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GLOSSARY

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a A/B The A/B fader is used to load cues into the cue editor, normally in sequential order, manually crossfading from the previous one to the new one. Whenever the fader leaves an end, it takes over control of the interpolation between the previous and current look in the cue editor. When it reaches the opposite end, the current look is copied into the previous look, and the next cue in sequence is added to (or overwrites, if solo mode is on) the current look. When a cue is invoked in this manner, its crossfade time is ignored, and the crossfade is done manually. If a cue is selected by command, such as with the Go button, the fader is disabled until it next leaves an end. Attribute An attribute is a controllable characteristic of a fixture that is designed to be set once when the fixture is configured, and only altered if the physical fixture is reconfigured. Like a feature, each attribute has a predefined name and can be set to a range of integer values. All DMX fixtures, for instance, have at least two attributes, called DMX Port and Base Channel. Stage Focus coordinates are also stored as attributes.

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Blind Mode The Blind switch contains an LED which indicates blind mode, and is toggled on and off when the switch is pressed. When blind mode is off, the cue editor, chase editor and macro editor act as control sources that contribute, along with the dimmer and submaster faders, to the actual appearance of the stage. When blind mode is on, the editors cease to act as control sources, so that cues, chases and macros can be edited invisibly while the dimmer and submaster faders are used to control the appearance of the stage.

c Chase A chase is a sequence of cues that is automatically played in rotation. Each step in a chase consists of a cue number, a step rate, a crossfade time percentage and a mode. The rate is specified in steps per minute, and ranges from 1 to 1200. The crossfade time is expressed as a percentage of the duration of each step, and controls how long it takes for the current step cue to fade in and the old one to fade out. This crossfade time overrides the crossfade time embedded in the definition of the cue; that time is

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only used when switching from cue to cue manually. The chase mode can be Forward, Reverse, Seesaw (changing direction at the first and last step), Wander (changing direction at random), Random (jumping around at random), Hold (holding forever on the last step), or Once (stopping after the last step). Chase Editor The chase editor consists of a temporary chase object which can be played directly, edited by entering commands, and stored when perfected. When the chase in the chase editor is started, it allocates a new control source for resolving conflicts with the other control sources in the system. When the chase is stopped, the control source it was using is freed for use elsewhere. Color Color is one of the features supported by many fixtures, and is called Color if there is only one color wheel, or Colr1, Colr2, … if there is more than one. These features can be set like any others through the rotaries, and the CP-100 makes it easier to select unmixed colors by stepping only through those major values that represent properly aligned color wheel positions. (The in-between positions can still be attained by turning Fine on.) The CP-100 also has a shortcut Color command that allows the user to refer to color features by wheel and filter number. For instance, if a fixture has two color wheels, each of which has eight filters in it, the user can set them using the Color command with wheel numbers one and two and filter numbers one through eight, rather than the more obscure feature numbers and values. Control Source A control source is a CP-100 manual control or automatic software process that applies the feature values contained in a look to the actual fixtures. If multiple control sources conflict in their attempts to control the same fixtures, the conflicts are resolved by using the HTP rule for brightness (the Dim feature) and the LTP rule for most other features. The CP-100 has a limit of 127 control sources active at a time, so it is important to know when control sources are active. The CP-100 has the following control sources: • Six dimmer faders, plus one virtual fader. Each dimmer fader controls the Dim feature of a set

of dimmers and fixtures. The look associated with each dimmer fader is a set of Dim features of dimmers and fixtures. A dimmer fader is only counted as an active control source when it is moved off the bottom or invoked with its Flash switch; the virtual fader is always on.

• Six submaster faders, plus one virtual fader. Each submaster is associated with one or more cues, chases and/or macros. When the submaster is moved off the bottom, or invoked with its Go or Flash switch, each cue counts as a single control source, each chase counts as a control source, and each macro counts as multiple sources, depending upon what it's playing. The virtual fader is always on.

• The cue editor. The user may use this to manually invoke a cue or crossfade between two cues. It is permanently active as a control source.

• The chase editor. The user may use this to play a single chase. It only counts as an active control source while it is playing.

• The macro editor. The user may use this to play a single macro. It counts as a pair of active control sources, but only while it is playing.

Crossfade A crossfade is a concurrent fade-out of one cue and fade-in of another. A crossfade may occur

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automatically over a certain amount of time; in this case the crossfade time is specified as part of the incoming cue, but can be modified by moving the Xfade Speed fader through the point at which it matches the cue's crossfade time, at which point the slider takes over and can alter the time. A crossfade may also be controlled manually by moving the A/B fader off either end. As soon as it leaves the end, the current cue becomes the old cue, the next higher-numbered cue becomes the new one, and the balance between the two is controlled by the fader until it reaches the opposite end. During a crossfade, each HTP feature (such as a Dim feature) that is mentioned in both cues makes a transition from its value in the old cue to the value in the new cue. The incoming cue associates with each feature value a pair of percentages, called the start threshold and end threshold, which represent the point along the crossfade at which the feature value begins to change and finishes changing. If these are set to the same number, the value switches suddenly at the specified point in the crossfade; if the value is zero, it switches as soon as the crossfade has begin; if 100, it switches when the crossfade is complete. If these are set to different numbers, the value changes linearly over the specified portion of the crossfade range; if they are set to zero and 100, the value changes smoothly over the entire crossfade. If an HTP feature is mentioned in only the incoming cue, its value crossfades starting at zero; if an HTP feature is mentioned in only the outgoing cue, it crossfades back to zero. LTP features crossfade from their current output values, even if that value was established by a different control source. At the start of the crossfade, the LTP parameters are activated, meaning that control of those parameters is seized by the control source that is doing the crossfade. To avoid sudden unexpected jumps, the crossfade proceeds from the current output value, and ignores the value in the old cue, which may or may not be the same. If an LTP feature is missing from the new cue, it doesn't crossfade at all. Instead, if the feature has an "off" value (such as an opaque position on a gobo wheel), that feature is turned off; otherwise it is left where it is until another control source seizes control of it. When a feature value is added to a cue, its start and end thresholds are set to default values determined by the fixture type. Most features' thresholds default to zero and 100. Cue A cue is the most important software object that the user deals with. Most of the job of programming the CP-100 involves creating, copying, editing and storing cues. For the most part, a cue is just a set of feature values and start and end thresholds (also known as a "look"). Although usually a cue will define all the features of one or more fixtures, it is possible to create a cue that only defines some of the features and leaves others undefined. This allows cues to be combined, with one controlling, say, position and another color. If a cue includes all features of all fixtures then it can completely define the look of the stage. A cue also has a time value associated with it, which determines how long it takes for the cue to fade in when it is invoked with a Go button. Cues are assigned numbers by the user, which serve both to identify them and define their order. They may also be given names, for the convenience of the user.

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Cue Editor The cue editor consists of a cue, and a pair of look objects, called the previous look and the current look, used for crossfading. The current look is a "flattened" version of the cue, meaning that it contains all features mentioned directly in the cue and indirectly in its presets. If the same feature is mentioned more than once, HTP features assume the highest value encountered, and LTP features assume the value specified in the cue, or in the highest-numbered preset if missing from the cue. Thresholds are merged by taking the lowest start threshold and the highest end threshold. When the user edits the cue, the changes are made to the cue and also to the current look; the cue is what is stored when the user executes a Store Cue command, but the look (actually an interpolation between the two looks) is what controls the fixtures on stage. When a new cue is selected, the cue editor may be at any point in its crossfade between the previous and current look. For all HTP features, that interpolation is captured and stored into the previous look; for all LTP features, the current output value is captured and stored into the previous look instead. Then the new cue is flattened into the current look, as described above. If a feature is mentioned in the current look but not the previous look, it is added to the previous look with a value of zero if it is HTP, or with a snapshot of its current output value if it is LTP. If a feature is mentioned in both looks and is LTP, its value in the old look is replaced with the current output value, in case control had been seized by a different control source, and control is given back to the cue editor. If a feature is mentioned in the previous look but not the current look, it is removed if it is LTP, or if it is HTP with a value of zero; if it is HTP with a nonzero value, it is added to the current look with a zero value and crossfade thresholds of zero and 100 percent. Normally, the cue editor is one of the control sources that controls the physical fixtures by interpolating between the previous and current look, although the CP-100 can be put into blind mode to allow cues to be edited while the fixtures are controlled by the faders. When cues are manually executed, they either replace the contents of the current look or are merged into it, depending upon whether solo mode is in effect.

