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About eldoradoboy

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  1. there are lots of different products out there.. i run my whole show in DMX so I have a Mix of large and small controllers.. the advantage of Cosmic color pixels is that you have your pixels and cntroller in close proximity and dont have to worry about injecting DC power mid-stream into your pixels.. I use SANDEVICES controllers with pixels bought from RAY WU for my High density areas like covering the yard or roof as the per-pixel cost to go that route is much less than going with Cosmic color devices.. plus I have one power feed and one ethernet cable for 800 pixels. I use Cosmic Color Pixels on my house as its quite spread out and makes it nice with the controller right next to the lights.. -Christopher
  2. this indeed solved it! 4,5,6 now just like the other LOR controllers.. thanks for the tip!!
  3. another route you can go is to buy somerthing like a Sandevices controller which outputs DMX, you connect ethernet (e1.31) to it and then you can hook 16 CCP's that controller.. (or use a 4 port board and place 4 on each e1.31 if you need localized control)... I run all of my CCP's in this manner and that way I dont have to deal with mega LOR networks.. -Christopher
  4. super!, ill give this a shot.. that makes sense that 4 and 5 were used in the LOR protocol because thats the RJ45 standard for Most RS485 based networks.. I guess because DMX was always based on the LXR connector they stayed with 1 and 2 even in an RJ45.. and yeah im in fact running my DMX signals on 4 and 5 because I am running home-built dongles from my Sandevices controllers in DMX mode... I didnt realize the jumpers just altered the pinouts I was thinking they set terminations and signal levels so I never tried putting them back and plugging it in.. -Christopher
  5. this is old but the correct way to set up regular LOR controllers in MADRIX is as igeneric 1 channel light. and then whichever universe you have defined for your LOR controllers.. (you can run more than one standard controller on a universe by increasing the unit ID of the LOR controller..) so for instance I have 32 strings of lights across the roof on 2 PC controllers.. those controllers are set at LOR ID 1 and 2, in MADRIX they are on universe "19". so I defined them as igeneric 1 channel lights and DMX addresses 19-1 through 19-32. Because MADRIX is designed as RGB software, its important to apply "RED" color to the LOR fixture map for the effect you are working... I just automatically build a red layer in any effect where my LOR controllers are .. as they only "see" red.. another thing is that in your DMX input you can set it up where you have advanced control.. then you can not only call your storage bins but you can turn on and off Layers all via the LOR sequence editor as well as use the cue list and "goto" certain steps.. the cue list is actually not that bad once you get the hang of it. I use it when I want to run a pre-defined sequence of events.. you can control the position and stop / go of the cue list remotely too... theres a definite learning curve to MADRIX but once you get into it you realize it is incredibly powerful. -Christopher
  6. DMX generation takes a LOT of Computing Power esp if LOR always generates full frames of DMX, it also takes quite ab it of network bandwidth if running in Multi-cast mode.. I found this out the hard way as i run a combination of LOR 4 and MADRIX software with over 20 universes of RGB.. (Sandevices and LOR CCP's).. I was running on a Core i7-3770 with 8 GB RAM, my Network is enterprise grade HP Gig-E switches (2920's) and I still had stuttering.. I switched to a machine with a core i7-5820k and 32 GB RAM and it runs smooth as can be.. I also went Unicast and found I have a lot less network issues than I previously had. in my case I use E1.31 only for remote input but went to ART-NET .. However going E1.31 Unicast will give you similar reductions in network traffic over multicast. (network traffic will be directed to each controller rather than blasted to all).. -Christopher
  7. do the DMX pinouts vary from controller to controller? I run my whole show in DMX using CCB's and PC-controllers and all of them work flawlessly.. however I tried to wire up my RGB floods and the controller that came with them (CMB24D) and I get nothng but a flashing LED on the board. if I jumper back to LOR network I can talk to it via LOR.. I move the jumpers to the DMX position and connect it up to a known good DMX connection and flashing light.. some of the docs I read are confusing but seem like its Pinout is different in DMX from other controllers? can anyone confirm? -Christopher
  8. this is confirmed and i have a ticket open with them... in my own observations it appears my early controllers are working perfectly and the issue exists in some form of later builds.. I have some that are working.. since they dont really have "serial" numbers on them its hard to tell exactly when they were built.. I bought a bunch of them in the spring sale and a bunch of them this fall.. i didnt keep track, I simply layed them all out.. I do know which ones are my older ones as the plastic is slightly lighter green on them and none of them have failed... they are working on a fix.. I just wanted to give the OP a heads up and what to look for on the board itself in case its the same issue im experiencing -Christopher
  9. I wonder if you are going through the same thing I am... my show is dark and shut diown because im currently down 5 controllers... they have discovered a flaw in some builds of the CCP / CCB controller.. . (CCB100) box... the VR (voltage regulator) chip blows... you'll notice that the green light is off now and the smell of burned electronics if you take the cover off the controller... you'll often notice that the black IC chip labelled "VR" to the lower left of the transformer is busted or has a hole in it.. to find it, hold the controller length-wise in your hand with power cord to the left and light string cords to your right. the VR is low and left of the transformer... -Christopher
