to describe the method of programming scenes, ostensibly with much smarter lamp units.

What's next? ...If I have a total of 8 basic PAR fixtures, how many scenes/banks and chase sequences would I want to program for an 'IDIOT-PROOF' basic set-up, presuming each of the subsequent 'operators' is likely to be the wife of, (seriously, no offense) some rather inexperienced young rock musician?

Frankly, this entire rig is literally so basic, so inexpensive, it's almost an embarassment that it uses a logic-board at all. Thankfully, (as we can see from the sheer number of products at Elation's site,) the lucky owners have an nearly infinite potential up-grade path. Clearly, at least one fancy 'color-ball' would be in order for the facility in question. Before they do that, I thought it prudent to appease some much better Bands, who have been complaining about these lights from the outset. I've got a truly first-rate, R&B Blues act on Feb 13th, and I wanted to use this opportunity to tell a story worthy of breaking out our student's digital video recorders.

FYI: here's their first work, and the artist in question is 'Charles Woods,' who appears at another venue, -sans lighting!
http://www.arkansasmusictimes.com/

What controller are you using? if so provide a link to the product page.
Sincerely,

Now we're getting somewhere, thanks to phone support. Dimmer packs will be set to 'dim' [d] as this allows them to accept the control message, whereas I thought it meant the pack would yield this responsibility to the controller. The fact that CH1 (lamp 1) currently dims anyway must be inherent to it's default [1-4] characteristics.

Secondly, the 512 Manual says: Scanner button #2 starts at an address of 17, (not 5)which is logical, presuming each scanner grouping sometimes requires up to 16 channels [bytes]of data-stream info.

Just think kids,... next thing you know I'll be on to asking you exciting questions about red-green-and-blue!

I suppose this one: http://elationlighting.com/Pro...20By%20American%20DJ

Looks like a duck, walks lkie a duck...

I'm reading from a manual that calls the DMX Operator, a DMX512. Unfortunately, my Guitar center doesn't have any of them as demos, but they are friendly enough to give me some 'what-if' -level support.

Lol, be careful. I can write a rather lengthy paaper when it comes to color, color theory, and color in practice, especially with regards to RGB. Fair warning has been given .

Uh oh, Tom's using microphone cabling. We all know that leads to problems!

Not microphone cable, but "RAPCO" microphone cable. I could break out the soldering iron and use gold/gold Neuman with Canare digital 110-Ohm stuff, but dude, it's not my bar!

Anyway, we got the thing going after a little fiddling about. Confused, It dawned on me to follow every step in the programming-cycle. ACTIVATING '[MIDI]' and then re-assigning all to '[fixture]' works wonders. Evidently, somebody may have tried to drive it with a sequencer. Let's not discount 'operator error' as the leading cause of most of the world's current problems.

@serra: I truly delight in color, color-theory and especially color nuiance. In school, my best instructors included Robert Andrew Parker (MOMA) Kenda North (Polaroid) and Betsy Rupprecht, who's mother founded the School of the Art Institute's painting program. As a photography major and accomplished 'C-printer' one gets to understand additive and subtractive color, plus a gerneral understanding of CMYK.

Today, it seems we all have to see/think in RGB+Gamma, which is not always a simple bridge to cross... My biggest current fear is not a muddy mid-range or low shadow detail, but rather accidentally hitting that menacing button labled: [BLACKOUT!]

Well, have the bar owner upgrade the cabling. Rapco makes some decent wiring, although it's not one of my favorite brands. But if it's mic cable, it's not rated for lights. One of my ongoing complaints with DMX is that some fixtures use the 3-pin connection(most of mine does) and it's wired the same as XLR, which only aids to the confusion. Just go with ADJ/Elation Accucable, you can get it in bulk too, or rather the bar owner should. XLR cabling can cause some problems especially in terms of reliability. It's not that expensive either, premade or in bulk. You don't need the Belden 814 110-ohm stuff with Neutrik connectors. Not worth the money.

Sounds like you should set the controller back to "factory reset defaults" and start from there. I find it difficult to try to "reverse engineer" someone else's non-documented work.

I sure hope you're getting paid for this!

Beautiful points, Chris, I see where you are coming from. My job at this club is merely 'keeping the Blues alive,' which seems to be forever more chalenging for us Old School' types. Since selling our family's club last year, things have gone way south for them. I chose to help remake this bar as the new location for our Blues Society's home base. The owner is aloof, unconcerned with certain basic stage protools and standards, presuming among other things that he needn't buy any microphones or mic stands, since the last set walked out the back door a year or so ago. Will he 'pay' me? -not remotely in the cards. Therefore, I have taken the opposite approach. On 'Valentine's' we're going to show them what it's like to have 500 people turn up on a Saturday night. Once I can get the owner looking over a day's register with triple the usual drink sales, I think our guys will have the keys to the store! 'Acoustics'-that's where he needs to spend real money. Cable-wise, these are really short runs, and I happen to have a lot of pro/consumer spare wire & parts I could use. I don't know if DMX is supposed to be stranded & tinned, pure 'drawn' copper, or whatever, but the rig works perfectly for now.

I checked out the sound reinforcement gigs you show at your site... See the band on the tiny club stage, dude, that's us!

After this show, I will try to get them to buy a couple more pieces of Elation gear. I would especially like to get some back light into the scene. They have a high ceiling and the opportunity to do an egg crate array of absorptive panels that could also work as 'gobos' above the drum-riser, otherwise the angle would be right in peoples eyes. Also, I would like a row of foot lights, like a pair of modern RGBW-strips. Over the dance floor, what would be more typical than some form of oscillating color-ball? --When either of these additions come into play, lengthening the daisy-chain, I will make sure to replace the mic cables at your suggestion.

Thanks to all, -over and out.

Yup, I'm forced to compete with the bottom feeders to get work, but I'm really in more direct competition with the big boys. I hate the club scene from the monetary standpoint, but I don't mind it from the artistic point of view. It's a pleasant break from A-listers and national touring acts where the creativity is often crushed out in favor of status quo.

I also want to do a lot of the things you're talking about: footlighting via bar-type LED fixtures and things of that nature. LEDs have made lighting more viable for me due to the low power draw. Then they hinder me at the higher prices! Can't win straight out, but I can in the long run by holding out for more funds, price breaks and dealers I can work with.

Don't stay away too long. I'd like to hear how things are going with your project.

Don't stay away too long.