Is anyone else using wireless DMX?

[pacman]

Our facility (built in 1998) was not wired for DMX distribution, other than from the console to the dimmer racks. I looked at running traditional cable, Ethernet and some of the proprietary Ethernet (Pathport, ETCNet) distribution schemes, but recently came across the Wireless Solutions http://www.wirelessdmx.com/ line of wireless DMX transmitters & receivers. It is much less expensive than most of the other equipment I've seen. It uses GSM cell phone technology instead of the WiFi technology some other companies use, and is built into rugged, metal cases. So far it rocks! I bought a package of one transmitter (transmits a full 512 channel DMX universe) and four receivers. Setup is a breeze; push one button on the transmiiter and all the receivers sync to that transmitter. It has battery backup, so even if you remove power, it retains the sync when you power it back up. I've been able to get full signal strength from one end of the building to the other! Check out the new Generation 3 series for some added features not available in he S1/T1/R512 models. Although Generation 3 is shown on the home page, they apparently have not updated the website Products or Downloads pages to incorporate the Gen3 line. Wireless Solutions claims their systems can support up to 16 DMX universes. TMB is the US distributor.

If anyone else is using wireless DMX, please share your experience.

[Footer]

I have yet to work on the show that I have felt needed it. I'm still a hard line person, and will be for a long time. However, when that show comes along that has that moving set piece that is loaded with gear, I will be looking the wireless DMX way. I have heard very good things out of the city theatrical product.

[BillESC]

This is about the easiest and least expensive way of having wireless DMX.



Each unit is both a transmitter and receiver. Two are required as a minimum. MAP price is $ 179.99 per unit.

[wakkoroti]

Speaking from experience here. Do not use wireless DMX until you have exhausted every avenue for running wires. While in most theatre environments, the likelihood is low that you'll have an interference problem, it is still just one more thing that can stop working and give you grief.

[ship]

Yup, thick walls tend to block sygnals. Wirless DMX works well in going from DMX to Ethernet say than converting back but it all as a concept depends upon the ability for both stations to either connect with something out in space or in as if wireless microphone, something sort of line of sight in a place that no doubt has 18" thick walls to say the least.

Was involved in doing Millenium park in Chicago wireless a few years ago, no huge walls.

It's an option but as said, not the first choice if at all possible in running pipe and cable. At this point, given somewhere well over a dozen or two eight universe DMX front of house snakes, two 28 universe DMX snake and just having goine fiber optic for three more front of house snakes, none of our operations are wireless. Perhaps one or two but them is never used if other than absolutely necessary.

Not dependable by way of line of sight. Avoid wireless DMX unless line of sight or absolutely necessary.

Why do you want to do this anyway? Is there a real reason other than doing so because it's a concept?

[What Rigger?]

Gawd, I hate being sworn to secrecy! My gig uses wireless DMX. I can tell you it's been very reliable. I just can't tell you what it's for. Job requirement and all.

Let's just say we go very, very fast with it.

[stantonsound]

Originally Posted by What Rigger?

Gawd, I hate being sworn to secrecy! My gig uses wireless DMX. I can tell you it's been very reliable. I just can't tell you what it's for. Job requirement and all.
Let's just say we go very, very fast with it.

hmmmm....my guess is the pan/tilt on the cameras mounted in nascars.

[len]

I used some Martin stuff a couple years ago. It was line of sight, but far, about 700 feet. Worked fine. Can't remember much else about it. But like everything else, the technology is now better and cheaper.

[ship]

thus is true, probably can also have the antenna mounted in front of the main drape so as to get reception.

It does work as a system if needed to be used.

[Thomas]

I use the identical system pacman mentions starting this thread, and I've got to say I want at least two more- there's nothing easier than plugging your lights into a wireless receiver and rocking out!

I'm in the staging market now, so it'll all get-in, set up, plot, busk, strike, sleep for 30 mins and start again, and popping a receiver on every truss I pull up saves me searching for the one buggered cable in the rig, and being able to plot from any position makes life SO much easier, I don't think I'll ever hardwire by choice again!

For marquee gigs its vital, for massive arenas is a must, for anything with a bit of distance its absolutely mandatory and for simple ease of use its unbeatable- but in a theatre? Come now, run cable, it'll cost you so much less, and why bother? Get a DMX isolator at the end of the cable from your desk and send a line up each LX and life will be good.