Light 16 
						by Sandrine Sims

				Users Manual
(1) Setup
	(A) High Power Plugs
		(i)   Max Watts Per Plug
		(ii)  Max total Power
		(iii) Typical Lighting Order
	(B) Low Power Plugs (LED)
		(i)  Max Watts Per Plug
		(ii) Applications
		(iii) Problems
	(C) Strobes
	(D) Midi In Plug
	(E) Follow Spots
	(F) Laser Controller
	(G) Midi Out plug
	(H) FL Studio Setup
(2) Startup
	(A) Light Organ Mode
	(B) Configuring Light Organ
		(i)   Mic Floor
		(ii)  Mic Speed
		(iii) "Off" Level
	(C) Chord Magic Mode

(3) Controlling with Midi Implementation
	(A) Main Dimmers
		(i)   Using Notes
		(ii)  Using Midi CC
		(iii) Linearizing Controls in FL studio
	(B) LED Dimmers
	(C) Strobes
		(i)  Single Flash
		(ii) Sequences 
	(D) Light Organ Mode Switch

	(E) Midi Lighting Techniques (I've Learned)
		(i)   Saving CC Sequences (by color)
		(ii)  Saving Notes
		(iii) Light Choice Standards
		(iv) Manual Control on-the-fly
	(F) Follow Spots
		(i)  Programming Motion
		(ii) Sequences
	(G) Laser Controller
		(i)  Cut-in/manual override
		(ii) Laser Pulses
			(a) Audio Pulse
			(b) Midi Pulse
			(c) Sequence Pulse
	(H) "Chord Magic" Recognition mode
		(i)   Using "trigger chords"
		(ii)  Setup and methods
		(iii) Recognized Chords and their loop triggers

(4)  "Writing For Lighting"
	(A) Instruments and Colors
		(i)   Drums
		(ii)  Piano-like
		(iii) Lead Synth
		(iv)  Vocals
		(v)   Bass
		(vi)  Animation
			(a) Follow Spot
			(b) Laser(s)
	(B) Music Influenced by Lighting
		(i)  Simple Beats
		(ii) Pauses & Explosions
		(iii) Pulsing

(5)   Light16 VST's
(6)	Quick Ref. / Specs

(1) Setup

	(A) High Power Plugs
 The main set of 8 plugs are the high power plugs. These are for ordinary bulbs, halogen or regular, at 120 Volts AC.

		(i) Max Watts Per Plug
	 The maximum wattage the dimmers are rated is 600 watts, but one should stay below 500 watts to be sure. The pulsing action may put more stress on the triacs in the dimmers, and heat them as this is an unusual series of events for a standard dimmer.

		(ii)  Max total Power
	  Taking the above into consideration, the maximum total power can't be 500 x 8 = 4000 watts. The Power cord would never handle it all at once, plus the maximum (15 amps) on a standard breaker would be surpassed (33 amps!)  I have run 750 watts total with no problems, But I'm sure twice that could be handled, but not for sustained periods. i.e. flashing briefly.

		(iii) Typical Lighting Order
	  The original idea, that everything has been referenced to in this 	manual, is the following order of lights:
	Colors: (1) Reds (2) Greens (3) Blues (4) Yellows Whites: (5) White 	halogen spots "innies" (insides together)
		   (6) White Halogen spots "outies" (outsides apart)
		   (7) Really big White Light (daytime bright)
		   (8) Follow Spots or "My Light" (the light that shines on me)
So just plug 'em in this way and the rest of this manual will make sense!

	(B) Low Power Plugs (LED)
  The 4 low power plugs, separated from the other eight by being on the side, are just that; LOW POWER!! 

		(i)  Max Watts Per Plug
	  They (in my case) are rated at only 7 watts.    Anything beyond this will fry the poor little night-light SCR transistors.

		(ii) Applications
	  The reason for these extra 4 plugs is primarily for strings of little Christmas lights, the LED style only. Strings of 35 have been tested, but I'm sure strings of 75 lights would work fine as they couldn't be more than 20 mA @ 35. (3.3V each @ 120VAC) 

  Lower power LED lights can be driven as long as they are 7 watts or less and are the type that can be used with dimmers. Probably rope lights would work, but the current must be tested as some are bulbs.  Florescent Rope lights are a no-no, or any florescent light.  Neon lights can be used but will be only half as bright as one pole will not light, this is DC pulsed.