d D.B.O. This stands for dead black-out. The D.B.O. switch is a toggle switch that overrides the Grand Master fader, as though it was moved to the bottom. This forces all Dim features to zero, and turns off all fixtures that have no dimmers by whatever alternate means is available, usually by selecting an opaque position on a gobo wheel. Dimmer A dimmer is a simple fixture that supports one feature, which controls its brightness. Dimmers are kept in a separate list from fixtures because they are programmed through different commands. Dimmer Fader Each of the six dimmer faders is associated with a look that lists any number of dimmers, plus any number of fixtures that have Dim features, and scales their brightness in tandem. That is, moving a dimmer from bottom to top causes the brightness of the associated dimmers to go from zero to a

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preprogrammed value. Each dimmer fader counts as an active control source when it is moved off the bottom, and is combined with dimmer values from other control sources according to the HTP rule. The assignments of dimmers and fixtures to the six dimmer faders are stored in pages, of which there may be up to 99 in a show. When the page number is changed, the faders aren't immediately reassigned to their new meanings unless they are at zero. Faders that are not at zero retain their assignments from the previous page until they are moved to the bottom, at which point the new assignments take effect. The LED in the corresponding Flash switch indicates the status of the fader, turning on whenever the fader isn't at the bottom. While a fader retains its assignment from a previous page, the LED flashes as a reminder to the user that it is controlling a look from a page other than that shown in the dimmer page number display. There is also a virtual "fader zero" that is always at maximum. Dimmers can be turned on at different levels without using the cue editor by adding them to this fader. There is only one "fader zero," not one per page. DMX The standard interface used to control fixtures and dimmers. The CP-100 has two DMX output ports, each of which carries 512 channels of control information. These are daisy-chained to as many devices as necessary, and each device is programmed (usually by setting DIP switches) to pick off a particular channel or range of channels. The CP-100 also has one DMX input port, which can be used to capture input from another controller, pass input from another controller through to the output, or use another controller to trigger the playing of cues, chases and macros in the CP-100.

f Fader A fader is a sliding control on the control panel. The faders are organized into three groups, the dimmer group, the submaster group and the master group. The dimmer faders allow control over six groups of dimmers at a time, and can be reassigned to different combinations of dimmers by changing the dimmer page number. The submaster faders allow similar control over six cues, chases or macros at a time, and can be reassigned by changing the submaster page number. The master faders perform miscellaneous functions, and include the A/B, Chase Speed, Xfade Speed and Grand Master faders. The Chase Speed fader is used to modify the speed of the currently executing chase, or enter the chase speed parameter when editing a chase. The Xfade Speed fader is used to modify the speed of the currently executing timed crossfade, or enter the crossfade speed parameter when editing a chase or cue.

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Feature A feature is a controllable characteristic of a fixture that is designed to be varied from cue to cue. Each feature has a predefined name, and can be set to a range of integer values to manipulate it. Many lamps have a feature called Dim, which controls its brightness. Fancier fixtures may have additional features such as Color, Pan, Tilt etc. Feature Preset A feature preset is an object containing a list of feature names and values, not bound to any particular fixture. Feature presets are created by selecting a fixture in the cue editor, setting up the desired set of features (and clearing all others), and then storing that set of features as a feature preset. They are then used by adding them to fixtures within a cue. Any features of those fixtures that are listed in the feature presets are given those values; if the presets are then modified, all cues that refer to them automatically change. This, for instance, allows one to define a particular point in a stage coordinate system, and store the Pan and Tilt features that represent that point as a feature preset. If can then be applied to any fixtures that use that stage focus coordinate system, to direct those fixtures to that point. Doing the same with a regular preset would involve setting up the same Pan and Tilt features for each fixture individually. Like regular presets, feature values specified directly in the cue override values inherited from feature presets. When a feature preset is stored over another one, the user has the option of merging them, which allows feature presets to be constructed with combinations of features that aren't found in any single fixture. Fine The Fine switch is a toggle switch that determines the scaling of the rotary controls for some features. If Fine is on, each rotary control increments or decrements its corresponding value by a single count for each step in the control. If Fine is off, some features step through a limited sequence of values; for instance, Color features step through solid colors, and Gobo features step through properly-aligned gobo wheel positions. Other features step by small increments up to a point, and then step by larger multiples to span the range more quickly; changing direction resumes stepping by the small increments, so that one can home in on a value without turning on Fine. Usually the small increment is one, but for Pan and Tilt, which have a 0..9999 range, it is larger, yielding three different steps sizes. Fixture A fixture is any controllable device attached to the CP-100, or the software object that represents that physical device. Each fixture in the stage setup must be represented by a fixture object in the software system. When a fixture object is created, the user assigns it an arbitrary unique number, and optionally names it to assist in keeping track of what fixture is what. The user specifies the characteristics of each fixture by choosing a fixture type from a list of types supported by the CP-100. Fixture Type A fixture type is an abstract description of the characteristics of a particular kind of fixture. Complex fixture types are generally identified by brand name and model; the simplest fixture is called Dimmer, which is a lamp whose brightness is the only controllable feature. When a fixture object is created to represent a physical fixture in the stage setup, the user must specify a fixture type, which defines how

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the fixture works. Each fixture type has a number of attributes and features that fixtures of that type support. Attributes are static parameters that are set when the system is configured, such as the base DMX channel; features are dynamic parameters that are varied from cue to cue.

g Gobo A gobo is a shadow mask placed in front of a lamp that creates a beam with a recognizable shape. Often multiple masks are arranged on a wheel that can be rotated in front of a lamp to change shapes. If a fixture has such a gobo wheel, it will also have a feature called Gobo whose value controls the position of that wheel. (If it has more than one, the features will be called Gobo1, Gobo2, …) Some gobo wheels can be rotated to any position including in-between positions; the CP-100 makes it easy to adjust such features with the rotary controls by only stepping to those values that correspond to properly-aligned positions, although the in-between values can be accessed by turning on the Fine switch. As with color wheels, the CP-100 has a shortcut Gobo command that allows the user to refer to gobo features by wheel and mask number. For instance, if a fixture has two gobo wheels, each of which has eight masks in it, the user can set them using the Gobo command with wheel numbers one and two and mask numbers one through eight, rather than the more obscure feature numbers and values. Grand Master The Grand Master fader scales the brightness of all fixtures, usually by scaling their Dim features. In addition, if the fader is moved all the way down, fixtures that have no dimmer control are turned off by whatever alternate means is available, usually by selecting an opaque position on a gobo wheel. Some fixtures use a single Dim feature to control the brightness, over a zero to 50 range, and then switch to strobing at various rates. The Grand Master fader only scales the brightness of these fixtures if their Dim feature is in the zero to 50 range; above that, the brightness cannot be scaled, although the feature will still be forced off when the fader is moved all the way down. If this fader is all the way down, moving lights will move, but otherwise generate no light, so it is important to keep this raised except for special situations. It may be used to scale the brightness of the entire show in cases where the power budget is exceeded. Group A group is a list of fixtures or dimmers that the user wishes to treat as a unit. Groups are merely a convenience for the user, and don't prevent the individual fixtures or dimmers from being controlled separately. For instance, if a group of fixtures is selected, their features can be set in tandem using the rotaries. This, however, is just a shorthand for setting the features individually. If the group is later redefined, it doesn't affect anything previously done with the group. When a group is created, the user assigns it a unique arbitrary number, and may also assign it a name to assist in keeping track of what group is what. There is a separate list of fixture groups and dimmer

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groups, so there is no relation between, say, fixture group 100 and dimmer group 100. Also, within fixture groups, all fixtures must be the same type, so that they have the same feature list and behave the same. This limitation doesn't apply to dimmer groups, since all dimmers by definition have only a single Dim feature.

h HTP Stands for "highest takes priority." This is the method by which conflicts are resolved when multiple control sources all try to manipulate a Dim feature of the same fixture. (There may be other features that are HTP, although most non-dimmer features are LTP.) This can happen, for instance, when a submaster fader adjusts the overall level of a cue that includes a particular dimmer, a dimmer fader is also connected to that same dimmer, or the dimmer is selected in the cue editor so that its brightness is manually controlled by a rotary control. When this happens, the highest control takes precedence. Highlighting To highlight a fixture means to force it on temporarily so that it can be seen, via the Hilite commands. Different fixtures are highlighted in different ways, but typically the Dim feature will be set to maximum, the Iris will be set wide open, and any color or gobo wheels will be set to their white or open positions. For HTP features, highlighting persists until turned off via the Clear Hilite commands. For LTP features, highlighting can be overridden merely by setting those features manually using the rotaries. Highlighting is useful when creating a cue or preset that has only invisible features, such as Pan and Tilt. Otherwise, it would be necessary to set Dim (and perhaps other features) all the way on, adjust the desired features, and then remember to clear the other features before storing the cue or preset. Hotkey A hotkey is a sequence of key presses assigned to a key combination on the optional computer keyboard. Hotkeys are invoked by holding Alt and pressing some other key; doing so causes the hotkey to be played back, as though the series of key presses it represents were entered manually. Hotkeys may store commands, parts of commands, multiple commands, or menu selections. They may also invoke each other, as long as they don't do so in an infinite loop.

