From Console to Laser Light: Art-Net / Timecode / DMX Cheatsheet
Here’s the short version: when to reach for DMX, when Art-Net/sACN makes life easier, and how to lock a timecode show so every hit lands. We’ll keep it practical for club rigs and touring packs—especially if your looks rely on crisp laser effect/laser effects and you’re pairing lasers with a moving head laser light plot.
Table of Contents
| Section | Jump |
|---|---|
| Protocols at a Glance & Where Each Fits | Go to section |
| Typical Patch Examples (Console → Laser) | Go to patches |
| Timecode Shows: Lock Multiple Systems | Go to sync |
| Common Pitfalls & Fast Troubleshooting | Go to fixes |
| Glossary (Quick Definitions) | Go to glossary |
| FAQ (Collapsible) | Go to FAQ |
| CTA: Download the Console-to-Laser Cheatsheet (PDF) | Go to CTA |
1) Protocols at a Glance & Where Each Fits
DMX512 — The universal fallback
Ideal for one projector or a small busking rig. Simple and deterministic, though it gets channel-hungry once you add abstracts, text, and fine control for complex laser effects.
Ideal for one projector or a small busking rig. Simple and deterministic, though it gets channel-hungry once you add abstracts, text, and fine control for complex laser effects.
Art-Net / sACN — Network scale with clean control
Best when you’re running multiple lasers alongside a moving head laser light plot, or when repatching daily. Keep a clear IP plan and label ports; unicast as you scale to avoid storms.
Best when you’re running multiple lasers alongside a moving head laser light plot, or when repatching daily. Keep a clear IP plan and label ports; unicast as you scale to avoid storms.
Timecode (LTC / MTC) — Repeatable, frame-accurate hits
One master, many listeners (console, server, laser controller). Match FPS across devices before rehearsal—this alone prevents most “late hit” complaints.
One master, many listeners (console, server, laser controller). Match FPS across devices before rehearsal—this alone prevents most “late hit” complaints.
2) Typical Patch Examples (Console → Laser)
2.1 DMX mapping (Minimal 16-ch template)
Example: Universe 10, Start Address 001
Example: Universe 10, Start Address 001
| Ch. | Function | Notes |
|---|---|---|
| 1 | Master Dimmer | 0–255 linear |
| 2 | Shutter / Strobe | Open / Strobe / Pulse |
| 3 | Color / CCT | RGB mix or macro band |
| 4 | Effect Select | Beam / Tunnel / Text |
| 5 | Effect Speed | 0–255 |
| 6 | Size / Zoom | Aerial spread / scaling |
| 7 | Pan | 16-bit pair (use 7+8) |
| 8 | Pan Fine | 16-bit fine |
| 9 | Tilt | 16-bit pair (use 9+10) |
| 10 | Tilt Fine | 16-bit fine |
| 11 | Scan Rate / Safety Mode | Clamp to audience-safe |
| 12 | Text / Logo Index | Preset selection |
| 13 | Prism / Diffraction | Optional module |
| 14 | Rotate | Direction + speed |
| 15 | Gobo / Pattern | Shape library |
| 16 | Control | Blackout / Reset / Cal |
2.2 Art-Net addressing
IP plan: 2.x.x.x or 10.x.x.x static on controllers. Universes: keep a shared sheet. Transport: move to unicast as the rig grows; keep broadcast for tiny test rigs.
IP plan: 2.x.x.x or 10.x.x.x static on controllers. Universes: keep a shared sheet. Transport: move to unicast as the rig grows; keep broadcast for tiny test rigs.
2.3 sACN priority & merging
If a backup console also sends sACN, give it a lower priority. Use HTP/LTP deliberately and document who “owns” which parameter block.
If a backup console also sends sACN, give it a lower priority. Use HTP/LTP deliberately and document who “owns” which parameter block.
3) Timecode Shows: Lock Multiple Systems
3.1 One master, many listeners
Pick one source. Match FPS globally. Route LTC with balanced lines; keep MTC paths short and clean.
Pick one source. Match FPS globally. Route LTC with balanced lines; keep MTC paths short and clean.
3.2 Drift control
Use PTP/NTP on long show days, avoid Wi-Fi for timecode, add 5–10 s pre-roll plus a white-flash clap to confirm lock.
Use PTP/NTP on long show days, avoid Wi-Fi for timecode, add 5–10 s pre-roll plus a white-flash clap to confirm lock.
3.3 Test routine
Run minute one three times: stop/start, jump to mid-song, then roll the end tag. Note latency and nudge offsets until beams hit the downbeat.
Run minute one three times: stop/start, jump to mid-song, then roll the end tag. Note latency and nudge offsets until beams hit the downbeat.
4) Common Pitfalls & Fast Troubleshooting
| Symptom | Likely Cause | Fix in 60 Seconds |
|---|---|---|
| Nothing responds over Art-Net | Wrong universe or broadcast storm | Switch to unicast; verify Subnet/Universe; power-cycle the switch (leave console on) |
| Random flicks / delayed cues | Wi-Fi hop or a loop | Go wired; pull the extra link; keep exactly one DHCP |
| Timecode drifts | Mismatched FPS or no pre-roll | Unify 25/29.97/30; add 5–10 s pre-roll; clamp buffers |
| Safety lockout active | Interlock open / E-stop latched | Check keyswitch, E-stop, scan guard; confirm audience-safe mode |
| Looks vary night to night | Universe merge conflict | Declare ownership; set sACN priority; disable the rogue sender |
Field Note Haze density changes how beams read on camera due to laser light scattering. If your director wants a “giant laser” look, raise haze slightly and slow pan/tilt—your laser effect planes will photograph brighter with fewer artifacts.
Glossary (Quick Definitions)
lasing definition: the process of stimulated emission inside the cavity that creates coherent light.
what is a laser beam: a narrow, coherent stream of photons—why beams stay tight and make aerial laser effects look sharp.
laser light engine: in video projectors, a solid-state module (often laser-phosphor) that replaces lamps; different architecture from show lasers used for aerials.
christmas laser light projector outdoor: seasonal decorative projectors for facades/trees—great for ambience, but not a substitute for show-grade control over DMX/Art-Net.
Frequently Asked Questions (FAQ)
Should I run my laser over DMX or Art-Net?
Small rigs: DMX is fine. Multiple projectors or cleaner addressing: Art-Net or sACN. On tours, use a dedicated VLAN and unicast per controller—especially when syncing complex laser effects.
How many lasers per DMX universe is practical?
Depends on channel footprint. A 16-ch template fits many; 36-ch personalities eat headroom. Networks remove this ceiling and pair nicely with a moving head laser light plot.
LTC vs. MTC for timecode laser shows?
LTC is robust and easy to distribute in venues; MTC integrates neatly in studio workflows. Both are fine if FPS matches and you respect pre-roll.
Why do my laser cues feel late?
Usually queueing or a merge conflict. Go wired, set unicast, fix priorities, reduce hop count, and add a small negative offset on the receiver if needed.
Any safety best practices with a DMX laser light?
Keep interlocks closed, label and test the E-stop, and use audience-safe scanning modes. Never aim at eye level; follow local regulations and operator training rules.
One page, no fluff: DMX mapping, Art-Net/sACN addressing, timecode setup, and a pre-show green-light checklist—plus a quick note on haze & laser light scattering for camera-friendly laser effects.
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