Control/Dimming To scene, or not too scene; alas poor Express...

I should think that except for some small spaces or teaching, that two scene preset is history.

However, I find that in smaller venues having a 48/96 is very handy to bring up single lights, or light a small set. More so if inexperience souls are doing the lighting.

i can't imagine doing cues with less then a memory board. I have never had the chance to see, let alone touch a more powerful desk, so I can not really comment on the matter.
 
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I wish that people would finally get over Express! I have said this many times, but again:

Frankly it both saddens and amuses me that people felt so attached to Express. Yes, it was a great console, probably the best selling console ever. Sure, almost every high school student in the country learned on one in the past 10 years. Why are we so resistant to change? Today you can buy and Ion with fader wing for the same if not less than what you used to be able to get a new Express for.

If you are going to make an investment in a lighting console, why would you invest in older, inferior technology? it is like buying a computer, you wouldn't go out and buy a 13 year old computer even if it was new would you?

Ultimately I think the debates over this stem mostly from a generation gap. Any lighting student in college today will feel right at home on any of the new generation consoles. They have grown up with at least one computer in their house, a Playstation or XBox, and probably a tricked out cell phone. Running a new generation lighting console is going to be child's play for them. I have to believe that it is really only the veterans, (and the vets of Express for the most part) who are afraid of change.

From personal experience with Ion, it can be as simple or as complex as the user needs it to be. If your high school or small community theatre needs a few subs to be able to run up, you can do it, if you want a bunch of handles each to correspond to one channel, it can be done. However, if three years from now that same school or theatre starts using moving lights or even just RGB gelled cyc lights, you have the expandability in the console to handle it without a second thought. Can't do that on Express.

So while it could be a good thing for ETC to produce a "middle of the road" console, I believe that the real problem is not marketing Ion such that it actually seems accessible to all. I think also that we (the industry) have to be willing to accept change, it isn't so bad, in fact it is probably really good!
 
But wait there's more.

I think a lot of the resistance to Ion stems from a couple other things too. First off, the lack of built in handles. While I sort of understand where people are coming from, the handles solution for Ion is pretty good, and it seems that the industry is trending away from lots of handles. I think that this is just one more thing that some of the Vets need to just allow to happen.

Second, I think it is really a marketing issue. We know that the price is pretty comparable to Express, and yet people still shy away. Why? Well, consider this: a school wants to get a demo, so a dealer or rep comes out with the console. The teacher doesn't know the right question s to ask, so the demo consists of "Well, look at this cool feature," and "With the moving light FX screen you can do this," and "Watch how you can set up this crazy effect." So what happens is the teacher gets shown all this really cool stuff, but it doesn't really pertain to him. I have seen plenty of demos start going this way, and I usually know what questions to ask. People tend to gloss over the fact that Ion still does "Channel 1-10 @ 50, record cue 1," which is what that poor teacher needed to be told.

The technology world has become so obsessed with numbers, Ghz processors, GB of RAM, 1024 channels, 10000 cues in an infinite number of cue stacks, etc., that we seem to have forgotten that some people just want to see it work, and what it can do for them. It is good to know that today's Ion should be able to cope with the technology advances over the next ten years, that it is current technology. We just need to make sure that when it gets shown to people they see what is important to them in the forefront of the "bells and whistles."
 
But wait there's more.

I think a lot of the resistance to Ion stems from a couple other things too. First off, the lack of built in handles. While I sort of understand where people are coming from, the handles solution for Ion is pretty good, and it seems that the industry is trending away from lots of handles. I think that this is just one more thing that some of the Vets need to just allow to happen.

Second, I think it is really a marketing issue. We know that the price is pretty comparable to Express, and yet people still shy away. Why? Well, consider this: a school wants to get a demo, so a dealer or rep comes out with the console. The teacher doesn't know the right question s to ask, so the demo consists of "Well, look at this cool feature," and "With the moving light FX screen you can do this," and "Watch how you can set up this crazy effect." So what happens is the teacher gets shown all this really cool stuff, but it doesn't really pertain to him. I have seen plenty of demos start going this way, and I usually know what questions to ask. People tend to gloss over the fact that Ion still does "Channel 1-10 @ 50, record cue 1," which is what that poor teacher needed to be told.