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l LTP Stands for "last takes priority." This is the method by which conflicts are resolved when multiple control sources all try to manipulate some feature of the same fixture other than a Dim feature. This can happen, for instance, when two submaster faders adjust the overall level of two cues that include the same fixture, or when a submaster is controlling the same fixture that is selected in the cue editor for manual control by the rotaries. The control source that takes precedence is the last one to "become active." A fader becomes active when it moves off the bottom position, i.e., when it goes from a zero to a nonzero value. At that instant, that fader becomes the active control source for all features mentioned in the look; features not mentioned remain controlled by whatever other control source was active for them. A rotary becomes active whenever it is moved. At that instant, it becomes the active control source for the selected feature of the selected fixture (or fixtures, if a group of fixtures is being manipulated). Look A look, like a cue, contains a set of feature values and start and end thresholds. It differs from a cue in that it doesn't contain a crossfade time, and doesn't contain any subsidiary presets. While a cue is an object that is directly created, edited and stored by the user, a look is merely an internal temporary object created by the CP-100, usually by the selection or combination of other cues. A cue never controls the fixtures on the stage directly, but instead contributes to a look which in turn controls the stage. The cue editor contains the most important look object (actually a pair of look objects) in the CP-100, and is modified by using the rotary controls to set fixture feature values, or by entering commands that select cues or include or exclude specific fixture features. The dimmer faders manipulate looks which consist only of dimmer values. The submaster faders manipulate looks which are built from the cues, chases or macros assigned to that fader. When cues are combined into a look, any conflicts are resolved by taking the highest value for HTP features and the last value for LTP features, where last refers to the order in which the cues are added to the look.

m Macro A macro is a list of events which include the selection of cues, the starting of a chase or the stopping of a chase. A macro can be constructed manually through the macro editor, or can be built by turning on macro recording, and then using the cue editor and chase editor to load cues and start and stop chases. The playback of a macro is an independent process that doesn't interfere with manual operation of the CP-100 in any way. This is because each macro player contains independent control sources, one for playing cues and the any number of additional sources for playing chases, as needed. One may even edit the macro that is currently playing, and the CP-100 will adapt accordingly. Macros record the time against a time base which is either 10, 24 or 30 ticks per second, and record the following events:

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• Cue selection. If Solo is off and cues are loaded with Cue n … or Cue n … Go, they are merged

in with previous cues. If Solo is on or cues are loaded with Edit Cue n, the cue editor is cleared first. Note that multiple cues can be started at the same time with these commands. They also cause the appropriate events to be recorded that clear the cue and load cues into the macro player.

• Cue clearing. The Clear Cue command clears the cue editor, and records an event which clears the cue in the macro player.

• Chase starting. The Chase Go and Chase n Go commands stop any running chase in the chase editor and start a new one. They also record an event which starts a chase in the macro player.

• Chase stopping. The Chase, Chase Stop, Clear Chase and Clear All commands stop any running chase in the chase editor, and record an event which stops the chase in the macro player.

In addition, a macro has a loop mode, which can be Hold (hold forever on the last event), Once (stop after the last event), or Repeat (start over after the last event). The mode can also be set to Step (manual step, stop after last event) or StepRpt (manual step, start over after last event), in which case the macro ignores the clock and instead waits for Enter to be pressed before playing each group of events having the same timestamp. MIDI A standard interface used primarily by musical instruments. The CP-100 has a MIDI input, and can be programmed to respond to received Note On and Note Off commands by starting and stopping cues, chases and macros. It also has a MIDI output, which is currently unused.

p Page A page is a set of meanings assigned to the six dimmer faders or to the six submaster faders. A dimmer page contains a list of dimmer and fixture numbers and levels assigned to each dimmer fader; a submaster page contains the cue, chase and/or macro numbers assigned to each submaster fader. A show can contain up to 99 pages for each of these sets of faders. The faders may be operated in a mode such that when a page number is changed, they aren't immediately reassigned to their new meanings unless they are inactive. (A fader is active if it is raised, if its Flash switch is held, or, in the case of submaster faders, the submaster was invoked with its Go switch.) Faders that are active retain their assignments from the previous page until they are deactivated, at which point the new assignments take effect. While a fader retains its assignment from a previous page, the LED in the corresponding Flash switch flickers as a reminder to the user.

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Pass Thru Fixture A virtual "fixture" that represents a contiguous range of channels, both in the DMX input port and one of the DMX output ports. When a Pass Thru fixture is created, it causes all input received on its input channels to be perpetually echoed to the corresponding output channels. Preset A preset is a kind of cue that the user can edit and store, and refer to indirectly from within other cues. Like a regular cue, it contains a list of features of various fixture features and their values, plus start and end thresholds for crossfading; unlike a cue, it has no crossfade time, and of course has no subsidiary presets. In practice, a preset is used primarily to store the settings of features that are affected by the physical layout of the stage, such as Pan and Tilt. The advantage of a preset is that it can be referred to by many cues; if the stage layout changes, as when moving from one venue to another, the preset can be modified, and all cues that refer to it will automatically be affected. Nothing, however, prevents a preset from being used for other purposes, such as establishing "standard" colors which can be reused in multiple cues. When a cue refers to a preset, it may use all the fixture and dimmer features within that preset, or limit its use to specific fixtures and dimmers. Thus one can create a preset containing the feature values representing a particular position or color for all fixtures in the system, and then use it to control only specific fixtures within a particular cue. Note that a cue may refer to multiple presets; if there are conflicts among them, the higher-numbered ones take precedence. Note also that if a cue contains a feature value that is also found in one of its presets, the cue's value takes precedence. This means that the cue can override a preset without using a fixture filter; the latter are only used if one wishes to use part of a preset without having to override the rest of it in the cue.

r Rotary A rotary is one of the large knobs on the CP-100 panel. When a fixture is selected for manual control, the rotaries are connected to up to eight of the features of the fixture; if the fixture has more than eight features, the list of features can be "paged" through using the < and > cursor keys. The rotaries can be connected to the feature values, the start thresholds or the end thresholds, using the Ù and Ú cursor keys. A rotary usually steps each value in large increments, but can be forced to step by single counts by turning on the Fine switch. The LCD display shows the abbreviated name of each feature plus its current value (or threshold). If a feature is not part of the current cue in the cue editor, the value is shown as three hyphens; moving the rotary adds the feature to the current cue (as well as the current and previous looks), starting at its current output value. If a feature is already part of the current cue, moving the rotary changes its value in the cue, as well as in both looks, thus overriding any crossfade that may be in effect for that feature. It is possible to select a group of fixtures, in which case each rotary controls a feature of all the fixtures in parallel. In this case, it is possible for the various features connected to the rotary to have different values, which is shown by displaying three question marks for the value. As soon as the

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rotary is moved, all the values jump to the value of the lowest-numbered fixture, and being moving in tandem from there. Rotaries may also be used to control dimmers, in which case the display shows up to eight of the dimmers in the cue editor at a time. They are also used to control Stage Focus coordinates, and to adjust the rate of chase and macro playback in the submasters.

