As a safety measure, most DMX-based flame systems require a safety channel to activate the fixture.  Spark systems may require a "Pre-heat" channel, which is analogous to the safety channel.  In both cases, the channel must be on for the periods of operation.   Figure 1 – Adjust the duration of the safety channel (the long yellow bar) to cover the flame shots (the short yellow bars).   Finale 3D has safety channel / pre-heat effects for the fixtures that require them (we'll refer them all as safety channels).  To turn the safety channel on for a fixture, you will need to add one or more safety channel effects to the show, and then adjust their durations to cover the periods of operation.  Safety channel effects have type "other_effect", which means that unlike the flame effects their durations are adjustable in the script window.  You can unhide the Duration column from the blue gear menu in the upper right of the script window, and type the durations in for the safety channel effects to make them the proper length, as illustrated in Figure 1.   Separate safety channel addresses Some flame systems like the Galaxis G-Flame and the MagicFX Flamaniac have a facility to specify the safety channel address on the hardware independently of the start address of the other DMX channels that control the fixture (i.e., its DMX personality).  The advantage of specifying the safety channel separately is that multiple fixtures in the same universe can share the same safety channel. In Finale 3D all DMX effects -- including the safety channel effects -- ultimately apply to DMX channels relative to and beginning at the DMX Channel Base of the fixture that they are added to.  Effects for separate safety channel addresses therefore require creating a separate fixture position specifically for the safety channel (call it the "safety position"), which you can configure with the DMX Channel Base equal to the safety channel address of your hardware.   For G-Flames, the fixture type of the safety position should be "Galaxis [016] Safety Channel".  The fixture type of the G-Flame fixtures themselves should be "Galaxis [002] G-Flame".  You will add one or more "G-Flame [016/0000] DMX Safety Channel" effects to the safety position to cover the periods of operation. Since all your G-Flame units can share the same safety channel, you only need a single safety position, as shown in Figure 2, though if you want to have different safety channels for different G-Flame fixtures you can do that too.   Figure 2 – Separate safety channels require a "safety position" with DMX Channel Base equal to the hardware's safety channel address.     Integrated safety channel addresses Flame and spark systems like the Explo X2 Wave Flamer and Showven Sparkular include the safety channel inside the DMX channel range that controls the fixture (the DMX personality).  Thus each fixture needs its own safety channel effects.  Unlike the systems with separate safety channel addresses, you won't need a separate safety position for systems with integrated safety channel addresses.  You can just add the effects to the flame fixtures directly.  A nine position show layout might look like Figure 3.   Figure 3 – Integrated safety channels do not require a "safety position."  Just add the safety channels to the flame fixtures.   Since systems with integrated safety channel addresses need a safety channel effect for each fixture, the timeline can quickly become overwhelmed if you have even a few fixtures in the show, looking like Figure 4.  To clean up the timeline, select the safety channel effects and press the "G" key (or do the menu item, "Script > Groups > Combine as group") to collapse all the safety channel effects on the timeline into a single horizontal bar, looking again like Figure 1.   Figure 4 – Unusable!  "Combine as group" will collapse these safety effects into a single yellow bar.  

Every DMX fixture requires a range of one or more channels to control its functions.  You can define the channel range manually in the "Configure position as DMX fixture" dialog, or you can use the function "Assign DMX channel ranges to fixtures" to assign DMX channel ranges automatically, back to back.  You can use this function to assign or re-assign the ranges for all fixtures or just a set of selected fixtures.  If assigning only the selected fixtures, the assignments will avoid collisions with the other fixtures and will fill in any channel gaps between them. Figure 1 shows nine fixtures configured as Explo X2 Wave Flamer fixtures.  If you do the "Assign DMX channel ranges to fixtures" function for all fixtures, you will get the dialog of Figure 2.   Figure 1 – Master fixtures are displayed as blue squares.   The Explo X2 Wave Flamer fixture requires six channels.  Nine fixtures times six channels is 54 channels, so the summary in the dialog makes sense.   In the absence of specifying a DMX universe, the assigned ranges begin with DMX universe 1.   Figure 2 – Nine fixtures, each requiring six channels, requires 54 channels total.   Open the positions window to see the details of the ranges.  In this simple example, the nine fixtures shown in the right-most column of Figure 3 are obvious.  Other examples with slave fixtures, multiple DMX universes, and various kinds of fixtures requiring different numbers of channels can make the summary in the positions window more of a necessity.   Figure 3 – Master fixtures need non-overlapping DMX channel ranges.   Slave fixtures Slave fixtures in Finale 3D are associated with their masters by their DMX Universe and DMX Channel Base fields, which define the channel ranges that the fixtures listen to.  The "Assign DMX channel ranges to fixtures" function preserves existing connections between slaves and their masters when used to re-assign existing channel ranges.  The masters will be re-assigned to the first available channel range, and their slaves will tag along, assigned to the same channel ranges as their masters.   Algorithm The assignment algorithm supports assigning channel ranges to fixtures for the first time, and also re-assigning channel ranges.  In the case of re-assigning channel ranges, the algorithm preserves the existing DMX universes of fixtures that already have them defined, searching for available channel ranges within the same universes.  In the case of assigning channel ranges for the first time, the algorithm will search for the first available channel range in any universe, beginning with the first DMX universe with any existing assignments, or universe number 1 if starting from scratch.  Obviously, the algorithm can only assign channel ranges for pre-defined fixture types.  You can script for fixtures of type "<Any DMX Fixture>" but the channel assignment algorithm will leave those fixtures unassigned since it doesn't know how many channels the fixtures require. The assignment algorithm always avoids conflicts with existing, non-selected fixtures.   Thus if you have already assigned channel ranges for a partially scripted show, and you subsequently add more fixtures and assign channel ranges just to them, the new assignments will not conflict.  The algorithm also re-assigns fixtures that have existing DMX Universe and DMX Channel Base values before assigning fixtures for which those fields are blank.  Thus in the example of adding more fixtures to a partially scripted show, if you select all fixtures including the existing and the new fixtures and assign/re-assign channel ranges to them, the existing fixtures will be re-assigned first, preserving their universes, and the new fixtures will be assigned second, filling gaps and adding onto the end. Finale 3D supports two levels of universes, with a subtle naming distinction: "Universe" and "DMX Universe".  