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A Marquee lighting control console made by Entertainment Technology

A lighting control console (also called a lightboard, lighting board, or lighting desk) is an electronic device used in theatrical lighting design to control multiple lights at once. They are used throughout the entertainment industry and are normally placed at the Front of House (FOH) position or in a control booth.

All lighting control consoles can control dimmers which, in turn, control the intensity of the lights. Many modern consoles can also control automated lighting (lights that can move and change colors), fog machines and hazers, and other special effects devices.

Lighting consoles communicate with the dimmers and other devices in the lighting system via an electronic control protocol. The most common protocol used in the entertainment industry today is DMX-512, although other protocols (e.g. 0-10 V analog lighting control may still be found in use, and newer protocols such as ACN and DMX-512-A are evolving to meet the demands of ever increasing device sophistication.

Contents

1 Types of control consoles

1.1 Preset boards

1.2 Memory consoles

1.3 Moving light controllers

1.4 Personal computer-based controllers

1.5 Remote focus unit

2 External links

3 See also

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Types of control consoles

Consoles vary in size and complexity, from small preset boards to dedicated moving light consoles. The purpose of all lighting consoles, however is the same: to consolidate control of the lights into an organized, easy-to-use system, so that the lighting designer can concentrate on producing a good show. Most consoles accept MIDI Show Control signals and commands to allow show control systems to integrate their capabilities into more complex shows.

Preset boards

An Acclaim 2 scene preset board by ETC

Preset boards are the most basic lighting consoles and also the most prevalent in smaller installations. They consist of two or more identical fader banks, called scenes. The faders (control slides) on these scenes can be manually adjusted. Each scene has the same number of channels which control the same dimmers. So the console operator can build a scene offline, a cross-fader or submaster is used to selectively mix or fade between the different scenes. Most modern state-of-the-art consoles such as the LSC Maxim series, however, have a stack master which requires a preprogrammed set of scenes to be added to a master known as the stack master. These scenes have to be added in the required order, scene by scene, act by act. At the end the operator/designer has to do nothing other than tap a button at the change of a scene. Blackouts, movements of intelligent lights, etc. are all easily recordable.

Generally, at least with a preset board, the operator has a cue sheet for each scene, which is a diagram of the board with the faders in their positions as determined by the lighting designer. The operator sets the faders into their positions based on the cue sheets. Typically during a cue, the operator sets the next scene. Then, the operator makes the transition between the scenes using the cross-fader.

Preset boards are not as prevalent since the advent of digital consoles, which can store scenes digitally, and are generally much less cumbersome than preset boards. However, for small setups such as that of a DJ, they remain the board of choice for their simple to use interface and relative flexibility. Preset boards generally control only conventional lights; though some advanced consoles can be patched to operate intelligent lights in a round-about way by setting the control channels of the light to channels the preset board can control.This is however not recommended since it is a long, drawn-out, and cumbersome process.

Memory consoles

An Express 48/96 memory console by Electronic Theatre Controls capable of controlling both normal stage lighting instruments as well as intelligent lighting.

Memory-based consoles have become very popular in almost all larger installations, particularly theatres. This type of controller has almost completely replaced preset consoles as controllers of choice. Memory consoles are preferable in productions where scenes do not change from show to show, such as a theatre production, because scenes are designed and digitally recorded, so there is less room for human error, and less time between lighting cues is required to produce the same result. They also allow for lighting cues to contain larger channel counts due to the same time savings gained from not physically moving individual channel faders.

Many memory consoles have a bank of faders often called submasters. These submasters can be programmed to control a single channel (a channel is a lighting designer's numerical name for a dimmer or group of dimmers) or a group of channels. The...(and so on)