s Solo Mode The Solo switch contains an LED which indicates solo mode, and is toggled on and off when the switch is pressed. When solo mode is off, invoking cues with the Go switch adds the cue to whatever is in the cue editor; any conflicts are resolved by taking the highest value for brightness features and the new value for other features. When solo mode is on, invoking cues with the Go switch implicitly clears the cue editor first, so each invoked cue controls the stage by itself (assuming the fader control sources are all the way off, that is). Stage Focus This is an option provided by steerable fixtures that allows their Pan and Tilt features to be remapped into an arbitrary coordinate system defined by four points on the stage. Once Stage Focus is turned on, the Pan and Tilt feature values refer not to the absolute position of the mirror in the fixture, but to coordinates within the four-sided area defined by the four points. Actually, the area within the four points is accessed with Pan and Tilt values that range from one quarter to three quarters of full scale (usually 64 and 192 on a scale from 0 to 255), which means that it is still possible to position the fixture somewhat outside the four-sided area, although the result may run into the physical limits of the fixture. The virtue of Stage Focus is that when a show is moved to a different stage with different dimensions, the only thing that needs to be changed are the Stage Focus coordinates for each fixture, not the potentially huge number of Pan and Tilt feature values in the cues. The coordinates are stored as eight attributes of the filter (called P00, P01, P10, P11, T00, T01, T10 and T11), although one doesn't have to set these attributes blindly. Instead, a display is provided that connects the eight rotaries to these attributes, and points the fixture to the appropriate corner whenever one of them is moved. Stage Focus is enabled on a per-cue, per-fixture basis. That is, a fixture can be directed to a particular spot using stage coordinates in one cue, and then absolute Pan and Tilt values in another. The stage focus capability is an alternative to the preset capability. Presets are useful where lights need to be positioned on specific points on the stage, points that may not maintain any particular geometric relationship to each other from venue to venue. Note, however, that if both are used, the presets will contain coordinates that are then translated according to the stage focus. For Stage Focus to work properly, however, both the Pan and Tilt features must come from the same source. That is, it is not legal to supply the Pan feature from a preset and then override just the Tilt feature in the cue itself.

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Step A step is a single time point in a chase. A step may have any number of cues assigned to it. A step is also a single event in a macro. A step as a time associated with it, in tenths of a second, and may represent any of the following: • Clearing the cue player. • Merging a cue into the cue player. • Starting a chase (and stopping any previous chase). • Stopping a chase. In addition, the user can insert named marker events, for convenience. They do nothing when played. Submaster A submaster is a fader that is assigned to a list of cues, chases and/or macros. When the submaster is activated, each cue, chase and macro is started. Each cue and chase constitutes a control source, and each macro constitutes as many control sources as are needed to play the cues and chases it contains. When a submaster is deactivated, these control sources are released. The CP-100 can store up to 99 pages of submaster assignments. When a cue is played by a submaster, two looks are created, just as in the cue editor. The "to" look represents the desired look when the submaster is all the way up, and contains the values of all features in the cue. The "from" look represents the look at the bottom, and contains zero for all HTP features and a snapshot of the output values for all LTP features at the instant the submaster is activated. Thus, HTP features go from zero to their values in the cue, and LTP features go from wherever they happen to be to their values in the cue. Submasters can also crossfade cues automatically, just like the cue editor. This is done by invoking the submaster with its Go switch instead of the fader. As long as there are cues crossfading, the Go LED flashes; when they all reach their limit, the Go LED turns on continuously. Since each cue is a separate control source, each crossfade has its own rate. If a submaster is activated with Go, it can be deactivated by pressing Go a second time. This causes cues to fade back to zero at rates determined by their fade-out times. The submaster isn't actually deactivated until all crossfades have reached zero. If there are no cues, only chases or macros, the submaster is deactivated immediately, since there are no crossfades to complete. The user can switch to manual control during an automatic crossfade by moving the fader. If the fader is moved up, the remaining distance to the top of the fader is defined to represent the remaining distance to the end of the fade-in. If it is moved down, the remaining distance to the bottom of the fader represents the remaining distance to the end of the fade-out. The user can also switch from manual control back to automatic crossfading by pressing the Go switch, which starts all cues ramping downward. If some or all cues are already crossfading automatically, Go simply toggles the direction and makes sure they are all crossfading automatically. Chases and macros don't care about the fader position. They merely start and stop when the submaster is activated and deactivated. If there are no cues assigned to a submaster (and hence nothing to crossfade), chases and macros start and stop when the fader is moved off the bottom or back to the bottom; they can also be started and stopped with the Go switch. If there are cues with nonzero

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crossfade times, chases and macros start as soon as the submaster is activated, but don't stop until the cues have all crossfaded back to zero. In addition, each submaster has a Flash switch. If a submaster is inactive, this activates it and sets it to its maximum value when the switch is pressed, and then deactivates it when the switch is released; no crossfading takes place. If a submaster is already active, this simply forces all crossfades to their maximum value when the switch is pressed, and returns it to where it would have been when the switch is released. There is also a virtual "submaster zero" that is always at maximum. Cues, chases and macros can be turned on and off without using the cue, chase or macro editor by adding them to this submaster. There is only one "submaster zero," not one per page. Note that when a cue is added to submaster zero (or any active submaster), it turns on instantly, with no crossfade. Submaster faders can be operated in two modes. In the simplest mode, only six submasters may be active at a time, one for each fader (not counting submaster zero). If the page number is changed while a fader is active, the latter remains assigned to the original page as long as it stays active. This condition is indicated by flashing the corresponding Flash LED. When the fader is moved to the bottom, or the automatic fade-out completes, the fader becomes inactive, and is then assigned to the current page. The other mode is called Latch mode. When the page number is changed, the faders and associated switches and LEDs are immediately connected to the submasters of that page. If a submaster is turned on, and the page is changed, that submaster cannot be turned off without going back to that page, or resorting to an explicit Submaster Stop command.

t Trigger An input from an external device that causes cues, chases or macros to be played. Every cue, chase or macro may be assigned to a single trigger input, which may be either a DMX input channel, in which case it responds to the input value going from zero to nonzero and back, or to a MIDI note, in which case it responds to the note turning on and off.

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The Quick Guide.

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SET UP FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. Turn the controller on Turn switch on. The switch is Also at this time, ***please located on the rear panel. TURN ON SOLO ****and make sure the Grand Master fader is up and DBO is off 2. Set up Fixtures ADD FIXTURE ENTER If a fixture number other than 1 appears on the screen, this is the next available "open" fixture number. To empty memory see DELETE . 3. Choose Fixture Type Use ^ or v keys to move cursor to Use YES or NO keys to select [type:" "] the fixture 4. Add the fixture to the show Press F1 This brings up a screen called the EDIT FIXTURE MENU. 5. Naming the fixture. Use ^ or v keys to move cursor to Use keyboard to type in your [Name:" "] personal name. (stage left light 1). 6. Selecting the DMX port. Use ^ or v keys to move cursor to Use YES ot NO keys to You’ve got 2 x 5 pin XLRs on the [DMX Port:" "] select port 1 or 2. back of the CP-100 marked out 1 and out 2. These are your DMX ports. 7. To change DMX channel Use > key to change from Use the number buttons and then The controller will automatically address [DMX Port" "] to press ENTER . default to the next unused DMX [Base Channel:" "]. channel address, called the "Base Channel" (or start channel). 8. To Change Dimmer Port Use > key to change from Base Use the YES or NO keys to Having access to changing the dimmer channel to dimmer port change between ports 1 or 2 port is only available if the fixture supports a DMX changeable dimmer. For example, Vari*lite VL5. 9. To Change Dimmer Channel Use > key to change from dimmer Use the number buttons and then Like the dimmer port, access to this port to dimmer channel press ENTER is only available if the fixture supports a DMX changeable dimmer. 10.To Change default settings Use > key to change from Use > to change from Unless you need to switch/invert the for Pan and/or Tilt [Base Channel:" "] to Pan Pan to Tilt and then onto Pan or Tilt functions these need not Pan/Tilt invert. be changed.

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SET UP (continued). FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 11.To add Stage Focus to Use > key to change from Unless you intend to use Stage Focus the fixture. Pan/Tilt invert to Stage Focus you need not change the default settings 12. To add another fixture Press F1 Now repeat steps 4 thru 9 until you have all your fixtures added. 13.To activate a fixture Press FIXTURE 1 ENTER This will allow you to work the fixture Obviously you can type in any fixture number, provided (of course) it is in the show and you have added it to the show's memory.

CREATING FIXTURE GROUPS FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. To make a fixture group Press ADD FIXTURE "?" TO You can use the "THRU" "AND" & GROUP "?" "ALL" buttons to help you group the fixtures quicker. 2. To view a fixture group Press Group "?" You will now see the group of fixtures displayed. The ?? means that the values are different for all of the fixtures within the group. Moving the rotaries will bring the values "together". 3. To make a second fixture Press ADD FIXTURE 2 THRU 10 This simply demonstrates how to group AND FIXTURE 20 TO GROUP 2 combine these fixtures into the same group. 4. To make a fixture group This is done no differently than creating with different types of a group as described in 1 and 3. The fixtures. common channels (or the most common fixture to be entered in the group) will be displayed first. The most least common channels will be displayed last.