For Finale 3D, Universe splits a show at the highest level.  Finale 3D will export a separate firing system script for every Universe in the show, which may even represent different firing systems.  DMX Universe is a DMX term identifying a bank of 512 channels that a fixture can be assigned to listen to.   A firing system script corresponding to a single Universe may contain DMX data for multiple DMX Universes, which is an obvious requirement for firing systems that support multiple DMX universes in the same show (see Table 2 of Exporting for a list of firing systems that support multiple DMX Universes, and those that support a single, shared DMX Universe).  Most shows use a single firing system and a single Universe, so the most important thing to remember about the Universe field is just not to confuse it with DMX Universe.   In the context of DMX discussions, the word "universe" almost always means DMX Universe.   Error messages The assignment function may return the errors listed in Table 1.     Table 1 – Error messages Error message Explanation Too many channels used Fixtures being re-assigned to channel ranges in their existing universes won't fit in 512 channels.  This error can occur if you change the type of fixtures to a fixture type that requires more channels in its DMX personality.  The re-assignment function preserves the universe, but if each fixture requires more channels then they may no longer fit. Unknown fixture type Fixtures of type "<Any DMX Fixture>" do not have a defined number of channels in their DMX personality, so you must assign their DMX Universe and DMX Channel Base manually. Slave without master Slaves associate with masters that have the same DMX Universe and DMX Channel Base.  If a slave doesn't have those fields, or if those fields refer to a non-existent master, then the assignment function may return an error.  As a convenience, if the show contains slaves and only a single master fixture, the assignment function will assign the slaves to whatever channel range it assigns the master fixture, since there are no other options.    

As there are tens of thousands of DMX fixtures and uncountably many variations of effects, the concept of a "Standard Fixture ID" or a "Standard Effect ID" may sound improbable, but that doesn't diminish the value in organizing and categorizing the fixtures and effects that Finale 3D does know about while still allowing users to add their own fixtures and define their own effects for use in Finale 3D with user-defined fixture IDs. Standard Fixture IDs and Standard Effect IDs make it possible to convert effects from one fixture to another (Fixture cloning).  The Standard Fixture IDs also make it possible for the Finale 3D user interface to filter the effect choices that can be added to a fixture according to their compatibility, and to error check at times of addressing and exporting that the show does not contain any incompatibilities. Standard Fixture IDs are integers in the range 1 - 99 and 200-999999.  User-defined fixture IDs are any integers in the range 100-199.  To avoid fixture ID conflicts with other users when collaborating, users can request Standard Fixture IDs for their fixtures by emailing Finale support.  Finale maintains the registry of Standard Fixture IDs as a simple and free service. Standard Effect IDs are in the range 0 - 999999.  Users can define their own effect IDs arbitrarily if they aren't concerned with converting those effect definitions between different fixture types.  Users can simply use the number "1" for all their user-defined effect IDs, for example.  If interested in contributing to the registry of effects that can be converted between fixture types, users can email Finale support to add their effect definitions as Standard Effect IDs. A list of Standard Fixture IDs for flame and spark fixtures is here.  A list of Standard Effect IDs for flame and spark fixtures is here.   Implementation Figure 1 shows some DMX effects in the effects window that have Standard Effect IDs and Standard Fixture IDs.  The IDs are simply an annotation in the effect description, nothing more.  They are two numbers, separated by a slash and surrounded by square brackets.  The first number is the Standard Fixture ID that the effect is compatible with.  The second is the Standard Effect ID that identifies the fixture independent meaning of the effect.  For example, many different flame fixtures have the concept of a safety channel effect.  Their implementation may be different, as different fixtures place the safety channel at various offsets and require various values or ranges of DMX values to activate the fixture.  Despite the difference in implementation, though, the concept of a safety channel is the same for all fixtures, so it makes sense that a safety channel effect can have Standard Fixture ID that means, "safety channel." The two underlined effects in Figure 1 have the same effect IDs (0201) but different fixture IDs (003 and 004).  These fixture IDs represent two different DMX modes of the MagicFX Flamaniac flamer fixture that have completely different DMX personalities.  From Finale 3D's perspective, a Mode1 Flamaniac is a different type of fixture from a Mode2 Flamaniac, and each has a set of effects that is compatible with it. If you design a show with Mode1 Flamaniac fixtures and subsequently decide that you prefer to operate your hardware in Mode2, you can use the Finale 3D function "Change DMX fixture and convert effects..." to convert the show.   The Standard Effect IDs and Standard Fixture IDs enable the conversion of the show's effects with a simple replacement scheme: for each effect in the show with fixture ID 003 in its description, find a replacement with the same effect ID (0201 in this case) and the desired replacement fixture ID 004.   Figure 1 – Standard Fixture IDs and Standard Effect IDs make it possible to convert effects from one fixture to another.   Generic fixtures and user-defined effects The DMX Fixture Type option of "<Any DMX Fixture>" in the fixture properties dialog makes the fixture compatible with all DMX effects, no matter what fixture IDs are embedded in their description if any at all.  Users can create their own DMX effects and add them to fixtures of type "<Any DMX Fixture>" without any issue.   The fixture cloning feature is not available for fixtures of this generic type, and the features that automatically assign channel ranges to fixtures are also not available, but there are no other functionality limitations.    Figure 2 – Users can add their own fixture types as "<Any DMX Fixture>" and can use DMX Effect Filter for compatibility filtering.   The filtering of effects by compatibility in the "Add DMX effect to fixture" function is available for user-defined effects by way of the DMX Effect Filter field.  When you select a pre-defined fixture type, the DMX Effect Filter fills in automatically with the fixture ID surrounded by bracket and slash.  Effects are filtered to effects whose descriptions contain the DMX Effect Filter phrase as a substring.  Thus for user-defined effects, you can add your own made-up fixture ID in this field to filter the fixture to a set of effects that you have defined with the same made-up fixture ID.  Fixture IDs beginning at 1000000 are reserved for user-defined effects, so if you define your own fixtures IDs as 1000000 or higher, you are guaranteed they will not conflict with pre-defined fixture IDs.  