The technology world has become so obsessed with numbers, Ghz processors, GB of RAM, 1024 channels, 10000 cues in an infinite number of cue stacks, etc., that we seem to have forgotten that some people just want to see it work, and what it can do for them. It is good to know that today's Ion should be able to cope with the technology advances over the next ten years, that it is current technology. We just need to make sure that when it gets shown to people they see what is important to them in the forefront of the "bells and whistles."

Good response. I love the Express, I really do, but the Ion is a wonderful desk. I just wonder if an express type console was produced now if it would run in the $2k range instead of $5k+ (the Ion).

Mike
 
...Ultimately I think the debates over this stem mostly from a generation gap. Any lighting student in college today will feel right at home on any of the new generation consoles. They have grown up with at least one computer in their house, a Playstation or XBox, and probably a tricked out cell phone. Running a new generation lighting console is going to be child's play for them. I have to believe that it is really only the veterans, (and the vets of Express for the most part) who are afraid of change. ...
Interesting point, Alex. Perhaps we should call those who learned on Express(ion) the "tweens." Those of of who initially learned on resistance and autotransformer dimmers have no problem with the concepts of tracking and move-fade. Those whose first real board is an Ion or Palette will have no problems either. It's only the generation who have gotten so accustomed to the unnactural act of "clearing the programmer" that miss the <Release> key, which seems to be the biggest complaint of Ion operators. (<Sneak><Enter> and get over it, people!) We were supposed to have flying cars by now.;)
 
Interesting point, Alex. Perhaps we should call those who learned on Express(ion) the "tweens." Those of of who initially learned on resistance and autotransformer dimmers have no problem with the concepts of tracking and move-fade. Those whose first real board is an Ion or Palette will have no problems either. It's only the generation who have gotten so accustomed to the unnactural act of "clearing the programmer" that miss the <Release> key, which seems to be the biggest complaint of Ion operators. (<Sneak><Enter> and get over it, people!) We were supposed to have flying cars by now.;)

It drove me nuts on the Strand 300 that there was no release key!! UGH UGH UGH!!! Why get rid of something so wonderful and critical.

I still say "record, enter, release" no matter what console the programmer is on. Luckily most of them know what I mean.

Mike
 
Just entering computer console land... Please explain what the "Release" key does??

Thanks.

It releases whatever channels you have selected.

For example I "capture" channel 1 and take it to 40%. If I want to take it to 60% all I have to do is hit @60 because it is captured. Additionally when I hit go, the captured channels will stay at the level they are set at unless they are released.

Mike
 
We know that the price is pretty comparable to Express, and yet people still shy away.

While I agree with almost every point Alex, you are wrong on price (unless something has changed I'm unaware of). The list price on a Express 24/48 was about $2,500 less than an Ion with one Wing Panel. While yes you get 1000 channels with that Ion, I would guess most schools need less than 100.

I believe the biggest problem with Ion vs. Express is it comes with more features than most schools need at a higher price than they want to pay. Why pay a couple thousand more for features you don't need?

"Can I help you?"
"Yes I want to buy an ETC console. I only have 96 dimmers, no moving lights and I just need basic submaster features like the Smartfade, but I really want a normal theatrical style console with a cue stack and go button. What are my options? "
"Well if you want the basic features of a Smartfade with a Go button it'll cost you an extra $4,000 to get an Ion with a wing panel."
:shock:
 
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"Can I help you?"
"Yes I want to buy an ETC console. I only have 96 dimmers, no moving lights and I just need basic submaster features like the Smartfade, but I really want a normal theatrical style console with a cue stack and go button. What are my options? "
"Well if you want the basic features of a Smartfade with a Go button it'll cost you an extra $4,000 to get an Ion with a wing panel."
:shock:

I think that's why many people are resistant to change as well...

I'm in the same boat: I need around 100 channels, no movers, a keypad, submasters for those who just need to go in and flip on some lights, but I don't want to pay six grand or more for a console. So we have an Innovator... :( :doh:
 
I bought an Express 125 last year before the "announcement" was made. (I should have honestly gone for the 250 in hindsight) I honestly couldn't afford anything else. If I were in the same situation this year, I would have to go to another company for a board because Ion wouldn't be an option and Smartfade wasn't what I wanted/needed at the time.