		(iii) Problems
	  -It's important that Christmas lights be plugged in the right way.
	They won't light if backwards. Mark the plug once they work.
	(It seems most Xmas lights don't have a larger prong, or the 3rd!) 	-Lighter loads may not dim low properly, they tend to flutter...  which 	can be a cool, no overhead, effect!  
	-Because they are so cheap, some Christmas lights may light before 	others in the same string. Especially multi-colored ones. To minimize 	this, find strings of all the same color. It is of course a cool effect to 	have some lighting before others, especially with dance music!  It's 	just a very short time difference when flashing, but the eye somehow 	picks up that difference.

	(C) Strobes
  The 5-pin Din output is for 2 strobes. These aren't the old style tube strobes, although these outputs could be used to trigger such a wasteful and expensive beast.( Xenon bulbs burn out fast)
  The outputs will directly drive LED flashlights. ( 3-AAA battery variety) The pulse is very short so even though 12 volts is being shoved into them, they can't burn out. As a result they are quite a bit brighter than the flashlight alone is with batteries. 
  I am using strobe 1 on the left (2 flashlights), and strobe 2 on the right.
See schematic for plug wiring. (+s1, +s2 ,gnd)

(D) Midi Plug
 The Midi In is input only. Pins 4 (hot) & 5 (cold) are inverted internally for convenience and saving parts, and are diode protected. The impedance is 100 ohms to an opto-isolator. 100 ohms reverse through a diode. Max voltage input (accidental I hope!) is therefore 12 volts for any long period. 
Midi Out (socket #5) is, of course Midi out only. (see section G below)

	(E) Follow Spots
  The follow spots are mirror/motor/stepper controlled lights that can move 30º left to right, and 360º forward and back. They are controlled by Midi, but step in Light Organ mode. They are controlled by a separate MCU so the light 16 only relays data to it. The lights can still by controlled by a single output of the 8. Plug #8. Or have it's own dimmer. See section(3)

	(F) Laser Controller
  Outputs on the laser controller 5 pin Din are
	(1)+12volts (2)gnd (3)Laser V+ (4)clock (5)Data The laser controller is a small separate MCU designed to control a budget commercial laser or a DIY laser setup. Communication is via pins 4&5, while the actual laser supply is pin 3, which is pulsed by the Light16. Still on the drawing board!

	(G) Midi Out Plug
  This plug (5th one over) is for optional Midi out. This must be used with
Chord Recognition. It is a standard Midi output, but, at this time, is only
Implemented for Note on/Note off data on channel 2, as a feedback to FLstudio's live mode loop pattern on/off.

	(H) FL Studio Setup
   A few important settings in the host program must be changed. In FL Studio, the settings are as follows:
	In MIDI Settings: Playlist Live Mode MIDI Channel = 2
				MIDIout hardware to Light16 = Port 6
	Copy 0lights1.fst preset from light16.zip into
[fl folder]\Data\Patches\Plugin presets\Generators\MIDI Out
	In <OPTIONS> turn off "Enable MIDI Master Sync"
..or turn it off for MIDI out port 6 if needed elsewhere
*Port 6 /channel 12 is default MIDI out for the preset 0lights.fst 
	In <OPTIONS> turn on "Enable MIDI Remote Control"

(2) Startup

	(A) Light Organ Mode When Light16 is first powered up, it defaults to light organ mode with:
	Mic Floor set to 4 (Midi 48-63), Speed set to 1 (max), and "off" level to 0, a true off position i.e. no sound, no light.
 In this mode, the frequency and level combined with timing, is matrixed into an auto-light organ of sorts. It's surprising how wonderful it all looks, and how different types of music give it unique light textures.  Light16 will stay in light organ mode until a valid Midi input (Valid control for the Light16) is received, unless it's a light organ command.(See below)
	(B) Configuring Light Organ
  Even though it's automatic and doesn't need to be connected to a PC or Midi
at all, it's nice to have some control if it is connected. If any of these controls are sent to Light16, the light organ mode becomes active, if not already active.
		(i)   Mic Floor
Midi CC#13 controls the level at which the organ reacts, like a reverse mic gain control. It has 16 levels, [1] being too-sensitive!
		(ii)  Mic Speed
	Midi CC#14 controls the speed the light organ releases lights (mostly) but also the sample rate,( which is hardly noticeable.) It's good to raise the level 1/4 for slower songs, or just for more light, longer.
		(iii) Mic "Off" Level
	Midi CC#15 sets the the level the dimmers will drop to after a light has been on (in light organ mode only) This makes all lights do the same level, but be careful as some are more sensitive than others.