Fixture cloning is the replacement of one type of fixture in a designed show with another, along with the necessary conversion of their effects.  Obviously, not all fixtures have the same set of capabilities, so it may not be possible to convert effects from one to the other exactly.  The fixture cloning feature in Finale 3D supports options for exact match and approximate match.   If you select approximate match as in Figure 1, you are guaranteed that all effects will be converted one way or another, so if you then re-assign channel ranges for the new fixtures ("Assign DMX channel ranges to fixtures..." from the DMX menu) and re-address ("Address show..." from the Addressing menu) and export ("Export > Export firing system script file(s)" from the File menu), you know you will end up with a working script.   Figure 1 – If you allow approximate matches, the fixture cloning feature is sure to convert all your effects to the new fixture.   Implementation The fixture cloning feature is enabled by Standard Effect IDs and Standard Fixture IDs (details here).   As an example, the two underlined effects in Figure 2 have the same effect IDs (0201) but different fixture IDs (003 and 004).  These fixture IDs represent two different DMX modes of the MagicFX Flamaniac flamer fixture that have completely different DMX personalities.  From Finale 3D's perspective, a Mode1 Flamaniac is a different type of fixture from a Mode2 Flamaniac, and each has a set of effects that is compatible with it.   Figure 2 – Fixture cloning is a simple replacement scheme based on Standard Fixture IDs and Standard Effect IDs.   If you design a show with Mode1 Flamaniac fixtures and subsequently decide that you prefer to operate your hardware in Mode2, you can use fixture cloning to convert the show.   The implementation of this function is a simple replacement scheme: for each effect in the show with fixture ID 003 in its description, find a replacement with the same effect ID (0201 in this case) and the desired replacement fixture ID 004.   Exact match only -- unchecked If no replacement candidate exists with the same effect ID, and if the "Exact match only" checkbox in Figure 1 is not checked, then the replacement effect will be chosen according to these criteria for the effect ID of the candidate replacement effect: Effect ID is the "Default Effect ID" of the desired replacement fixture.  User-defined fixtures currently do not have defined Default Effect IDs, so this criterion applies only to pre-defined fixtures. Effect ID = 0001. Lowest effect ID > 0001. Effect ID = 0000. Effect ID undefined. The reason effect ID = 0000 is lower priority than 0001 and all the others is that effect ID = 0000 corresponds to a safety channel effect for flames (see Standard Effect IDs for flames and sparks), which has some special characteristics that make it a bad default.   Choosing effect ID = 0001 or the lowest effect ID > 0001 is arbitrary and obviously doesn't guarantee a good choice, but it is at least well defined.  If an effect library contains a placeholder effect with effect ID = 0001, that's the effect that will be chosen when exact matches aren't found.  

Slave fixtures are a way to make multiple fixtures act in parallel.  Fixtures are either master fixtures, or slave fixtures.   You never add effects to slave fixtures in Finale 3D.  Instead, you configure the slave fixtures to have the same DMX Universe and DMX Channel Base as a master fixture, whereupon the slave fixtures will display the same effects as the masters that they refer to.  In the physical world, the slave fixtures can be wired to their masters in special "slave" mode, or they can simply be configured to listen to the same DMX channel range as the masters, just like in Finale 3D. The advantage of using slave fixtures to design your shows is that if your show involves fixtures that you want to act in parallel, it is simpler to connect them as master/slaves and then design your show by inserting effects into the masters only, while seeing the results in all.  That way, they are sure to act in parallel, and the show design is easier to manage on the timeline because you don't need to add effects for the slaves.  If you look all the way down at Figure 5, you'll see a Wave Flamer show that uses slave fixtures and mirroring to produce an impressive effect with just a single effect in the show.  The timeline has only a single bar in it!   Figure 1 – Master fixtures are displayed as blue squares.   In Finale 3D, master fixtures are drawn as blue squares, as in Figure 1 which depicts what a show layout might look like after adding nine positions and configuring them as fixtures.  Figure 2 shows the default channel ranges assigned to the fixtures if you leave the checkbox "Auto-assign DMX channel ranges" on in the "Configure as DMX fixtures" dialog when you initially configure them (right-click on the positions to get to the configuration dialog).  