ETC needs to fill that gap with some kind of product, whether it be something like the Express or something like a lower-end Ion. People coming in running boards in a rental house are less intimidated by a board that has some "rep plot subs" and "hail marys" they can toss up if things go bad, I know I do!
 
I agree there is a hole in the ETC portfolio, but I am glad there wasn't an alternative to the Ion when we upgraded from an Express 125 or I might have had a harder time explaining to our board of directors why we needed to take the big leap into the 21st century. Sure, an Ion 1000 has more channels than I ever thought our community theatre would use, but it turns out that I was wrong. The last show in our theatre used 200 channels, 600 DMX addresses and 3 DMX universes. We would not have considered adding in MLs, dimmer doubling, scrollers, and other DMX add-ons if it had to be done on an Express.

When we bought our Express 125 and a monitor, it cost about $9,000 CDN. When we bought our Ion with a 2x10 fader wing, dual touchscreens, tablet PC (client), and other bits, it cost about $9,000 CDN. If you consider the value of money in 1996 dollars, we got a lot more for a lot less.

Having a console like the Ion is enabling a technical revolution at the community theatre level as more and more of the equipment that the pros have been using for years becomes affordable and accessible for us amateurs.
 
I agree there is a hole in the ETC portfolio, but I am glad there wasn't an alternative to the Ion when we upgraded from an Express 125 or I might have had a harder time explaining to our board of directors why we needed to take the big leap into the 21st century. Sure, an Ion 1000 has more channels than I ever thought our community theatre would use, but it turns out that I was wrong. The last show in our theatre used 200 channels, 600 DMX addresses and 3 DMX universes. We would not have considered adding in MLs, dimmer doubling, scrollers, and other DMX add-ons if it had to be done on an Express.

When we bought our Express 125 and a monitor, it cost about $9,000 CDN. When we bought our Ion with a 2x10 fader wing, dual touchscreens, tablet PC (client), and other bits, it cost about $9,000 CDN. If you consider the value of money in 1996 dollars, we got a lot more for a lot less.

Having a console like the Ion is enabling a technical revolution at the community theatre level as more and more of the equipment that the pros have been using for years becomes affordable and accessible for us amateurs.

But what if your board of Directors says "we just don't have that kind of money." I have worked with professional companies that don't have that kind of money for control.

Mike
 
ETC seems to be in touch with CB quite a bit. Sure enough, just a few hours ago another article was written regarding the Express.

Impermanence

We should not complain about impermanence, because without impermanence, nothing is possible.-Thich Nhat Hanh


I’ve been thinking quite a bit lately about change. Specifically, the human species’ general resistance to change, and how societies and technologies can advance even though we all generally hate the idea of change. I’ve lately become a fan of the idea of impermanence – that all things change, even the most permanent and eternal-looking things will eventually evolve in some way. Ideas, mountains, weather, language, borders, policies, feelings, everything changes. This is a really disconcerting idea for lots of people. Take the Express console, for example.

We here at ETC have heard a lot lately about the Express console. About how terrible it is that it’s going away. About how the industry simply cannot get along without it. Believe me when I say that we understand the strong feelings about the Express console. We’ve used them ourselves on shows. We love them, too. There is no doubt that it has become the standard small conventional theatre show console here in the US. But at the same time, it is showing its age - from the floppy disk to the track pad. The software itself, designed to control mainly dimmers, cannot really support the equipment available today in a manner that promotes advancement in the lighting art. Even small venues are using moving lights, or will be using them in the future. Those venues without movers are using accessories now that turn their conventional fixtures into composite fixtures – scrollers, gobo rotators, mirror heads, dichroic color changers – these all turn those conventionals into multi-parameter fixtures, just like moving lights. We’ve become used to the idea of controlling these devices as just another intensity channel. Because we’ve always done it that way the idea of combining these things into a composite channel seems complicated, different and strange, regardless of the benefits that the composite channel may bring.