	(C) Chord Magic
  Chord magic is a chord recognition that sends a Midi note to FLstudio to turn on a loop, which in turn can contain lighting data. Chords must be majors, some minors, and some sevenths. See Section 3 (H) for more.

(3) Controlling with Midi Implementation

	(A) Main Dimmers
  All of the main 8 dimmers raise and lower light levels like a standard wall dimmer, but with the advantage and speed of computer/keyboard control.  A light can be turned on to any level by a Midi note, or by a Midi CC value.  Note that one over rides the other, so if the CC level is set to half bright, then the corresponding note is sent, the release of the note will turn off the light completely, which is a desirable effect in most cases.
		(i)   Using Notes
	Each light can turn on with a note. The notes for the 8 are C5,D5,E5,F5,G5,A5,B5,C6 respectively in order 1-8.  The velocity of the note controls how bright the light will be. For a flashing effect, full velocity should be sent as the light will come on instantly, whereas part levels slow the process a bit. The Note C7 will reset ALL lights, a panic button of sorts.

		(ii)  Using Midi CC
	  Each light also can be controlled more smoothly (good for fades etc) using Midi CC#0 to CC#7 for lights 1-8 respectively. It takes a bit of time to master manual control if recording a gain or fade, as dimmers tend to "snap" on only after a certain level is reached. The solution is to fade in fairly quickly so that snap won't be as noticeable....or don't let the light turn off completely! Fading out slowly is much easier!
		(iii) Linearizing Controls in FL studio
	  Because dimmers aren't a linear beast, although they should be, getting a more linear feel is easy in FL Studio.  Using the dash board to control the MIDI OUT assigned knob (see...autolight1.flp in FL studio)                               Link to "internal controller" with an inverted Log. curve. This brings it pretty close, especially for slider midi controllers.
(B) LED Dimmers
In FL Studio, the dimmers are on the second page of knobs in the Midi Out, or on the right side of the dashboard. Like the light controllers, they are a Midi CC (CC#8-11) and a note (F6,G6,A6,B6) in order 1-4. Again, these are for 120VAC low power only!
	(C) Strobes
  The 2 sets of strobes are 12 volt pulse output, and are controlled from Midi as a single flash on either, or a sequence code flashing both together.
		(i)  Single Flash
Midi notes C0 and C#0 control strobes 1 & 2 respectively. They are extremely fast, but 1/32 notes is almost the max you’d want to go.

		(ii) Sequences 
There are also sequences so you don’t have to program in every flash which makes sequencing a lot easier.  Notes D0-A0 (8 notes) are:
B'11111111'	;D0	B'10010110'	;G#	B'00000000'	;D1	
B'10101010'	;D#0	B'10001110'	;A	B'00000000'	;D#1	
B'11001100'	;E	B'11011011'	;A#	
B'11101110'	;F	B'10101110'	;B	
B'10110100'	;F#	B'00000000'	;C1	
B'10111010'	;G	B'00000000'	;C#1	

	(D) Light Organ Mode Switch
  To change from the default startup light organ mode, just enter any valid Midi Note or CC value, except CC13, 14, or 15, which will switch the light organ mode back on. In a song sequence, be careful not to move these controls while recording in control changes, or Light16 will change during playback as well!

	(E) Midi Lighting Techniques (I've Learned)
  It’s been an ongoing process of design & Learn (D&L in place of R&D around here!) so here’s what I have learned so far.

		(i)   Saving CC Sequences (by color)
In FL Studio, and other trackers/VST hosts, one realizes that saving CC adjustments/sequences for re-use is preferable, especially if it is a long sequence. Naming them is important, but also the color or light# that it was written for should be in the filename. This was it can be looked at with suspicion if being used with another light. They can all act slightly different depending on light style, cut-in, etc.