  10. wonder how many people have chamberlain garage door units.. I notice this same issue as well.. (almost no range) and have heard of issues with chamberlain door openers having range issues due to interference.. seems to be the biggest isse Ive heard is with this brand of door opener... -Christopher
  11. I use the Sandevices E682 controllers..2 of them.. Sandevices sells them in a turnkey form titled the PS1 (pixel system 1), that has a power supply, the board, connectors and such all in a weather-proof case.... you just specify which voltage power supply you want.. (those strips are 12 volt) when you buy from Ray wu site you can have him install the proper connectors on the ends of your Pixels or LED strips so that they will connect directly to the E682 controller. Sandevices also sells 8 foot extension cables that you can use as well.. with 12 volts you may be able to get longer ones.... LOR S3 Advanced supports E1.31 DMX .. which is DMX over standard ethernet. (E682 uses this type of comms) -Christopher
  12. in 2009 i ran 200+ channels some songs sequence to .05 seconds and didnt have any network Lag.. I made sure all my controlers hadthe SAME version of firmware and I used good quality cable.. I also ran a TRUE serial port with an RS485 adapter.. sometimes the lag can come from the PC or the USB port driving the LOR dongle.. but controller-wise 64 channels at 1/10 second should be perfectly fine on one LOR network... make sure your USB root drivers are up to date, and also the drivers for your LOR dongle. as well as i use 128k MP3 files for music... -Christopher
  13. I agree that absolute total perfect sequencing is tough in MADRIX.. but the more lights, the more pixels you put in, the less meaningful absolute precision becomes.. I learned this from doing Techno dance club lighting in the 90s.. the more lights you hung up on the ceiling, the easier it became to create stunning effects that went to the music.. no each and every light wasnt going to blink in perfect timing with a measure or such.. but as a whole the complete Motion and choreography of the system became incredible.. with 16 channels of LOR if you miss just slightly its greatly noticed by the average viewer.. with 256 channels Much less noticed.. and more the system as a whole is what brings the power and not each element perfectly on a downbeat... now lets add a few thousand RGB pixels... in MOTION to the MOTION of the music.. not necessarily a change ever ybeat or every 1/2 beat or 1/4 or 1/8 or 1/16.. a Mega tree Flowing with color, ebb, and tide reasonably close to the beat in Waves looks STUNNING... whereas a 32 channel megatree done that same way looks like someone blew the sequencing totally.. alas why I mentioned above the real pwoer of Madrix is with lots of RGB lights... Madrix does beat detection Very well, plus you can tap out an effect and then multiply or divde or BPM as you like to make it just right... Madrix DOES have a learning curve like any software.. and if all someone does is plug it in. set up all musically timed effects and play a song.. sure its going to look much looser than a person who thought out their effects and used LOR S3 to call them up.. its NOT for everyone or perhaps even MOST.. but for someone like me and many others that doesnt have 24 hrs physical time to sequence per minute of Music.. and has a display largely of RGB lights.. it Surely can make building the display fun and create MUCH enjoyment for the viewers that watch it.. which 90% of average display viewers wont notice a defect or two in a sequence.. whereas anyone who has sequenced will notice every single timing flaw... kind of a curse in a way... -Christopher
  14. MADRIX is expensive yes.. but for someone like me who the last year I did a light show in 2009 with I think 256 channels spent close to 24 hours of sequencing for each 1 minute of show-time.. I just plain didnt have that kind of time any more... what MADRIX does is allow you to create effects and overlay them onto your lights without sequencing the effect itself... example.. mega tree "spin".. takes about 10 seconds to create in MADRIX.. then you use S3 to simply call up the effect for as long as you want it. then you turn it off and call another effect... a real-time equalizer for use with Multi-channel poles, arches, or even a mega tree takes about 20 seconds.. and since it uses sound recognition you can re-use it as many times as you like on different songs. (manually sequencing an "EQ" is a real pain). random "Sparkling" from your CCR's or CCB's.. is another 30 second operation... MADRIX allows you to copy effects so you create something cool.. copy it and modify it and you have a whole new effect.. it also has its own programming Language so really anything you can dream up you can make happen on your lights... got a Big Grid? want to play video? 10 seconds... display a pic? 10 seconds.. scroll text? 10 seconds.. the only sequencing you do is telling S3 (by set intensity on a DMX channel) which effect to use. using DMX remote control of MADRIX allows you to cut to the next effect quickly.. or fade the effect in and out, or cross-fade between 2 effects.. as for Pricing, MADRIX Start version allows you 1 DMX universe of control which in a pure LOR PC, DC or 1602 controller config is over 500 channels.. and that cost is reasonable for all that it can do (less than $400). its REAL power is for users that are using MANY RGB lights.. im just getting back into animation.. but I have 1700 RGB Pixel lights.. which would be a nightmare in LOR... I plan to double that next year... for users not using many RGB lights madrix wont gain you as much but can still be leveraged nicely... Theoretically you could create a Random cue list in Madrix, create a pool of effects that are all Sound activated and have a completely automatic light show... (not going to be as nice as one with effects created for each song) but it does work.. -Christopher
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