In this example, the DMX Fixture Type is Explo X2 Wave Flamer, which has a six-channel DMX personality, so each fixture when configured so as to operate independently requires a channel range of six channels, as shown in the right-most column in the Figure 2 window.   Figure 2 – Master fixtures need non-overlapping DMX channel ranges, which the "Auto-assign DMX channel ranges" provides.   If you want all nine fixtures to act in parallel, you need to designate one as the master and the others as slave fixtures.  In the initial configuration shown in Figure 2, all the fixtures are masters (the Position Type column says "fixture" which implies master).   The easiest thing to do is to leave the first fixture as it is, and re-configure the others to be slaves that refer to the first fixture as their master.  Select fixtures 2-9 in the design view, then right-click on them to reconfigure them as slaves, as shown in Figure 3.  Fill in the DMX Universe and DMX Channel Base to match the channel range of the master, which you can get from the positions window in Figure 2.  Uncheck the "Auto-assign DMX channel ranges" checkbox because you are setting the channel ranges explicitly.  In this case you do not want Finale 3D to auto-assign ranges to the fixtures.   Figure 3 – To configure fixtures as slaves, set their DMX Universe and DMX Channel Base to match the master that they refer to.   After re-configuring the slave fixtures, the positions window will show the results depicted in Figure 4.  The first fixture is a master; the others are slaves.  All of them are listening to the same DMX channel ranges.   Figure 4 – The positions window shows whether slaves have the same DMX Universe and DMX Channel Base as their intended master.     Many DMX fixtures in the physical world have an option to configure the hardware to "mirror" or "tilt reverse" the angles of their effects.  This option is a nice addition to the concept of slave fixtures, as it means that you can set up slave fixtures to act like their masters except being a mirror image, which is particularly useful for creating designs that feel symmetric on the left and right sides. In Finale 3D you can similarly configure fixtures in the configuration dialog by changing their DMX Fixture Angle field to "Pan 180 (mirror)".   The scene of Figure 5 depicts a Wave Flamer show with only one effect in the entire show.  That one effect is on the master fixture on the left.  The other fixtures are all slaves to the master.   The four fixtures on the right are mirrored in their configuration of the DMX Fixture Angle. When you print out the "DMX Fixture Setup" report from the reports menu, the setup instructions include a note of the DMX Fixture Angle, to remind you when setting up the show of which fixtures need to be configured to "mirror" in the physical world.     Figure 5 – Slave fixtures and mirroring can produce an impressive show with just a single effect on the timeline.    

Finale 3D supports DMX and hybrid DMX/pyro shows with flame, special effects, and lights.  The scripting paradigm is the same as for pyro -- add effects to positions, and arrange them on the timeline and in the 3D view.  Finale 3D exports DMX scripts for firing systems and controllers that generate DMX signals based on script files (list).   The vision for hybrid DMX/pryo shows is championed by music festivals like Defqon.1 in the Netherlands (video here), Tomorrowland in Belgian, the Electric Daisy Carnival in the United States, and more.  It may also be possible to replace some of the pyro effects in smaller proximate shows with DMX lights and special effects, decreasing the product cost and increasing the profit margins of the display company.   Video 1 – DMX show design tutorial   Positions are fixtures When designing DMX shows in Finale 3D, the positions are the DMX fixtures themselves -- lights, flame systems, special effects, etc.  Right-click on the positions to configure them as fixtures, and then add DMX effects to the fixtures analogously to adding pyro effects to launch positions.  DMX fixtures are drawn as blue squares instead of yellow disks, as shown below in Figure 1.   Figure 1 – Designing a DMX show with flame and spark fixtures.   Every DMX fixture listens to a range of channels in a DMX universe that control the functions of the fixture.  Multiple fixtures can listen to the same range, in which case they will act in parallel (see slave fixtures, below).  It is important that independent fixtures have their own, non-overlapping ranges of channels.  Functions in Finale 3D like, "Assign DMX channel ranges to fixtures" make it easy to set up the fixtures for operation (Assign DMX channel ranges to fixtures).  