		(ii)  Saving Notes (Piano Roll)
	Again, as above, the colors should be noted, of at least "fast" or 	"slow". Hallogens are very fast, and flashy, but a red floodlight would 	barely flicker on in the same time, not very "flashy" at all.
	Note sequences are far easier than CC control, so CC's should be used 	only for ambience setting or odd fading overlaps.
		(iii) Light Choice Standards
	  My choice of lights seemed logical. Reds, Greens, Blues (RGB) then 	Yellow because it's bright and cheery, then a set of whites.
	Inside and outside whites make for a cool effect, then a "Really big 	White Light" That makes the stage daylight bright. Being big, it's not 	fast, but really bright for a finale. The last light is presently for a 	"me-spot" that shines on me where I'd be sitting on the stage.
	This may become the follow spotlight dimmer, unless the follow spot   	gets it's own dimmer, in which case it's just be a me-spot again.
	Locating this light on the rig is still up for debate as it needs to be 	flattering, but bright enough to be noticed.(Hey it's me playin'!!)

	  The colors will light the front of the stage area in case someone 	wants to dance, and the Red & Yellow primaries  will catch me. The 	Blue and green on the right side will be exclusively off me.
	
	  The LED X-mas lights will be wrapped around the stands, and thrown 	hap-hazardly over the rig, or along the stage floor, depending how 	close to Christmas it is!  The strobes will be oriented toward the 	audience for sure, but maybe a hint of one on me.
	Then finally the laser(s) will project onto something white, an old 	movie screen, a piece of crate paper, a white sheet with tinfoil on the 	back, who knows. If the floor in front of the stage is white-ish, it 	could be aimed there, so it'd have to be mounted high up.

		(iv) Manual Control on-the-fly
	  Manual control is extremely difficult, unless that is all you are doing.  	A fade-in before a slow song is fine, but until the end, my attention 	needs to be elsewhere. Automation is the best way to go, or even 	semi-automation based on pressing a single button. Light organ mode 	might be the best way to do a medium BPM song. It can be adjusted to 	a slower response rate. 
	  Doing a recording of the song live, then importing into FL Studio to 	change lights to it may be close enough for most slow songs. Just 	remember to press "play" when starting to play!

	If controlling for someone else who is performing, switching MIDI in 	to the controller and using notes on the keyboard is best…and CC's!
	(F) Follow Spots
  The follow spots are still but a dream in my head, but a vivid dream. A follow spot is a spotlight, among other things, that can change position based on coordinates entered. The commercial ones are way to expensive, so I'll have the fun of designing my own…a dual mirror design.

		(i)  Programming Motion
	  The motion of my follow spot is +/- 15 degrees left/right, and 360 	degrees all around vertically.  If positioned near the center of the 	stage this can shine almost anywhere under the rig.
	  In the MCU, a floor position can be predicted using X-Y coordinates, 	but projecting off stage needs each position to be independent. 
	A "park" value must be established, and the follow spot's MCU may 	have an EEPROM as a result, so it can be setup but changed from time 	to time without forgetting

		(ii) Sequences
	  Sequencing is where it's at if there's nothing important on the stage 	to shine on. It can make a light show look 3 times cooler!  With a 360 	rotate that is moving inward/outward at varying rates, need I say 	more? Panning around on the stage is great too.
	Sequences can be accessed like the lights, at C7, C#7,D7 etc. Another 	reason for an EEPROM on board.

