Well, one "old fashion" design technique was to load a whole sub-scene on each dimmer. In that case, you might have 10 instruments per channel on many of them. Something about running 12/3 on a 100 amp dimmer was very un-nerving. In most cases, the patch pay broke that down to 20's.I know that modern lighting has gotten more efficent, but I can't imagine any design needing anything close to 96 dimmers @ 100 amps each.
That would make sense if the control board didn't have any sort of preset system - one can only move so many handles at once. I just can't imagine a design aproaching 96 sub-scenes as such (or the space to hang that design).Well, one "old fashion" design technique was to load a whole sub-scene on each dimmer. In that case, you might have 10 instruments per channel on many of them. Something about running 12/3 on a 100 amp dimmer was very un-nerving. In most cases, the patch pay broke that down to 20's.
When we purchased the Kliegl Performer One, Kliegl Bros. installed an interface to convert the 0-10v from the Performer to the 0-28v dimmer control voltage. The 0-28v interface output was wired in parallel with the 5 scene preset board, thus allow control from both boards simultaneously. The high control voltage level determined which board level setting would appear on the dimmer voltage output.These are R series dimmers that are earlier in the available model line. The SCRs are monstrously large bolt-on type and the chokes are potted. Control voltage would likely have been 0-28vdc as 0-10vdc came later with the use of adapters cards plugged into the back of the firing cards. Many systems were converted to 0-10vdc as computerized controls came about, however, I seem to remember that the Performer II could optionally output 0-28.
When the UAF Theatre (Fairbanks, Alaska) was built in 1971, the Alaska Pipeline was under construction. The state had billions of dollars in its coffers. I suspect that Klieg Bros. took advantage of this, and installed an overrated load capacity double of what a normal maximum load capacity most theaters required. Thus allowing a good profit margin in the contract.
Yes I know the main system control voltage was 0-28v Tom. The Performer was 0-10v. I don't have photos of the lab theatre board. I think it was 24 channels.
I was using a 194 circuit K96 rack in 2005 that had been retrofitted with DMX in the late '90s. Was all quad 1KW packs with a single dual 2.4KW module. The system was replaced when no approved vendors could service it anymore. The pack connectors and fuse holders on the quad 1K packs were wearing out. Consoles that drove that rack were a Performer, an Entertainer, a Colortran (When the DMX conversion happened), a Lehigh Millenium, and the console at time of retirement was an Emphasis setup. Still a few modules in that building that resurface every few years to perplex people who don't know that lighting equipment doesn't need to have the letters E, T, and C stamped on it.