Let’s face it – lighting technology changes too. I remember my early days in this business where it was easy to sell a school on a new-fangled computerized lighting control system because the thing we were replacing was an old dimmer system with a slider patch panel that sparked and got overheated and a single-scene (or maybe multi-scene) preset controller. Replacing dangerous electrical equipment in a school was an easy sell – and because the new system was replacing something dangerous, the “cost of change” was lower - “We have to update the technology because a student could be electrocuted…” Nowadays, the cost of change is perceived to be higher because an older computerized system is being replaced with a newer one. There’s little perceived danger, so we resist the different. But what is the danger, really? It’s that students of lighting are being taught via workarounds in many cases, not what the current lighting vocabulary is. Yes, it may be perceived as simpler. It may be perceived as “all we need”. But is it really what’s best for the student?

Let’s look at some different technologies for comparison. When Express started shipping in 1995 Windows 95 was the state-of-the-art operating system running on a Pentium processor. At the release of the last Express stand-alone software version, Windows 2000 Professional was in vogue and running on a Pentium 4. For the Mac users among us, the corresponding Mac versions were System 7 and OS 9. I had a mobile telephone in 1995 – it was HUGE and it did one thing – it was a phone. It was also ridiculously expensive and had a plan with about 12 minutes of usage on it (which matched the battery life, by the way). By 2001 I had a smaller phone that did a bit more, but not much. Compare that with the smart phones and PDAs that many of us use to manage our lives now. Technology changes. Our expectations of speed and compatibility change.

What sparks our need for purchasing new technology? Usually it’s when we run headlong into a new idea and find that our current technology is not capable of dealing with it. For example, I resisted replacing a perfectly good CRT television with one of those expensive HDTVs for as long as I could. I didn’t need that new TV. I could live without it - until the Discovery Channel started promoting their Planet Earth series some time ago. I really wnted to see that series. I really wanted to see it in HD. I replaced my TV with a day to spare. I wouldn’t go back. I recently replaced that same TV in another room with an LCD flat-screen TV because of the upcoming switch the country is making to totally digital TV broadcasting. It seemed the thing to do at the time (and it has freed up a lot of space in that room – you never think of how BIG those TVs are until you see them next to a flat-screen, or have to carry them down a flight of stairs…) Anybody who has tried to control movers on an Express knows what I’m talking about. As soon as a moving light appears in the theatre the cost of changing that Express for something else drops like a stone. If you are one of those people, please take a look at the Ion or Congo jr consoles – they are made for you. But what about those who say they will never use a moving light? What are those people to do? What product does ETC have for them?

So, we come back to Express. Yes, it does most of what you need it to do. Yes, you know it well and love it. Yes, there are thousands of them out there. Yes, all the other theatres in your city have them (though, to be fair, at some point in history, some school had to be the first to replace their old preset console with a computerized desk.) No, we are not abandoning you. We hear you. We will bring you something in the near future that we believe you will like and will bring you into this new century of lighting control in comfort and with all the modern conveniences. No, it will not be Express 2. What it will be is a console that gives you the simplicity, approachability and the features you have asked for with a few more that we believe will make your lighting-lives easier. In return, though, it will ask of you to learn some new concepts, adjust the syntax structure just a bit, and get used to some new displays. To help you through this, we will provide you with clear documentation of these new concepts and the features you use most, and tutorial movies to help you train yourselves and your students, and we will continue to provide the support that we have always provided through our Technical Services department and through online resources like our Community forums. We promise. Stay tuned…


Published 01-15-2009 1:21 PM by sclausen


Impermanence - Light Minds Think Alike
 
I would agree with them if there were an Ion in the $2k range.

Mike
 
Its simple. people love the Express. Its easy, small, affordable, and most of all straight forward. To many people who have never used an Ion, or for that matter any middle-high end system, it may seem like something with all those features is pointless to them because they wont ever use them. It may seem daunting, having a wheel or ball instead of a slider, or maybe a new GUI, or perhaps not having DMX built into the actual board but using cat5 cable.

But when you look in the long run you can see just how good it is. However I feel like people just think "Oh, something will come out similar to the express only more modern". And as of right now, that exists (more or less). It's called the Ion. But when that new board comes out, probably will some of the same features, will people still say they want their nice old gray Express? I sure as heck hope not, because what about when your theatre starts to expand? You may finally want to use some of the features of a 21st century lighting, but be stuck with the love affection of the Express. People need to embrace change.

Without it, your theatre will not expand! There's only so much you can do with the Express! To change is to grow, and without growth the world becomes stagnant.
 

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