	(G) Laser Controller
		(i)  Cut-in/manual override - Overrides the silly factory seq.
		(ii) Laser Pulses - the laser is like any light, dims/on/off.
			(a) Audio Pulse
			Pulsing to music, at audio frequencies is a great effect.
			This would have to be a gated level pulse to be good.
			(b) Midi Pulse
			Pulsing with midi enables total control of the beam level,
			But keeping in phase may not be easy, but then great
			effects happen this way!
			(c) Sequence Pulse
			Sequencing can be useful if not to automated, especially
			For larger patterns. Chopping in phase can be 					accomplished at MCU level. Lasers are fast!
	(H) "Chord Magic" Recognition mode
Chord Magic, basically allows a set of lights, a sequence, or even audio, to be controlled via a set of 3 notes called a trigger chord. This mode isn't really a mode, as it is active all the time. It is meant to be used while doing a live performance where a certain chord will trigger a lighting change/sequence that can be as short or long as the user wants it to be.
		(i)   Using "trigger chords"
	A trigger chord must have 3 notes all being played simultaneously. Any 	other notes already active in the range of C4 - B5 (24 notes) will 	prevent the 	trigger from happening. This doesn't limit the use 	though, as a chord before the desired light change can be recognized, 	and the sequence delayed for an approximate tempo. The best way to 	"see" which chord to choose is to record the played piece into 	FLstudio and view piano rolls display. Be careful it's not quantized!
		(ii)  Setup and methods
	*For Chord Magic to work, Playlist Live Mode MIDI Channel in Midi options 	must be set to channel 2 and Live Mode must be switched on.
	**A Midi Out Channel must be running off of keyboard or layered with 	whatever the keyboard is playing through. Set it to Channel 13.
	***To function, FLstudio must be in PLAY mode.
	 Now That's out of the way, lets say a C 4 major is played. This is the 	lowest chord recognized, so loop Pattern #20 will be started, which 	can have light controls (via chan.12), or even backup music/ vocals/ 	control changes/whatever playing. Pattern #20 will keep looping 	though, unless you put in a "terminator". 
	A terminator is the note that must be transmitted via channel 13, the 	same channel as the CHORD data, for convenience. Each loop has it's 	own terminator note, as shown below.
		(iii) Recognized Chords and their loop triggers
	These are the chords recognized, their loop#, and terminator note:
	Major Chords
;Cmj4		20		A6			;Bmj4		31		E8
;C#mj4		21		B6			;Cmj5		32		F8
;Dmj4		22		C7			;C#mj5		33		G8
;Ebmj4		23		D7			;Dmj5		34		A8
;Emj4		24		E7			;Ebmj5		35		B8
;Fmj4		25		F7			;Emj5		36		C9
;Gbmj4		26		G7
;Gmj4		27		A7
;Abmj4		28		B7
;Amj4		29		C8
;Bbmj4		30		D8
	Minor chords
;Fminor4		37		D9
;Gminor4		38		E9
;Aminor4		39		F9
;Bminor4		40		G9
;Cminor5		41		A9
;Dminor5		42		B9
;Eminor5		43		C10
	Sevenths
;A7-4			44		D10
;C7-5			45		E10
;D7-5			46		F10
;E7-5			47		G10

	These chords cannot be used together, only individually. If you want 	to continue the loop, another loop can contain the terminator for this 	one, or else it will continue to loop until "STOP" in FLstudio… but
	Be careful! Always create a backup file before such a modification!

The diagram above shows the flow of data in the Chord Magic Configuration.
The area in yellow is inside FL Studio, and the dark lined boxes are MIDI
Interfaces. The flow on the right is a simplified representation of hardware programming inside the Light16 for Chord Magic.

		-Tips:
	*Because "Live Loops" are really just regular loops, anything can be in 	them, ambient synths, backup vocals, 	preset tweaks on input 	channels, lighting, percussion, even embellishments on a chord … it's 	endless!  Other loops can also start with a terminator for a previous 	loop in case it's over-run.
	
	*Remember to "guesstimate" the tempo of the song within reason as 	even short sequences of 3 or 4 bars can fall noticeably out of sync. 	Again this can be determined by recording a section into almost any 	DAW and beat-mapping the tempo…or just sync a metronome. 
	 The loop could also have a beat, but if you're to far out and it's not a 	break chord, then it could sound pretty hokey.
	. . . On that note (NPI!) just try to keep it short if possible!

	*As with all midi outputs, remember to set the port of different 	devices. For example, I use Port 10 for the keyboards via my UC-33, 	and Port 6 for the add-on USB Midi I am using with the Light16.
	The MidiOut VSTi in FLstudio must be set to that port, or it won't 	work.
	* Use the .flp "Chord Magic" Starter Layout for new projects. For 	adding this type of lighting to an existing layout, it may be easier to 	duplicate the settings into chordmagic.flp! (In light16.zip)

	* Using LAYER can allow creation of 2 or more note ranges (via
	additional MIDI out channels) if there is a problem with
	chords on one hand "interfering" with the other.
	Those midi channels can even be turned on/off by other loops
	as an automation…as long as they are connected via LAYER.
	(Automate on/off channel light to left of channel button)

	* If using programmable LED light strings, set them up while
	Light 16's power switch is off. Once on, there is enough
	leakage in the LED dimmers to allow LED strings to stay in that
	setting!  Unplugging the unit will of course erase them.