You can look at the positions window to examine the channel ranges, as shown in Figure 2.   Figure 2 – The positions window shows the DMX channel ranges of the fixtures.   Add effects to fixtures A DMX fixture will be compatible with a specific set of effects associated with the fixture.  An Explo X2 Wave Flamer effect is only compatible with Explo X2 Wave Flamer fixtures.  Same for Galaxis G-Flame effects and G-Flame fixtures.  Same for par light effects and the specific light fixture that they are made for. The reason effects are restricted to the fixtures they are made for is two-fold.  For one, effects for different kinds of fixtures wouldn't make any sense to mix and match, as obviously a flame fixture can't produce sparks or green par light effect.  For two, the effect definitions contain within them small programs called DMX patches that translate the visual appearance of the effect and its parameters such as the duration and angle into the set of DMX channel values that make the fixture produce that effect.  The DMX channel values are fixture dependent.  Even if flame systems from two different manufacturers are capable of producing the same effect, the DMX channel values required for the fixtures are almost always different. For pyro, you can add any kind of effect to a launch position.  For DMX, you can only add effects that are compatible with the fixture that the position represents.  Since the fixtures limit the choices, Finale 3D provides a right-click menu on the fixtures themselves to add effects. Some kinds of DMX effects have adjustable angles.  The Explo X2 Wave Flamer and the MagicFX Flamaniac flame system are examples of fixtures that support "rotatable" effects.  Although the Wave Flamer and the Flamaniac produce angled flame effects in entirely different ways -- the Wave Flamer with a rotating nozzle and the Flamaniac with multiple fixed-angle nozzles -- the paradigm for designing with these effects is exactly the same: insert a rotatable flame effect, and then drag the top of the dotted trajectory to the angle you want for the effect, or select a collection of rotatable effects in the show and put them into a fan using the "Script > Angles > Make into fan" function.    The user interface for rotatable flame effects and DMX effects in general is exactly the same as for pyro.  Finale 3D takes care of calculating the corresponding DMX channel values to produce the angle that you've chosen, or rounded to the nearest angle for systems like the Flamaniac.   Slave fixtures The scene in Figure 1 has sixteen fixtures, but the timeline in that scene has only two effects in it.  If multiple fixtures listen to the same DMX channel range, they will act in parallel.  For any set of parallel acting fixtures, one is chosen to be the master by setting its Position Type to "DMX Fixture (Master)".  The others are "DMX Fixture (Slave)".  The link between the master and the slaves is that they all are configured with the same DMX Universe and DMX Channel Base, which defined the range of channels they listen to.  Only add effects to the master fixture.  The associated slaves will display whatever the master is displaying, both in the physical world and in Finale 3D.  That's why Figure 1 has only two effects in the timeline.  That's all it takes! You may have noticed in Figure 1 that the flames on the right side are angling in the opposite direction as the flames on the left.  Many types of DMX fixtures have a "mirror" or "tilt-reverse" setting that causes the angles to flip around.  The right-most four flame fixtures have an angle setting like that turned on in Finale 3D, which causes their angles to aim in the opposite direction.  For further instructions on slaves and mirroring, see Slave fixtures.   Safety channels DMX flame fixtures typically require a safety channel to activate the fixture.  Finale 3D provides a safety channel effect that you add to the show and set the duration of to cover the desired active period of the fixtures.  Safety channels need to be set up differently depending on whether the fixture has separate safety channel addresses or integrated safety channel addresses.  For instructions for specific flame systems, please see Safety channels.   Addressing and exporting a script Like pyro shows, DMX and hybrid DMX/pyro shows are based on an exported script.  After designing your show, do the "Address show" function from the Addressing menu, and then "Export > Export firing system script(s)..." from the File menu to export the script.  If there are any problems in the script, like overlapping channel ranges or incompatible effects, the addressing and export functions will catch the errors and report them to you.   Printing a setup report DMX shows usually don't require a report listing the effects, but they do require a report with instructions for setting up the fixtures.  The report in Figure 3 uses the default report template for DMX fixtures.  This example corresponds to the show in Figure 1, with sixteen fixtures total, all but two being slaves and four of them being mirrored ("Pan 180" in Finale 3D's terminology).  This report template, which is based on the information in the positions window, includes the essential information for setting up DMX shows, though you may decide to customize the report template for your own purposes or generate a different style of report from the script window.   Figure 3 – The DMX Fixture Setup report for the show of Figure 1.  