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Operating a Fixture Group FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. To select a fixture group Press GROUP 2 ENTER This will give you Group 2. The fixture group display is virtually the same as the fixture feature display. The difference is that on the top right hand side are the words "fixture(12):1 The figure in the ( ) tells you how many fixtures are in your group. The number after the ":" tells which fixture is currently active. With a mixed group of different fixtures the display is marked with Type: (mixed). 2. To change to another fixture Place the cursor over the number Use the "Yes" or "No" Keys. after the " : "

VERY USEFUL TOOLS (Tools such as those listed below are only supported if the fixture manufacturer has supplied Group One Ltd. with the neccessary DMX values). FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. To select a color without using Press COLOR "?" Pressing the color button and then a the rotaries. number, for example 3, will bring the third color of a SUPPORTED color wheel. 2. To select a color from a second Press COLOR 2@3 This will give you the third color color wheel (if the fixture has two from the second color wheel. color wheels, of course). 3. To select a gobo without using Press GOBO "a number" Pressing the gobo button and then a the rotaries number, for example 4, will bring the fourth gobo of a SUPPORTED gobo wheel. 4. To select a gobo from a second Press GOBO 2@4 This will give you the fourth gobo gobo wheel (if the fixture has from the second gobo wheel. two gobo wheels, of course!).

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STORING A PRESET FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES

1. First get yourself into the Press FIXTURE ENTER You need to either go to the fixture Fixture Features Screen you want to store as a preset, or a fixture group. Please see "SET UP" for individual fixture or fixture group for group of fixtures. 2. Clear Everything to start from Press CLEAR ALL This takes all dimmer values to Zero the beginning. (these are HTP channels).All other channels are also cleared out of the buffer memory. However remember because they are LTP channels the fixtures remain in their Last Position. It is important to understand the concept of clear. Please see Tips Hints, and other “Good Things” for info on Presets & feature presets. 3. Hi-lite theFixtures you want Press HI-LITE FIXTURE "n" This is a "trick". It will open your in the preset. ENTER dimmer but won't record that into the preset. The fixture feature display has an H at the top right hand side to tell you, you've hi-lited the fixture. 4. Move the Fixtures into the focus Press FIXTURE "n" ENTER Use the rotaries to position fixture Once you have got the first fixture in position that you want to record position you can move to the second and so on. Caution if you move a rotary with a feature that you do not want recorded in the preset you must clear that rotary by pressing CLEAR ROTARY NUMBER ENTER.

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STORING A PRESET (continued) FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 5.Storing the Preset Press STORE PRESET "n" You can use any number from 1 to ENTER. 1000! 6. To Check your preset Press PRESET "n" ENTER Make sure your coming from another position! Move the rotaries around for at least one of the fixtures in the Preset PRIOR to checking the preset. Remember if you did not record a feature in the preset then that feature will not change when you go to check the preset. This also means that if you did not store a dimmer value in the preset (which is normal) then when you go to check the preset it will turn the light off.

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STORING A FEATURE PRESET FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. Clear everything to start from Press CLEAR ALL ENTER This takes all dimmer values to zero the beginning (these are HTP channels). Clears all other features out of the rotaries, but because they are LTP channels the fixtures remain in their Last Position. 2. Hi-lite the fixtures Press HI-LITE FIXTURE "n" Use the rotaries, or the color, or This is a "trick". It will open your you want in the preset. ENTER gobo buttons to set up the features dimmer but won't record those feature you want to store. values into the the preset. The fixture features display has an "H" at the top right hand side to tell you you've hi-lited the fixture. Now set the features you want to record as a Fp . Caution if you move a rotary with a feature that you do not want recorded in the preset you must clear that rotary by pressing CLEAR ROTARY "NO." ENTER. Otherwise whatever value for that feature which is displayed will be recorded in the feature preset. 3. Storing the Feature Preset (Fp) Press STORE FEATURE PRESET You have now recorded the Fp. "n" ENTER 4. To view the Feature Preset (Fp) Press FEATURE PRESET ENTER Use the ^ & v keys to access You can name a feature preset using number, name, feature count. the keyboard. A feature preset can have Use <> keys when the cursor several features stored, so hence the is in the feature field. It will display display feature count. If you accidently the features (Iris,Color,etc) and store a feature in the Fp that you don’t the corresponding DMX value. want, then press F1 (clear feature). Make sure you’re viewing the feature at the bottom right of the screen, that you want to delete, first.

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STORING A FEATURE PRESET (continued) FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 5. Attaching a Feature Preset (Fp) Press ADD FEATURE PRESET The result is displayed in the fixture to a fixture. "n" TO FIXTURE "n" ENTER features. For example, "FPreset (4) :2 means that there are 4 Fp attached to the fixture.The current Fp being 2 .Any feature which is part of the Fp is shown by the letter (F) being displayed beside that fixture. You can also attach a Fp to a group of fixtures. This requires you to substitute the word GROUP "n" instead of FIXTURE "n" in the first button seq. 6. Attaching a second Fp. Press ADD FEATURE PRESET It is common to attach a second Fp to a "n" TO FIXTURE "n" ENTER fixture. The first feature Fp could be for color while the second could be for gobo.

STORING A CUE. FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. To store a cue Press STORE CUE "n" ENTER Having moved the fixtures & dimmers to the position you wish to record. Pressing the first button sequence "locks your lighting look into the board". 2. To look at the cues you have Press CUE ENTER You are now in the Cue Editor. stored in the board (not out on To see the fixtures that are in a cue stage! See 4 & 5 below). press fixture "n" enter. The cue editor shows any presets attached to the cue. Fixture and Dimmer filters are a way of simply taking fixtures or dimmers out of the cue.

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STORING A CUE (continued) FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 3. To add a fade time to a cue Use the ^ or v keys to get to Press the number keys followed by The maximum time is 100,000seconds! [In time: " "] or [Out time: " "] ENTER. Then press STORE CUE The "in time" is the time taken for the ENTER. cue to "fade in". The out time is the time taken for the cue to "fade out". You can quickly adjust the time of a cue by using the number keypad or the "xfade time" fader. However the time is not stored in the cue until you press STORE CUE ENTER. This way if you need to make a fast time change for the show tonight then it can be done on a "temporary" basis. 4. To execute the cue Press CUE "n" GO This will execute the cue including any time fade. You can override the time fade by typing in a different value in the cue editor or by using the Xfade fader. 5. To view a cue quickly. Press CUE "n" ENTER This will show you the cue and bypass the fade time. Useful to review cues or to make chases or macros quickly. 6. To view cues when you Press CUE ENTER Press EDIT GO or EDIT BACK This allows the programmer to load don’t know the cue numbers (do not press enter, just keep ) the previous or next cue with no (invoking a cue list) (pressing GO or BACK to move) crossfade time being executed. This (to the next cue). way you can quickly tep through a sequence of cues for editting without having to wait for a crossfade or think about the cue numbers!

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STORING A CUE (continued) FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 7. Solo or not to Solo Press the SOLO button It is imperative that you understand the principle of the solo button. When the solo button is on the led is on. Solo on means that as you go through a series of cues for example, then each cue is executed by itself. If solo is off each cue you execute is piled on top of the previous cue or cues. The former is the most common way of playing back the cues. The latter is for when you want to execute two or more cues at the same time. Great care must be taken that, if features overlap with dmx values, then the resultant output looks correct. For example combining two Pan positions will result in a completely different new Pan position being created which may now move the fixtures in completely the wrong position that you wanted them to go to!

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STORING A CHASE FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. Bring up the Chase Editor Press CHASE ENTER Use the cursor keys to move to the You are now in the chase editor screen "cue" field. 2. Start Recording the Chase Press CHASE RECORD This causes the Record led to flash. 3. Solo or not to solo Press the SOLO button If the led is on solo is on. If you want to only have one cue per step, then make sure the Solo button is on. If the solo button is off then the second cue will be added to that step. This is the way to get multiple cues on one step of the chase. Caution piling on cues in this way may result in the output looking bizarre! See "Solo or not to solo" under the heading "storing a cue". 4. Storing the first step Press CUE "n" ENTER First step is now recorded. 5. Storing the second step Press CUE "n" ENTER Repeat this process until you have loaded all your cues. 6. Storing a chase speed & Use the cursor keys to get to the Note: the Xfade time fader and the If the chase speed is set at zero, then Crossfade time & Xfade fields then use the Chase Speed fader could be used you can manually operate the chase. number keys to make the necessary as well to set up the correct values. changes. 7. Stop Recording the Chase Press RECORD The Record LED should stop flashing 8. Save the Chase Press STORE CHASE "n" ENTER This saves the chase that was in the Chase Editor, to the number you want. For example chase 15. 9. To see your Chase Press CHASE "n" GO If the Chase Speed is recorded at zero, then use the enter key to play the chase. 10. Adjusting the Chase Speed & Press CHASE ENTER (if you're Use the cursor keys to get to the Note the Xfade time fader and the Crossfade for the chase steps not already in the chase editor). time and Xfade fields then the Chase Speed fader could be used number keys are used to make to set up the correct values. as well. the necessary changes.