(4)  "Writing For Lighting"

	(A) Instruments and Colors
  It seems certain instruments and sounds invoke a different color. Perhaps it is to do with the mood that is projected by the instrument. Strings could be a brown (low whites) or perhaps a blue-ish, whereas a trumpet may be yellow / white.
		(i)   Drums
	A kick is most likely going to be a white flash, but also could be 	omitted altogether as a snare must certainly have white light or 	strobes in sync. Toms could be moving white lights or colors, but 	motion is key. A hard hit on a crash should be strobes and slowly 	faded whites. Of course other lights can be tripled/quadrupled in.
		(ii)  Piano-like
	If the piano line is the hook, sequencing complex patterns seems the 	way to go. If it's just playing along, then no lights should follow it. But 	if it's following a beat repetitively, then yellow, or yellow/red should 	flash. In a slow song, the mood should be reflected, not the beat.
		(iii) Lead Synth
	Always bright lights following note length, and possibly some whites if 	in sequenced pattern. In ambient of course, slow rises of any color.
		(iv)  Vocals
	Minimize accapello vocal lighting, dimmed, but present, not moving.
	It's important none of the stage takes away from a solo vocal. Lights 	should never flash with the vocal, it's too "light-organish"!
		(v)   Bass
	Bass should be blues, a bit of green.  A complex solo can only be 	blues/greens/occasional reds….until drums cut in at least.
		(vi)  Animation
	Animation is really important as you want the stage to move a lot in a 	beat laden piece. Try to "chase" the lights so the eye follows the 	sequence. Center out/in also works well.
			(a) Follow Spot
		The follow spot, during a climax, can rotate madly off in all 			directions. In a calmer section, brief motions, always on, or on-			-rotate-off form, that flows with a portamento is best.  If no 			portamento's, then keep light on for the lead or hook.
			
			(b) Laser(s)
		The laser on a screen or on the floor should rotate with the 			music on a 1-move, 2 stop, 3-move, 4-stop/change during
		A really cool section of the song, and aimlessly after a climax.
		A great amount of pattern change is good, but if it must repeat, 		try to line that repeat up with the song. Speeding up motion 			during a chorus intro is also good in my opinion.
		  Fog machine lasers isn't good for close quartered indoors and 			you can't smoke in public places anymore so it's not a subject.
	(B) Music Influenced by Lighting
  I have noticed, while writing some new music and lighting it at the same time, that I have been taking a more Spartan approach to the actual music.
I'm not sure if this is because the flash of lights then darkness is so intoxicating, or if it's just the light adding so much to the piece…
		(i)  Simple Beats
  	So much lighting can be fit in between simple beats, like 2/4 timing, 	it's becoming addictive! A clearer lightscape emerges from less 	cluttered music. Plain and simple. It's a teaser really.
		(ii) Pauses & Explosions
	Explosions or crescendos are amazingly better with ample lights. This 	may come from our experience with a close lightning strike and the 	boom of thunder, which everyone must admit, is  impressive!
	Pauses invoke suspense. Total darkness invokes apprehension. 
		(iii) Pulsing
	The mere flash of light to a beat is like a sparkly/noisy crib-toy to a 	baby. I think we still have that feeling engrained in our subconscious, 	and it works 	to get people moving! A light show that doesn't move to 	the beat, especially a strong 4/4 beat, is a disaster. Keep to the beat!
	Quickly pulsing lights 2 or 3 times adds a lot to a cool synth line, it 	gives it a high tech look, mostly in white. Strobe pulsing to the beat 	gets monotonous quickly, so use it sparingly, for those really important 	parts.
		Well that's my newbie impression of "writing for lighting"
			Cheers, *Sandy Sims* -   new light technician!

(5) Light16 VST's 

  I have created some VST's for displaying the lighting of NOTE controlled lights only. They are in the light16.zip file, and are the .dll files:
leds4.dll  &  lights8B.dll . They can be copied into the FL Studio VSTs plugin folder. These VST's can be VSTi's, but for constant display on the screen, it's best to import them into the mixer of FL Studio into one of the channel strips there. Don't forget to set the MIDI channel to 6.

 As the laser and follow spots are still in design, there may be another vst or two for those, and if things go really well, a complete lighting control panel VSTi.

(6)	Quick Reference / Specifications:
~Light 16 MIDI CHANNEL = 12 for light control / 13 for Chord Magic
~Chord Magic Return MIDI Channel = 2
~Max usable CC values: Power Dimmers=127 / LED's = appx. 56
~Max Power on any dimmer = 600 watts
~Max Power on any LED dimmer = 7 watts
~Light Organ LPF cutoff = 200 hz
~Max Strobe load = < 1 amp pulsed (@ 19volts)
~MIDI Sync not recognized and may cause malfunctions
~**Note C-7 is the panic button. All lights will be reset.