A comprehensive catalog of special effects fixtures is a long way out, but Finale 3D does keep track of the fixtures it knows about, to facilitate conversion between fixtures and to avoid conflicts.   Users can define their own fixtures by creating their own effects that contain within them the fixture definition, and DMX patch, and visualization instructions in the VDL.  User-defined fixtures can use fixture IDs in the range 1000000 and up to avoid conflicting with known fixtures listed in Table 1, as it grows. If a safety channel is separate from and not at an offset within the DMX personality of a fixture, then it is not counted in the number of DMX channels of the fixture.  For example, a flame fixture requiring one ON/OFF channel at its DMX Channel Base and one safety channel at some other channel number configured separately has a number of channels of 1, not 2.  For this kind of fixture, the user must configure an additional position to hold the DMX safety channel for that fixture.  The additional position's DMX Channel Base becomes the channel address of the safety channel.  While the requirement of adding an entire position in the user interface to hold the safety channel effect is inconvenient, it does have the benefit that the safety channel can be shared by multiple non-slave fixtures, which is not possible if the safety channel is within the DMX personality of the fixture. The DMX safety channel "fixture type" is listed separately in Table 1, and it always has a number of channels of 1.   Table 1 – Supported flame and spark fixtures ID Name Number of DMX channels Requires safety channel (or pilot or pre-heat) Safety channel on separate position 001 Explo [001] X2 Wave Flamer 6 Yes No 002 Galaxis [002] G-Flame 1 Yes (016) Yes 003 MagicFX [003] Mode 1 Flamaniac 5 Yes (017) Yes 004 MagicFX [004] Mode 2 Flamaniac 1 Yes (017) Yes 006 Spray The Fire [006] Flamer 2 No N/A 007 Generic [007] DMX Relay Flamer 1 No Yes 008 Generic [008] DMX Dimmer Flamer 1 No Yes 009 Showven [009] Circle Flamer 6 Yes No 010 Spark Fabrica [010] SF-180 Moving Head Flamer 6CH 6 Yes No 011 Showven [011] uFlamer 2CH-P 2 Yes No 012 Showven [012] uFlamer 6CH 6 Yes No 013 Showven [013] uFlamer 2CH-N 2 Yes No 014 Showven [014] Sparkular 2 Yes No 015 Showven [015] Sparkular Cyclone 2 Yes No 016 Galaxis [016] Safety Channel 1 N/A N/A 017 MagicFX [017] Safety Channel 1 N/A N/A 018 Generic [018] DMX Safety Channel 1 N/A N/A 019 MagicFX [019] Sparxtar 2 Yes (017) Yes 021 MagicFX [021] Aerosol Stage Flame 1 Yes (017) Yes 022 MagicFX [022] Propane Stage Flame 1 Yes (017) Yes 023 MagicFX [023] Big Flame Stage Flame 2 Yes (017) Yes 025 MagicFX [025] Flameblazer 1 Yes (017) Yes 032 Explo [032] GX2 Flamer 1CH 1 No N/A 033 Explo [033] GX2 Flamer 2CH 2 No N/A 034 Explo [034] GX3 Power Flamer 4 Yes No 035 Auvi [035] Spark 3 Yes No 036 Anonymous [036] 5 Head Flamer 7CH 7 No N/A 037 Sigma Services [037] 4-Head FireFly 8 Yes No 038 Sigma Services [038] 8-Head FireFly 16 Yes No 039 Le Maitre [039] Salamander 1 Yes (040) Yes 040 Le Maitre [040] Safety Channel 1 N/A N/A 043 Moka [043] H-E03 Triple Way Flame Machine 6 Yes No 044 Moka [044] H-E01 Genius Flame Machine 2 Yes No 045 ADJ [045] Fog Fury Jett Fog Jet 7 No N/A 047 Showven [047] uFlamer Volcano Pro Mode 6 Yes No 053 Hansol [053] Volcano 1 Yes Yes 054 Hansol [054] Pilot Light / Safety Channel 1 N/A N/A 055 Hansol [055] Sunshine Fixture: 5 Head w/ Safety And Pilot 5 Yes (056) Yes 056 Hansol [056] Sunshine Safety And Pilot: Safety At +0 And Pilot At +1 2 N/A N/A 057 Hansol [057] Sunshine Fixture: 5 Head w/ Pilot Only 5 Yes (058) Yes 058 Hansol [058] Sunshine Pilot Only: Pilot At +0 (No Safety) 1 N/A N/A 061 SpecialFX.it [061] ML-CS01 Cold Sparks Machine 2 Yes No 062 Showven [062] SonicBoom Plus SmokeJet Fog Jet 14 No N/A 063 AtmosFEAR [063] Hex Jet Fog Jet 10 No N/A 064 Froggy's Fog [064] Hyperion D6 Fog Jet 17 No N/A 066 Tengchang [066] Party Fog Jet 6 No N/A 070 Showven [070] SonicBoom X SmokeJet Fog Jet 11 No N/A 072 Anonymous [072] RGB Fog Jet 7 No N/A 076 Moka [076] H-E04 Hi Flame Flame Machine 7 Yes No 078 Chauvet [078] Geyser RGB Fog Jet 8CH 8 No N/A 083 Hansol [083] Hurricane-AW Wave Flamer 19CH 19 Yes No 084 Moka [084] E11 Cold Sparks Machine 2CH 2 Yes No 086 Showven [086] Sparkular Jet 2CH 2 Yes No 096 Spark Fabrica [096] SF-05 Spark Jet Pro 2CH 2 Yes No 097 Spark Fabrica [097] SF-F5 Formula Flamer 6CH-B 6-B Yes No 098 Spark Fabrica [098] SF-90 I Flamer Plus 2CH 2 Yes No 099 Spark Fabrica [099] SF-K2 KUNGFUPAO 2CH 2 Yes No 200 Spark Fabrica [200] SF-Z5 Fly Spark 6CH 6 Yes No 201 Spark Fabrica [201] SF-X2 Spark Spin 4CH 4 Yes No 202 Spark Fabrica [202] SF-X8 Spark Titan 2CH 2 Yes No 203 Spark Fabrica [203] SF-01 Spark Rain Pro 2CH 2 Yes No  