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STORING A CHASE (continued) FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 11. Storing the new adjusted Press STORE CHASE ENTER Remember if you change the Chase chase speed and crossfade speed or crossfade time, you must store it back into the chase. Otherwise, it is treated as only a "temporary" change and will be lost when you move from the chase editor.

STORING A MACRO FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. Choosing a macro to record Press MACRO ENTER You are now in the Macro Editor. 2. Moving around the Macro Use the ^ or v keys to move you up Use the < > keys to move through Entries are just the name for cues or Editor screen and down the entry numbers. Name, Macro “n”, Mode & Times chases programmed in a set order. The order you want a show to run in, is what you are going to program in a Macro. 3. Clear any values in the Macro Press CLEAR ALL ENTER This will take any values still held in the Editor prior to programming Macro Editor out. 4. Enter a Macro Number Use the < > keys to get you to Press NUMBER ENTER This will put the number you choose [Macro number.:" "] beside the word [Macro no.: " "]. 5. Setting up Use the < > keys to get you to Use YES or NO buttons to scroll You have 3 choices to run a standard “Mode of operation” [Mode:" "]. through the selection Macro. Hold, Repeat, or Once. Hold: holds the Macro at the first entry until you manually release it or change to a different mode. Repeat:will repeat the Macro when it comes to its last entry. Once: one-time round all the entries & then it goes into hold.

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STORING A MACRO (continued) FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 6.Solo or not to solo Press the SOLO button If the Solo button Led is on the Solo function is on. This will make each entry of the macro a single cue or chase.You can make an entry hold multiple cues and/or chases by having the solo button off. However great care must be taken to avoid conflict between cues and/or chases. If you enter 2 cues and they have the same fixtures in them then there will be a conflict as to which cue the fixture should execute. In fact the conflict is resolved by a compromise The cues combined which is logical. However the resultant output on stage maybe not what you want!! 7. To start Recording the Macro Press MACRO RECORD The record button is now flashing. 8. To record the first entry Press CUE "n" ENTER After you have made your entry, the (a cue) entry number automatically jumps to 3>. This is deliberate. Entry 2 is the cue you just entered and entry 1 is an automatic “clear" function. This clears out the buffer ready for you to program the first entry. If the solo button was off you would not get this “clear cue" entry, because it would be the case that you want to "pile-on" cues and/or chases. 9. To record the second Entry Press CHASE "n" GO ENTER (a chase in motion)

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STORING A MACRO (continued) FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 10.To record the third entry Press CHASE "n" STOP ENTER The entry numbering will look like the (a chase stopped) following:- 1>clear cue 2>cue 20 (for example) 3>stop chases (reset) 4>chase 100 (for example) 5>stop chase 100 11. Setting up the times for First use the ^ key to go down the Tip: It is easier if you do all the the first entry entries to the first entry entries first and then enter in the times. The first entry is the clear cue. Its time is usually left alone at 0:00.0 The times on the screen represent Absolute Time and Relative Time. Ab T is the 0:00:00.0 to the left hand side of the screen. Rel T is to the right. 12.Setting up the time for Use the v key to go up to the 2nd Enter your time on the Rel T scale. the second entry entry. 00(mins):00.0(secs). For example 00:10.0 = 10 seconds. 13.Setting up the time for Use the v key to go up to the 4th For example 00:05.5 = 5.5 seconds the fourth entry entry. This will make the Ab T display 0:00:10.0 (note: the third entry is for the chase reset so it has a time 0). 14.Examining the time for Use the v key to go up to the 5th The fifth entry is stop chase, again the fifth entry entry the time will be 0. However observe the Ab T it is now at 0:00:15.5 15.Storing the Macro Press RECORD Press STORE MACRO "n" The Macro must be stored to a macro ENTER number.

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STORING TO A SUBMASTER It needs to be decided as to whether the board is going to be operated with or without the Submasters latched on or not. If the submasters are not latched then, for example, if you have submaster 2 up on page 6 and you move to page 7 then the output from submaster 2 remains on and the led in the flash button flashes to let you know that you have a submaster memory outputting from another page. The maximum number of submaster memories outputting at any time together is therefore 6. With latch on when you turn pages the submaster remains on but the led does not flash. However the maximum number of submaster memories outputting at any time together is (99pages x 6 faders) 594 memories!! FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. Choose Submaster Latch on/off Press SUBMASTER ENTER Use the cursor keys to go to the Latch field and then use the YES/NO keys to toggle Latch on/off 2. To store a cue to a submaster Press ADD CUE "n" TO This will store the cue in the current SUBMASTER "n" ENTER submaster. If you want to store a cue on a different submaster page, then you type in ADD CUE "n" TO SUBMASTER "page n, fader n" 3. To store a chase to a submaster Press ADD CHASE "n" TO SUBMASTER "n" ENTER 4. To store a macro to a submaster Press ADD MACRO "n" TO SUBMASTER "n" ENTER 5. To view the submaster & what Press SUBMASTER ENTER Use the ^ v keys to move around The Submaster Viewer shows you is stored in it the display & Yes/No to examine Cues (3) : 4 for example. This means values. you have 3 cues in the sub. and the first one is cue 4. The same process is true for the displays of Chases & Macros. Use the keyboard to to name the sub.

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HOT KEYS FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1.To program a hot key From the Main Menu press F2 Use the keyboard to type in any Once you have turned on record, This will set you into the ALT key (ALT+ Q, for example) then virtually any command can be Hot Key editor Then press RECORD. Once you recorded. The <-- key deletes the have finished press RECORD last keystoke. The Undo button again to turn it off or Esc button in the keyboard is recorded normally but in playback it causes a pause to occur at that point, so the programmer can add a number or command. For example add cue ? to submaster ? would be input into a hot key as Add cue undo to submaster undo. It is also legal for hot keys to invoke other hot keys.

DELETE FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. To delete the entire Press ALL DELETE ENTER Press YES or NO WARNING: this will delete the contents of the CP-100 entire memory. Okay?!!! 2. To delete the entire show Press DELETE ALL ENTER Press YES or NO This will delete only the show leaving only fixtures, dimmers, groups & parameters. 3. To delete only fixtures Press DELETE ALL FIXTURES Press YES or NO Of course you can delete only one fixture, or group of fixtures by utilizing the correct command. For example DELETE GROUP 10 4. To Delete only dimmers, Press the appropriate button Take extreme care once the submasters, presets, feature after DELETE and follow it function is executed, there is no presets, macro, etc with ENTER turning back!!

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SET UP FOR DIMMERS FUNCTION FIRST BUTTON SEQUENCE SECOND BUTTON SEQUENCE NOTES 1. Add dimmers to the show Press ADD DIMMER ENTER Press F1 The adding of dimmers is similar to fixtures. You must choose the port and the base channel just like a fixture. 2. To activate a dimmer Press DIMMER ENTER Use the <> keys to move Do not press dimmer # enter. This up & down the dimmer channels will tell you it can’t find a fader!! Storing, editting, adding and deleting etc., are all functions that are done just like a fixture. The only significant difference being that you must occasionally, prefix the command with the word dimmer. For example DIMMER GROUP, and DIMMER SUBMASTER.

