Stairville LED PAR56 Starter Bundle B

Further information

Spotlight included Yes
DJ-Effect included No
LED-Bar included No
Controller included DMX control
Stand included Yes
Case/Bag included No
380 customer ratings:
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4.3 / 5.0
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features
handling
quality

Full-fledged, award-winning 192-channel DMX console

DJ-Reiner, 23.12.2009
First of all, I would like to revise the statement in many evaluations and descriptions that the controller can only be addressed with 12 devices with 16 channels.
Depending on the addressing and modes of the DMX effects, this can be much more. The subdivision in 12 devices probably serves the simplification. For example, I am running two ADJ megapixel LED BARS in full-fledged 28 channel mode, which gives me complete freedom over all patterns. The first bar is located on switches 1 and 2 (ie channels 1 - 32, here, however, I leave the unused channels 29 - 32), the second bar on switches 3 and 4 (channels 33 - 64). This makes the programming a bit more complicated and confusing, but I have created for the channel assignment an excel table and see thereby at a glance, which channel for which function is responsible. On the remaining channels I could, for example, control 25 (in words twenty-five) LED PAR 64 with 5 DMX channels each.

For DMX novices this may sound very complicated, but it is easier than it sounds.
The difficulty in programming is usually the functions or addressing of the individual DMX effects (eg scanner, moving head, par 64 etc.) understand and not these in the DMX controller to program.

Thus, for example, each channel has a range of values ??from 1 to 255, to which various functions are assigned, whereby functions on another channel are enabled first. The value can be read in the display. In the case of the PAR 64 LED, this could be, for example: Channel 1 has a value of 0-63, thereby enabling channels 2, 3 and 4 (intensity from 1 to 255 for RED, GREEN, BLUE). If channel 1 has the value 192 - 255, the triple changer is activated, the speed of which is controlled by channel 5. Channels 2 - 4 have no function!

If one has to deal with the capabilities of its DMX effect, which is heavier or lighter depending on the manual, one can deal with the programming in the DMX controller. This is nothing but the fixed saving of a single function of the effect in scenes. These are combined into 8 scenes in the DMX Master in banks. In addition, there is the possibility to fill 6 chasers with up to 240 scenes or the corresponding number of complete banks.
An example of programming a scene for the above PAR 64 LED:
1. Press the Program key (flashes)
2. Set channel 1 (controller 1) to value 40 (value between 1 and 63)
3. Set channel 4 to value 150 (green is medium-strong)
4. Press the MIDI / REC button
5. Press scene button 1 (all LEDs flash)
6. Press the Program key (programming completed)
That's it, first scene in the box and always available. Before step 6, of course, additional scenes can be recorded.

The scenes, banks or chasers can then be played music-controlled or automatically. For automatic playback, the DMX Master has two additional controls that control the crossover speed between two scenes as well as the overall speed of the process.
I would like to emphasize once again that it is important to know the channels and their sub-functions of the individual devices, because only then does the DMX Master do what you want. In any case, he is not responsible if no reasonable result comes out.
This includes preparing the correct addressing and setting the channel modes on the device itself. There are also devices that can be controlled with different numbers of channels. The ADJ LED BAR is factory set to 24 channel mode. This allows only the individual colors to be dimmed. If you want to use the Sound to light or Strobe function, you have to set the 28 channel mode. Thus, the bar occupies the channels 1 - 28. If you now have an additional connected LED PAR 64 set to the initial address 24, the control collides naturally with the bar and there is no more reasonable result. The initial address must be 29 or higher for this device.

For the beginner, it is a good idea to actually place the effects directly on the scan buttons, but then please set only one channel mode under 17 channels on the device.
It must also be noted that the second half of 16 channels can only be selected on the DMX Master by pressing the Page Select button (LED flashes). This partly requires a certain calculation, but at this price one can not expect a more comfortable solution (eg 192 Schieberegler). Channel 27 is, for example, to be addressed with scanner button 2, page select and controller 3 or 11.
The experience report has been quite extensive, but I have only described the problems that I had at the beginning and I hope to prevent possible sources of error or improper assessment of this device in advance.

For me the Stairville DMX Master is unbeatable for this price with 192 channels and these programming functions.
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Cold blasted and still colorful

klampfencharly, 16.12.2009
During the performance of a friendly band, the right headlight stand suddenly sails across the stage. The singer reaches heartily, grabs two of the PARcans and sets it up again. Ouch, I think, fins burned. No way.

Functionality and operation:
My first contact with LED headlights had fascinated me and so I looked at the things after the gig more closely, then order us 8 pieces. The aluminum can comes with a fixed but very short power cable and an easy-to-use glass breaker grille therefore. As with all other PARcans, a hanger is bolted to the side of the box. The large star nut made of plastic serves to screw in the desired beam angle. Here you have to turn tight, so that the headlight does not tip down at the first shock.

The hanger is screwed by means of a guided through a hole screw / nut on the stand or a Traverse. We use two Stairville tripods. Here, too, must be properly lashed because the metals have little grip on each other and the desired angle of radiation quickly twisted.

The already mentioned power cable with safety plug I think too short (as with other Cans also), so they could have been up to about the earth. So we had to install on the Ständerraversen multiple sockets, so do not dangle four extension cords from the stand down.

Now it's time to set the light. Of the three different operating options (DMX controller, pre-programmed Colorfade mode and Sound to Light), we have decided for the time being for the color mode. In other words, the color, time intervals and / or transitions are set on the back of the headlamp. For this you should absolutely keep glasses and small screwdrivers ready. The raster pins are so small that you have to fiddle properly. And you should bring along time, there are a lot of light combinations with 8 headlights. The duration of each fade time is controlled by a rotary knob, from fast flickering to minute intervals. Overall, the programming funzt but quite well. But on the day of the gig everything should be ready, the programming would cost as much time as building an entire stage, including soundcheck.

Luminous efficacy and practice:
Since only 51 LEDs of one color (RGB) are available, you also have loss of brightness in the single-color mode. Therefore, we have sometimes chosen mixed colors, which are much lighter. The LEDs are quite cold-blooded, some color combinations fit into an ice cream parlor, rather than on a rock stage. But if you have found the right mix, the PARcans offer everything you need for a small stage.
The programmed crossfades are a good alternative to the DMX controller because you do not have around 8 more cables hanging around. However, the crossfades of some color settings jerk something, a consistently soft transition you do not get. It does not need that, rock music jerks too.

The sound to light mode (built-in Mik in the function of a light organ) is for our purposes not the yellow of the egg. When it gets quieter, it gets darker too. Since you have to combine with hard-coded PARcans.

What a great advantage of the launcher is that the LEDs need little juice. The light will not lie so when the fuse pops out. On the stage, only the purse of the organizer is spared, but in the basement bar or in the rehearsal room this is very noticeable.

And, now comes my entrance experience, these things just do not get warm. Firstly, this is very beneficial when shooting on stage - I usually have almost on the face on tight stages - and secondly, you do not get any blisters if you reduce the cans immediately after use.

Overall rating:
The Stairville LED PAR 56 are well suited for our gigs on small stages or the fixed location in the rehearsal room. 8 pieces make a sufficiently comfortable light. For a light intensity analogous to the warm-light PARcans I think you should already plan at least twice the amount.

Very advantageous are the operating options, power consumption and temperature. The price-performance ratio is now very ok
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