Flame and spark machines from various manufacturers have common or overlapping sets of effects, though the effects may be implemented by different DMX personalities on the different machines.  The Standard Effect IDs listed in Table 1 have the meaning defined in the table and exhibited by the reference fixture.  Finale 3D can convert effects in a show from one fixture to another ("fixture cloning") by replacing an effect from the "from" fixture with the corresponding effect of the "to" fixture, matching the Standard Effect ID.   Table 1 – Standard Effect IDs for flames and sparks ID Effect Reference part number Reference fixture 0000 Safety Channel Or Pilot Or Pre-Heat GFX9099 Explo [001] X2 Wave Flamer 0001 Very Short Flame (sm), or a placeholder effect for any DMX fixture (details) GFX9079 Explo [001] X2 Wave Flamer 0002 Very Short Flame (md) GFX9073 Explo [001] X2 Wave Flamer 0003 Very Short Flame (lg) GFX9085 Explo [001] X2 Wave Flamer 0004 Short Flame (sm) GFX9076 Explo [001] X2 Wave Flamer 0005 Short Flame (md) GFX9070 Explo [001] X2 Wave Flamer 0006 Short Flame (lg) GFX9082 Explo [001] X2 Wave Flamer 0007 Standard Flame (sm) GFX9080 Explo [001] X2 Wave Flamer 0008 Standard Flame (md) GFX9074 Explo [001] X2 Wave Flamer 0009 Standard Flame (lg) GFX9086 Explo [001] X2 Wave Flamer 0010 Long Flame (sm) GFX9081 Explo [001] X2 Wave Flamer 0011 Long Flame (md) GFX9075 Explo [001] X2 Wave Flamer 0012 Long Flame (lg) GFX9087 Explo [001] X2 Wave Flamer 0013 Very Long Flame (sm) GFX9077 Explo [001] X2 Wave Flamer 0014 Very Long Flame (md) GFX9071 Explo [001] X2 Wave Flamer 0015 Very Long Flame (lg) GFX9083 Explo [001] X2 Wave Flamer 0016 One Sec Flame (sm) GFX9078 Explo [001] X2 Wave Flamer 0017 One Sec Flame (md) GFX9072 Explo [001] X2 Wave Flamer 0018 One Sec Flame (lg) GFX9084 Explo [001] X2 Wave Flamer 0019 Move-In-Black GFX9088 Explo [001] X2 Wave Flamer 0020 Move-To While On (sm) GFX9090 Explo [001] X2 Wave Flamer 0021 Move-To While On (md) GFX9089 Explo [001] X2 Wave Flamer 0022 Move-To While On (lg) GFX9091 Explo [001] X2 Wave Flamer 0101 Macro -105° Short Flame (#1) GFX9001 Explo [001] X2 Wave Flamer 0102 Macro -90° Short Flame (#2) GFX9002 Explo [001] X2 Wave Flamer 0103 - 0166 Other Explo X2 Wave Flamer defined macros (#3 - #66) GFX9003 to GFX9066 Explo [001] X2 Wave Flamer 0167 Macro Step MR 8>14 Middle (#67) SHV1067 Showven [009] Circle Flamer 0168 Macro Step ML 8>2 Middle (#68) SHV1068 Showven [009] Circle Flamer 0169 Macro Step MR 8>14 Middle (#69) SHV1069 Showven [009] Circle Flamer 0170 Macro Step ML 8>2 Middle (#70) SHV1070 Showven [009] Circle Flamer 0177 Macro Step MR 8>>13 Short (#67) SPF1067 Spark Fabrica [010] Moving Head Flamer 0178 Macro Step RM 13>>8 Short (#68) SPF1068 Spark Fabrica [010] Moving Head Flamer 0179 Macro Step MR 8>>13 Long (#69) SPF1069 Spark Fabrica [010] Moving Head Flamer 0180 Macro Step RM 13>>8 Long (#70) SPF1070 Spark Fabrica [010] Moving Head Flamer 0181 Macro Step ML 8>>3 Middle (#71) SPF1071 Spark Fabrica [010] Moving Head Flamer 0182 Macro Step LM 3>>8 Middle (#72) SPF1072 Spark Fabrica [010] Moving Head Flamer 0183 Macro Step ML 8>>3 Long (#73) SPF1073 Spark Fabrica [010] Moving Head Flamer 0184 Macro Step LM 3>>8 Long (#74) SPF1074 Spark Fabrica [010] Moving Head Flamer 0185 Macro Step LR 3>>13 Short (#75) SPF1075 Spark Fabrica [010] Moving Head Flamer 0186 Macro Step RL 13>>3 Short (#76) SPF1076 Spark Fabrica [010] Moving Head Flamer 0187 Macro Step LR 2>>14 Short (#77) SPF1077 Spark Fabrica [010] Moving Head Flamer 0188 Macro Step RL 14>>2 Short (#78) SPF1078 Spark Fabrica [010] Moving Head Flamer 0189 Macro Step ZL 8>5>11 Short (#79) SPF1079 Spark Fabrica [010] Moving Head Flamer 0190 Macro Step ZR 8>11>5 Short (#80) SPF1080 Spark Fabrica [010] Moving Head Flamer 0191 Macro Step LR 5>11 Short (#81) SPF1081 Spark Fabrica [010] Moving Head Flamer 0192 Macro Step LR 11>5 Short (#82) SPF1082 Spark Fabrica [010] Moving Head Flamer 0193 Macro Wave MR 8>>13 Middle (#83) SPF1083 Spark Fabrica [010] Moving Head Flamer 0194 Macro Wave RM 13>>8 Middle (#84) SPF1084 Spark Fabrica [010] Moving Head Flamer 0195 Macro Wave ML 8>>3 Middle (#85) SPF1085 Spark Fabrica [010] Moving Head Flamer 0196 Macro Wave LM 3>>8 Middle (#86) SPF1086 Spark Fabrica [010] Moving Head Flamer 