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Tips, Hints & Other "Good Things"! 1. Terminator. At the end of a DMX line you should fit a terminator. A terminator stops signal reflections at the end of a DMX line. Reflections cause the fixtures or dimmers to behave erratically: meaning that they appear to react to you moving the rotaries and then they seem to fly off to do their own thing! A terminator can be simply made by using a 100 ohm 1/4 watt resistor. You connect the resistor across pins 2 and 3 of the 5 pin XLR at the output side of the last fixture in the cable run. 2. DMX Cable. Do not cut corners, buy the best cable. If you cut corners and go out on the road, eventually one of two things will happen. One: the cable will break, at worst, right in the middle of a show! Two: you'll have to join several cables together to make a long run and the signal will be reduced in "strength" to such a degree that the signal fails to power the fixtures. Or worse still make them behave erratically. 3. Y split a DMX Cable. Never do it! 4. DMX 3 to 5 pin connectors. The standard written by the USITT calls for the use of a 5 pin XLR connector. However these connectors are more expensive than the 3 pin XLR connector. Further, the 3 pin XLR is easily available in just about every town! But be careful, make sure you get the signal wired correctly. Secondly, watch which cables your hook into, you don't want to mix up a sound cable with your 3 pin XLR cable. 5. Pin Configuration. Be careful to get this right. There is a standard for the 5 pin XLR which is as follows. Pin 1 = screen, Pin 2 = data - (negative), and Pin 3 = data + (positive). The other pins are not used. Please check with the manufacturer's manual. So many manufacturer have their own opinion and reasons not to use the USITT standard. Also make sure all your cables are wired correctly. It only takes one cable to be mis-wired or for one strand of wire to touch/short against two pins and the signal is lost or the fixtures behave incorrectly. 6. Preset and Feature Presets. The CP-100 is a very powerful board and it allows you the freedom to program the fixtures in many different ways. In its simplest form, to create cues on the stage or in the club you merely set up the fixtures in terms of position, color, and gobo and store it as a cue. This is all well and good, but this has its drawbacks. Drawback 1: You have to set up your fixtures individually then store each cue one at a time. (It's time consuming). Drawback 2: You want to edit the cue. Then you have to make your adjustments to the fixtures and then store the new information back on the cue. (It's time consuming). Drawback 3: You move a fixture (or fixtures) or you move to another venue. There is very little chance that you will get your fixtures in exactly the same position. So, now you have to change (edit) every cue which has pan and tilt values. (It's time consuming. Also it is very boring and frustrating!!) The solution to these drawbacks are to use Presets and Feature Presets. Preset: Preset is simply a special type of cue. You can put any feature of a fixture into a preset and then run the preset by itself or as part of a cue. Running a preset as part of a cue, is the normal way to use a preset. So you will hear people say that a preset is a subset of a cue. Example: Take the pan and tilt values for a position for one or more fixtures on stage and store it as preset 1. For ease of explanation, let's say preset 1 is 6 moving lights (fixtures) which are all pointing to the center of a stage onto the lead singer.

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(Caution: you only want to store pan and tilt values. You do not want to store any values for other features like gobos,color,prisms,etc. However you must understand the fact that with a moving light (or color changer) the value 0 is not off. 0 has as much importance to a moving fixture or color changer as 100. For example the first color in a color changer maybe, say blue, to get to blue you have to give a 0 value. However in your mind you think 0 should be off. The CP-100 solves this problem for you by giving you a clear button (which is the equivalent of an off signal). So you can type commands such as clear features 1 thru 4 and 7 thru 16 or clear all rotaries. These commands in effect turn off the features so that no DMX value will be stored. The fixture features display shows "---" (three dashes) to show you you've cleared this feature. Next, you will store a cue (cue 100 for example) with all the other features for the fixtures except pan and tilt values. So here you will have the fixtures, for example, in red with the second gobo and the third prism at 75% dimmer value. (Caution: remember this time to clear the pan and tilt values. So that the fixture features display has "---" for the pan and tilt channels). Combine preset 1 with cue 100 and you're finished. Now you can go and create many more cues and everytime you want the position to be in the center stage, all you do is add preset 1. It's that easy. now let's say the singer doesn't like the center stage position and he wants to move over to the left. All you do is change the one preset. Once you have edited it, the new values are sent to all cues that use preset1. Global update! Finally, some observations on the way the CP-100 treats presets. If a cue has features with dmx values and you combine it with a preset which has different dmx values for the same features, then the preset will defeat those dmx values in the cue when you add the preset to the cue. Further, a P will appear in those features' dmx values which are from a preset. This way you can see that a preset is active. However if you press “cue # enter” again, then the preset is over-ridden. To re-establish the preset you must add it into the cue again. In order for you to avoid this constant adding the preset back in you should clear from the cue, the dmx values for features that are used in both the preset and the cue. Presets are constructed using a fixture or multiple fixtures. In our example above we decided that preset 1 would be constructed using 6 fixtures. Everytime you turn on this preset it will use those 6 fixtures. The important things to remember about Presets are:- 1. They can be used by themselves or attached to a cue. 2. They use fixtures. That is to say presets are locked into the fixtures that make up the preset. 3. Avoid Conflict!! If both a preset and a cue have dmx values for the same features (and remember 0 is a valid dmx value) the dmx values last entered will override the previous dmx values. 4. A preset can have any feature of a fixtures in it.

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Feature Preset. Feature presets are where you "hold" features that you are going to use a lot. Once you have made a feature preset, you can use it on any quantity of fixtures. Having attached it to a fixture or fixtures then you can save the resultant "look" as a cue. In plain English, for example: say you use the 4th gobo with the 5th color for your intellabeams, and you want this saved as a feature preset. Just set up one intellabeam with these values only (all other feaures should have their values cleared in other words they all should have the "---" in the display beside the features). Then store this as feature preset 1. That's it. In fact to set up feature presets you don't even need a fixture attached to the CP-100. If the CP-100 supports the colors and gobos etc. for the fixture you are using then you can simply type in "gobo 4 enter" and "color 5 enter". Having created the feature preset say the lighting designer calls for the 4th gobo with the 5th color for 8 other (different) intellabeams. All you do is add the feature preset to these different intellabeams. The command structure can be as simple as "add feature preset 1 to fixtures 1 thru 8" but the CP-100 also supports the "and" button as well, for more complex numbering! For example "add feature preset 1 to fixture 1 thru 4 and 12 and 56 thru 58". The reality of feature presets is the way you make it work for you! It is there to save you time and to speed up the whole programming process. In fact, you should make a copy of your feature presets because they could be used for your next show. Some simple advise. Make feature presets 1-199 for color. Make feature presets 200-299 for gobos. Make feature presets 300-399 for (if you have them in your fixtures you using) prisms. And so on. You may not use all the block of feature presets up for this show but you'll add more as you do more shows with different fixtures. You'll need to leave a good size block for color feature presets. For example in the Var*lite VL5 /6 manual there are 32 colors with dmx values provided as a basic list. That's 32 feature presets used for one fixture type alone. But remember two things. First, once you have recorded them once and provided you make a disk copy, you've got that forever. You never have to do it again. Second, you can do most of this programming at home, the CP-100 is light and compact so you can put it on you lap while sitting in your favorite comfortable chair! Try doing that with just about any other moving light console out there. On second thoughts don't bother!! I never understood the point of weight lifting!! So, how does a feature preset differ from a preset. A regular preset (which most moving lighting console have) has one major drawback: it is fixture dependent. What do we mean by this? Well, when you record a preset you record which fixtures you want that preset to work. So you have the front of house truss 4 center I-beams in blue and you have recorded that as preset 10. Now the lighting designer asks you to put the 4 I-beams from the back truss in blue. You're completely "out of luck" unless you recorded another preset for those 4 back truss I-beams. In other words, presets are fixture dependent. Feature presets are not fixture dependent. You use a fixture to help you create the feature presets of color, gobos, prisms, etc. but you are not locked into that fixture. Instead once you have made your feature preset palettes of colors, gobos etc then you add them to whichever fixtures you want. That is the raw power of feature presets. Remember this comforting fact too: you have the possibilty of making 1000s of feature presets and there is no restriction on how many you want as colors, gobos, iris, shutter, dimmer etc. Now try that fact out on lighting consoles costing as much as four times more than the CP-100.

