Technical Details

Tech Rider

Recording Equipment

  • Laptop (Macbook Pro 13″ 2012)
  • KM183 Pair
  • MD421
  • DPA
  • XLR x4
  • Focusrite 18i Soundcard
  • Power Strip
  • Logic Pro 9

DMX Control Equipment

  • Laptop (Macbook Pro 13″ 2012)
  • DMX Lights x3
  • DMX Cable x3
  • American DJ myDMX2.0 Light Controller
  • Fireface Soundcard
  • C414 ULS Pair
  • Power Strip
  • XLR x2

Software for DMX

Microphone Setup (Ensemble)

  • 1 KM183 Per Piano
  • 1 MD421, 1 DPA for Saxophone
  • Recording into the Focusrite Soundcard to Logic Pro

Microphone Setup (Tina Solo)

  • 1 MD421, 1 DPA
  • Recording into the Focusrite Soundcard to Logic Pro

Microphone Setup (Cameron Solo)

  • KM183 Pair on piano (stereo)
  • Recording into the Focusrite Soundcard to Logic Pro

Microphone Setup (Daniele Solo)

  • KM183 Pair on piano (stereo)
  • Recording into the Focusrite Soundcard to Logic Pro

Light Setup

  • Stereo Pair of C414 for capturing the room
  • Fireface sound card for computer input
  • Max 6 for creating control rates from the audio input
  • myDMX2.0 for controlling the DMX lights
  • Max 6 for sending MIDI control rate information to the myDMX2.0 software

Floor Plan

foto?raf

DMX – setup and configuration

Here is the link to the Max Project we built to control the DMX lights:

www.dropbox.com/s/pdwe2vyq6nqazhl/dmsp.AS14.DMXpatch-28.2.14.zip

This is our technical setup for integrating the lights.

Equipment List
3x Visage LED par64 Flat 12x8W 4in1 Black Lights
3x DMX cables (3-pin)
3x IEC cables
1x ADJ myDMX 2.0 Unit
1x USB connector
Laptop (Macbook Pro 13″ 2012, v10.8.3)

Configuration (for Mac)
To properly connect all the equipment, there is a protocol that needs to be followed. I am using a Macbook Pro v10.8.3.

Each light operates on 7 “channels” of data – 1 channel for each color, brightness, and effect. This means there’s 1 light per 7 channels.

Light 1 – Channels 1-7
Light 2 – Channels 8-14
Light 3 – Channels 15-21
Light 4 – Channels 22-28

To set a light to a channel, press MODE on the back until you see something like “d.001.” This indicates the channel – use the UP or DOWN buttons to move it to a different channel.

Once the lights are assigned to their appropriate channels, make sure that they are DAISY CHAINED together. This means that the output of the interface connects to DMX IN on light 1. DMX OUT of Light 1 connects to DMX IN of light 2. Connect all 4 lights in this way. Once this is set up, connect the interface (MYDMX2.0) to the computer.

In order to control the lights via the MYDMX2.0 interface, you need the software to control it. Download it here:

www.americandj.eu/default/mydmx2-0.html

It’s quite a tricky software to fully understand. Since we’re using MIDI to control the lights, we’re going to be using a standard minimal file for basic control. This is the file I’m working with:

www.wiki.ed.ac.uk/download/attachments/172987911/basicdmx_4lights.dlm?version=1

Referenced on this University of Edinburgh Wiki article:

www.wiki.ed.ac.uk/display/ACEMusic/DMX+and+Lights+-+How+to%21

Fire up the software and open the file.

At the bottom, you have faders for each channel going to each light. As the lights are each assigned to 7 channels, each group of 7 channels (indicated by color) corresponds with one of the four lights. Read the Wiki article for details on each fader control.

Now, in order to control these faders with MIDI, you need to activate your IAC Driver in Audio MIDI Setup (Mac).

In Audio MIDI Setup, go to Window>Show MIDI Window. This brings up a window with all of the MIDI devices recognized by your computer. Double click the IAC Driver device and click the box “Device is online.” (This is necessary as the MYDMX2.0 interface is NOT recognized as a MIDI device).

Now exit Audio MIDI Setup.

Fire up your MIDI controller, I’ll be using Max 6. Using the noteout object, assign the output device as IAC Driver. This is your connection to myDMX2.0. Prepend each data stream of MIDI (0 to 127) with a number, to differentiate each channel to be received in myDMX2.0.

To accomplish this, I assigned a slider of values 0 to 127 to a “pak 1 0″ object, changing the value in the second inlet. This produces a list of two numbers, with the first always being 1. Change this first number to create different “channels” or ports for your data to flow through to communicate with the MYDMX2.0 software.

In the MYDMX2.0 software, find the fader you’d like to control with MIDI. Right click it and select Midi Learn. Once you move the slider (connected to the pak object) it will recognize that as the control for the fader.

Now you should have a basic understanding of how to go about assigning MIDI controls to the DMX unit. I found it fairly simple – despite having to use the proprietary software.

DMX – mapping to room mic signals

As the DMX lights were chosen they had to become part of the performance and environment. The question that concerned us most was the fact that we didn’t want any linear or predictable lightening happen, so equally to the room/space one performs in the lights had to had their own ‘energy’ in order to become part of the environment.

It was decided that three lights were going to be used, coincidentally the same number as performers, but in no way related to this. Each light was assigned to one specific mapping in MaxMsp. The mapping is based on two control signals derived from two room mics at the end of the room. Those two control signals were mapped into three different modules for controlling each light individually and based on different parameters. More details can be found inside the patch.

Generally the left light was mapped to have the slowest/quietest response and only linearly fading in if below that allocated threshold. The right light in opposition had the quickest/loudest response, only logarithmically fading in when above the allocated threshold, which in theory would mean that those two lights always are always juxtaposed to each other. This did not necessarily always work successfully and the mapping needs to be developed for the next project. The centre light was mapped to only be triggered if the control signal between the two room mics would be compared and be within a given limit. Then this light would logarithmically fade in and strobe linearly.