Could be a very good vid !!

You know, I don't. If I made a video, what would you like answered about this specifically?

There are a lot of factors at play and we'd need to know more about your space - feel free to fill out our quote request at www.learnstagelightinggear.com with a little more info of how far it'll throw and what other lights you use with it, and we can give you an option that fits your needs a little better.

He uses Capture, there's a link in the description

Back when I was in the industry, it was all trial and error at first. We need to be flexible and learn to configure our rigs in different ways, in order to better suit each individual venue and event. If you’re only playing one type of music, such as EDM, this simplifies things somewhat, but if you decide to go out on the road and cater for private events such as wedding and birthdays and such, or corporate events, then we need to look at things like softer lighting, more colour washing, and decor (depending on size and scope of event, this may be supplied by another contractor, as well as lighting, but I digress). The best piece of advice I could give you, despite what I’ve written above, is not to turn your passion and joy into a job, a chore, because something you used to do for fun on your own terms and in your own time, becomes no longer fun, it has to be done on other peoples terms, and it has to be done when they say it has to be done. I was given this exact piece of advice after I did my first school disco at fourteen, when I told an adult mate of mine (he had motorbikes, lol) that I wanted to be a professional DJ ‘when I grew up’ (still working on that, hitting forty soon, lol). I left the industry some years back after I became disillusioned with it all; the more money I was making, the bigger the a**holes the clients (and their guests) were. So, I sold my rig, all of it, and moved on with my life. I’m currently in the process of designing a new rig for the first time in about fifteen years and the passion is back, in a big way, lol. We’ve move house since I sold-off the business so we now have a pretty large back garden with little to no light pollution, I’m already at the stage where I’m drawing 3D animations on clouds, it took some years but the neighbours are going to figure me out real soon, 40th, fck yah! 🤪 All the best mate 🙂 🤝

​@@KumaBean You words were like reading my own life. I started back, way back, with my Sirius 24 desk and rack mounted 240v dimmable packs. Work and divorce and county move stopped all. But now I am helping setup the local small venue lightning. Indeed I am reinvigorated ... . getting well versed in DMX rigs, DMX WiFi networks, etc. and LOVING IT.

@@stevosteve I never managed to get my head around the whole DMX addressing, I’m more of a master/slave plug-and-and go type dude, I really like the idea of having full control though, especially with the lasers 🙂 🤝

@@KumaBean Wow we seem so alike. The manual implementation of using a lighting desk is the best part for me. It is the difference between a LIVE performing artist and a RECORDED/PLAYBACK artist, the LIVE method always has more feel and vibrance. The downside is that if working with popular artists/groups they themselves like to know in advance what they want, they dont like surpises or spontaneity, which means the show scenes need to be preset and then played back as a 'lighting recording' set.Yeah it means the next show is the same as the last and the last etc etc , but still not as good as LIVE operator input. The balance is to use the DMX presets for moving head targeting/colour/fade time/gobo etc, and also as you say laser sequences, then the floods and washes can be manually operator controlled (or over-ridden) for a more 'on the night' feel. Additionally controlling the desk over MiDi and using a keyboard to trigger the lighting makes the light desk operator feel as though they almost a part of the band . . . . and it is fun. Specifc joystick controlled moving head spots/washes reserved for only manual use give the operator great flexibility for when artists are not stnading where they said they would be ha ha ha. Coming back to your statement about DMX, yes I agree. Once you get the DMX addressing understood (esp the starting address chanel and the number of channels used by the specific ficture) then you are sorted. Now I am no longer restricted by using stage mounted racked power panels to feed individual light fixtures, the ease of power always to a fixture and then daisy linked MDX control makes eerything so flexible. Then using DMX WiFi for the odd located fictures just makes it even easier. I am defo still on the learning curve but for me it is fun, not work, and I do what feels best as the weeks arrive. All very lo key 🙂 Oh and just before I go, there are many varied YT vids and ideas out there, some are superb, some are downright fantasy, but they all help you learn. Just because you hear someone tell you 'this or that' is the best method, try it yourself, if it fails then do not always think it is something YOU have done wrong. Leave it and try another method etc etc and in the end YOU learn what works for you. ENJOY !

@@stevosteve Cheers mate 🙂 👌 🤝

Hi Tracy! Please send us a email to gear@learnstagelighting.com then we can help with the correct system to suit your venue and situation. Thanks.

Yes! Head over to www.learnstagelighting.com and sign up for my free guide to band lighting on the home page. In that video guide I go over the answer to exactly what you are asking. :). Thanks!

Stephen Lennartz What you find ? I’m now after the same set up for my small band in a small - medium hall

Stephen Lennartz What you find ? I’m now after the same set up for my small band in a medium sized room

Sure thing, this is exactly the type of thing we help people with in Learn Stage Lighting Labs (see description for link)

I typically go for a maximum of a 30 degree angle back, the basic idea being that you can keep going back until the light points into the eyes of the people in the front row of seats - at that point, you can't go back any further.

Then you'll have to go wider (and then the shadow falls to the side), OR you can hit a good 45 degree angle with a really, really wide fixture.

@@LearnStageLighting thank you, i went with adj z100 5k i thought it was good for the price

It really depends on your needs and how you want to run it. For a lot of simpler setups, ENTTEC's EMU (formerly DMXis), you can run it from stage. For setups where there is an operator running lights - LightShark or ONYX. ONYX can also work for a more complex band show that you want to run from stage.

Call a dealer in your area. I'm not a dealer

Learn Stage Lighting .com I know your not a dealer but trying to figure out who to go through to get Capture through a dealer.

@@kodykyle1297 If you're in the US, Elation dealers are your best bet. For other locations, check the Capture website for the local distributor.

Generally, there is no dealer discount on capture. My company is an elation dealer and there is no discount on capture products. The price for Capture is the same whether you buy it off their site or from Elation the only difference is the relation version is not a downloadable key to unlock the software. The Elation version is a USB Key.

I use Capture: www.learnstagelighting.com/want-lighting-visualizer/

This is Capture: www.learnstagelighting.com/want-lighting-visualizer/

This is Capture: www.learnstagelighting.com/want-lighting-visualizer/