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The important thing to remember about Feature Presets. 1. You make a feature presets by storing the information for one fixture. 2. You can assign the feature preset to other fixtures then once you have done this, you can take the resultant look and store it to a cue or even a preset! 3. Unlike a regular preset, a feature preset is not assigned to the cue. It is assigned to a fixture or fixtures. 4. Avoid Conflict: Just like with a regular preset; if a feature preset and a cue share dmx values for the same feature (and remember, the value zero is a value) then the priority is given to the last one used. So if you load a feature preset into the cue editor and then you move around the rotaries of features which have a feature preset then you have just over-ridden the feature preset. 7. Fixtures with motor speed channels. When certain fixtures were developed, they utilised a feature called a motor speed channel. This channel governs the time taken, for example, to move from stage left to right. As the sophistication of lighting boards to control moving fixtures increased, the introduction of more theater like functions permeated into the face of the boards. In particular, the introduction of time fades between cues is a simple, normal function for a theater board. However combine time fades between cues with different motor speed values in those cues produces very bizarre results. The solution to this problem is, either run the fixtures without the motor speed and use a time-fade to govern movement timing, or don’t use any time-fade in the cues and instead use the motor speed to govern the movement timing. Just don’t use both! 8.Remember & Understand the Clear Concept. The clear button does not take all features of the fixture to zero. Why? Well zero is a perfectly legitimate value for an L.T.P. channel. It means something. It does not mean the feature is off. A feature is off when you are not controlling it. So when you type clear fixture 1 enter you will see “---” for all features except the dimmer channel. The dimmer channel is an H.T.P. channel and with an H.T.P. channel, zero is off. So when you type clear fixture 1 enter the fixture’s output is turned off but the pan, tilt, color, and gobo remain in their current position but their features are turned (electronically) off. 9. Except. The except button speeds up a variety of different functions. For example, you’ve just bought into position 20 fixtures all with different colors and gobos. You want to store the position as a preset and the rest of the features as a cue. First, you create the cue without the pan and tilt feature (they should be “---”). Then you should type clear all features except 1 & 2, where features 1 and 2 represent pan and tilt.You can now store pan and tilt values to a preset. This just speeds up the programming process. 10. SOLO . If you want to pile “things” on top of one another, then have solo off. If you want to have one cue on at a time, or if you want to record one entry into a macro at a time, then solo must be on. The normal operating mode for the CP-100 should be with solo turned on. It is more the case that you will want to move from one cue to another rather than to have multiple cues on together. If you do have multiple cues happening together please make sure that your resultant dmx outputs do not clash. For example if cue one is tilt fully to the left and cue two is pan fully to the right then the resultant combining of cue one and two (solo button off) will be pan in the middle! This is perfectly correct but it may not be what you were expecting! This becomes even more bizarre with different color mixing values stored in two different cues. So be careful and make sure that solo is on for the majority of time. So, when you turn on your CP-100 make sure the Grand master is up, the DBO is off, and the solo is on. 11. High resolution fixtures. Increasingly manufacturers are using two channels for pan and tilt. They call it high resolution or 16-bit resolution. All that is happening is that the fine channel is being used to access 256 steps in between the normal 256 steps of the coarse channel. The CP-100 combines the coarse and fine channels into one, making it easier for the operator to program the CP-100. So while you may have in you manual and literature for the fixture you are using, two channels

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each for pan and tilt, the CP-100 will only have you controlling two rotaries; one for pan and one for tilt. First, use the rotaries or your trackball/mouse/touch pad to get the fixture roughly into the position you want and then use the fine button to tune into the exact position. Please remember however, that the fine is only moving 1/256th of 1/ 256th! So you are not going to see very much happening for a lot of movement in your rotaries or trackball/mouse/touch pad. 12. Help files. We are now working on bringing new expanded help files to the CP-100 they will be accessible via F1. 13. The editor. Pressing cue enter, macro enter, chase enter, preset enter, feature preset enter, submaster enter, or group enter, gets the programmer into the editor screen for the specific function. In this screen, the programmer can edit or just check out the specific function. 14. The command set. Please look at the main manual : command set. This is the best place to look at for additional help because here are all the valid commands that you can use and it comes complete with explanatory notes. USE IT, it really is a great tool.

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Procedure for Resetting the Default

CMOS setting

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Procedure for resetting the default CMOS setting. The following procedure is for CP-100 consoles that have had their CMOS default settings altered. This error can occur as a result of static shock or heavy electrical fluctuation in various environments. SYMPTOM: The Disk Drive appears not to work. SOLUTION: Perform the following steps. 1- Connect a standard Windows 95 keyboard to the keyboard jack on the rear panel of the console. 2- Power up the console. 3- Hold the “Del.” button on the keyboard for 15 seconds. 4- Press “Enter” 5- Press the down arrow key 8 times. 6- Press the “Page Up” key 2 times. 7- Press “Esc.” 8- Press the down arrow key 3 times. 9- Press “Enter” 10- Press “y” 11- Press “Enter” 12- Press “F10” 13- Press “y” 14- Press “Enter” 15- Wait for complete reboot of the software (approximately 30 seconds) This restores the default settings of the operating system and reconfigures it to recognize the diskette drive.

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Clearing & resetting the Non-Volatile

Memory

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Clearing & Resetting of Non-Volatile Memory.

The following procedure is for CP-100 consoles that have had their software corrupted.

Symptom: The CP-100 console will “freeze” on powering it up. It will not go to the Main Menu screen but

instead stop on the “CP100” screen. Solution: Perform the following steps.

1. Power up the console in the normal manner. The words “Powering up…” will appear on the display.

2. When the words “CP100” appear on the screen press the CLEAR button. You have only 1 second to do this, so be ready.

3. The board will then display the following message “ Would you like to clear the entire non-volatile memory? Press +Yes to clear it, any other button to leave it intact.”

4. Press the +Yes button. 5. The words “Memory cleared” followed by “Validating software files” and then

“Successful…..loading software”. 6. The Main menu will then appear and the board will function normally. 7. Please check that your show and fixture files have not been corrupted. If they have then reload

them back into the board through the disk drive. If the disk drive appears not to be functioning then please refer to the document “Resetting the Default CMOS settings”.

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Forcing Software into a CP-100.

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Forcing Software in CP-100

The following procedure is for CP-100 consoles where the operator wishes to force a new version of software into the console. Symptom: The CP-100 console will appear not to take disk loaded with software. Caution: The following solution and procedure should only be taken as an

Absolute last resort. If you are sure that the software on the disk is perfect and that the disk itself is perfect then proceed with the following solution. Once the procedure is started the software on the disk is ‘forced’ into the board’s non-volatile memory. If the software is corrupted then you will be ‘forcing’ corrupt software into the console with the consequential results.

You have been warned.

Solution: Perform the following steps. 1. With the console off, load disk into disk drive. 2. Power up the console. The words “Powering up” will appear in the display. 3. When the words “CP100” appear press the button marked “copy”. You have 1

second after the words “CP100” appears to press the “copy” button. 4. The display will then read:

“validating software files” followed by “copying software files”

followed by “successful….loading software” 5. If at any stage, the copying of the software files from the disk is

aborted, then you will need to perform a clearing of the non volatile memory. This procedure is detailed in a separate document.

6. Once the software is successfully loaded you will get the Main Menu screen on the display.

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Midi Note & Number Mapping

Chart

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MIDI Notes & Numbers

NOTE NUMBER NOTE NUMBER NOTE NUMBER C 0 G 43 D 86

C# 1 G# 44 D# 87 D 2 A 45 E 88

D# 3 A# 46 F 89 E 4 B 47 F# 90 F 5 C 48 G 91

F# 6 C# 49 G# 92 G 7 D 50 A 93

G# 8 D# 51 A# 94 A 9 E 52 B 95

A# 10 F 53 C 96 B 11 F# 54 C# 97 C 12 G 55 D 98

C# 13 G# 56 D# 99 D 14 A 57 E 100

D# 15 A# 58 F 101 E 16 B 59 F# 102 F 17 Middle C 60 G 103

F# 18 C# 61 G# 104 G 19 D 62 A 105

G# 20 D# 63 A# 106 A 21 E 64 B 107

A# 22 F 65 C 108 B 23 F# 66 C# 109 C 24 G 67 D 110

C# 25 G# 68 D# 111 D 26 A 69 E 112

D# 27 A# 70 F 113 E 28 B 71 F# 114 F 29 C 72 G 115

F# 30 C# 73 G# 116 G 31 D 74 A 117

G# 32 D# 75 A# 118 A 33 E 76 B 119

A# 34 F 77 C 120 B 35 F# 78 C# 121 C 36 G 79 D 122

C# 37 G# 80 D# 123 D 38 A 81 E 124

D# 39 A# 82 F 125 E 40 B 83 F# 126 F 41 C 84 G 127

F# 42 C# 85

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Please see these other fine products from

ELEKTRALITE.

For further information about other Elektralite products please contact your Elektralite dealer/distributor or Group One directly.

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TECH SUPPORT

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HOW TO REACH US WHEN YOU’RE FEELIN’ DOWN There are several ways to reach us. The first is via our website: HTTP://WWW.G1LTD.COM/ From the website, go to the Elektralite ‘area’ and you’ll be able to download the latest version of software, get useful tips and tricks, and contact us via email. The second is to contact us directly:

Group One Ltd. 200 Sea Lane

Farmingdale, NY 11735 631.249.3662 (Tel) 631.753.1020 (Fax)

[Revision 6.22.2000 NW]