0197 Macro Wave LR 3>>13 Short (#87) SPF1087 Spark Fabrica [010] Moving Head Flamer 0198 Macro Wave RL 13>>3 Short (#88) SPF1088 Spark Fabrica [010] Moving Head Flamer 0199 Macro 0° Excessively Long (#89) SPF1089 Spark Fabrica [010] Moving Head Flamer 0201 L45 Long Flame (md) GFX9701 MagicFX [003] Mode 1 Flamaniac 0202 L22.5 Long Flame (md) GFX9702 MagicFX [003] Mode 1 Flamaniac 0203 Up Long Flame, Fixed Angle (md) GFX9703 MagicFX [003] Mode 1 Flamaniac 0204 R22.5 Long Flame (md) GFX9704 MagicFX [003] Mode 1 Flamaniac 0205 R45 Long Flame (md) GFX9705 MagicFX [003] Mode 1 Flamaniac 0211 L45 Short Flame (md) GFX9721 MagicFX [003] Mode 1 Flamaniac 0212 L22.5 Short Flame (md) GFX9722 MagicFX [003] Mode 1 Flamaniac 0213 Up Short Flame, Fixed Angle (md) GFX9723 MagicFX [003] Mode 1 Flamaniac 0214 R22.5 Short Flame (md) GFX9724 MagicFX [003] Mode 1 Flamaniac 0215 R45 Short Flame (md) GFX9725 MagicFX [003] Mode 1 Flamaniac 0221 L45 One Sec Flame (md) GFX9741 MagicFX [003] Mode 1 Flamaniac 0222 L22.5 One Sec Flame (md) GFX9742 MagicFX [003] Mode 1 Flamaniac 0223 Up One Sec Flame, Fixed Angle (md) GFX9743 MagicFX [003] Mode 1 Flamaniac 0224 R22.5 One Sec Flame (md) GFX9744 MagicFX [003] Mode 1 Flamaniac 0225 R45 One Sec Flame (md) GFX9745 MagicFX [003] Mode 1 Flamaniac 0226 With Flame Enabled, Recharging Pump GFX9119 Explo [034] GX3 Power Flamer 0227 With Flame Enabled, Not Recharging Pump GFX9120 Explo [034] GX3 Power Flamer 0228 5 Head Flame Macro 1>2>3>4>5 Short ANON1021 Anonymous [036] 5 Head Flamer 7CH 0229 5 Head Flame Macro 5>4>3>2>1 Short ANON1022 Anonymous [036] 5 Head Flamer 7CH 0230 5 Head Flame Macro 1>5>2>4>3 Short ANON1023 Anonymous [036] 5 Head Flamer 7CH 0231 5 Head Flame Macro 3>4>2>5>1 Short Anonymous [036] 5 Head Flamer 7CH 0232 5 Head Flame Macro 1>5>4>2>3 Short Anonymous [036] 5 Head Flamer 7CH 0233 5 Head Flame Macro 5>1>2>4>3 Short ANON1026 Anonymous [036] 5 Head Flamer 7CH 0234 5 Head Flame Macro 3>4>2>1>5 Short ANON1027 Anonymous [036] 5 Head Flamer 7CH 0235 5 Head Flame Macro 3>4>2>5>1 Short ANON1028 Anonymous [036] 5 Head Flamer 7CH 0236 5 Head Flame Macro 1>2>3>4>5 Middle ANON1029 Anonymous [036] 5 Head Flamer 7CH 0237 5 Head Flame Macro 5>4>3>2>1 Middle ANON1030 Anonymous [036] 5 Head Flamer 7CH 0238 5 Head Flame Macro 1>5>2>4>3 Middle ANON1031 Anonymous [036] 5 Head Flamer 7CH 0239 5 Head Flame Macro 3>4>2>5>1 Middle Anonymous [036] 5 Head Flamer 7CH 0240 5 Head Flame Macro 1>5>4>2>3 Middle Anonymous [036] 5 Head Flamer 7CH 0241 5 Head Flame Macro 5>1>2>4>3 Middle ANON1034 Anonymous [036] 5 Head Flamer 7CH 0242 5 Head Flame Macro 3>4>2>1>5 Middle ANON1035 Anonymous [036] 5 Head Flamer 7CH 0243 5 Head Flame Macro 3>4>2>5>1 Middle ANON1036 Anonymous [036] 5 Head Flamer 7CH 0244 5 Head Flame Macro 1>2>3>4>5 Long ANON1037 Anonymous [036] 5 Head Flamer 7CH 0245 5 Head Flame Macro 5>4>3>2>1 Long ANON1038 Anonymous [036] 5 Head Flamer 7CH 0246 5 Head Flame Macro 1>5>2>4>3 Long ANON1039 Anonymous [036] 5 Head Flamer 7CH 0247 5 Head Flame Macro 3>4>2>5>1 Long Anonymous [036] 5 Head Flamer 7CH 0248 5 Head Flame Macro 1>5>4>2>3 Long Anonymous [036] 5 Head Flamer 7CH 0249 5 Head Flame Macro 5>1>2>4>3 Long ANON1042 Anonymous [036] 5 Head Flamer 7CH 0250 5 Head Flame Macro 3>4>2>1>5 Long ANON1043 Anonymous [036] 5 Head Flamer 7CH 0251 5 Head Flame Macro 3>4>2>5>1 Long ANON1044 Anonymous [036] 5 Head Flamer 7CH 0252 5 Head Flame Macro 1+2+3+4+5 Short ANON1045 Anonymous [036] 5 Head Flamer 7CH 0253 5 Head Flame Macro 1+2+3+4+5 Middle ANON1046 Anonymous [036] 5 Head Flamer 7CH 0254 5 Head Flame Macro 1+2+3+4+5 Long ANON1047 Anonymous [036] 5 Head Flamer 7CH 0255 5 Head Flame Macro 3>4+2>5+1 Short ANON1024 Anonymous [036] 5 Head Flamer 7CH 0256 5 Head Flame Macro 1+5>4+2>3 Short ANON1025 Anonymous [036] 5 Head Flamer 7CH 0257 5 Head Flame Macro 3>4+2>5+1 Middle ANON1032 Anonymous [036] 5 Head Flamer 7CH 0258 5 Head Flame Macro 1+5>4+2>3 Middle ANON1033 Anonymous [036] 5 Head Flamer 7CH 0259 5 Head Flame Macro 3>4+2>5+1 Long ANON1040 Anonymous [036] 5 Head Flamer 7CH 0260 5 Head Flame Macro 1+5>4+2>3 Long ANON1041 Anonymous [036] 5 Head Flamer 7CH 0280 3 Head Flame Macro 1+2+3 MOK1033 MK-H-E03 [043] 3 Head Flamer 0281 3 Head Flame Macro 1>2>3>1+2+3 Middle MOK1034 MK-H-E03 [043] 3 Head Flamer 0401 Very Short Sparks (sm) SHV3006 Showven [014] Sparkular 0402 Very Short Sparks (md) SHV3000 Showven [014] Sparkular 0403 Very Short Sparks (lg) SHV3012 Showven [014] Sparkular 0404 Short Sparks (sm) SHV3007 Showven [014] Sparkular 0405 Short Sparks (md) SHV3001 Showven [014] Sparkular 0406 Short Sparks (lg) SHV3013 Showven [014] Sparkular 0407 Standard Sparks (sm) SHV3008 Showven [014] Sparkular 0408 Standard Sparks (md) SHV3002 Showven [014] Sparkular 0409 Standard Sparks (lg) SHV3014 Showven [014] Sparkular 0410 Long Sparks (sm) SHV3009 Showven [014] Sparkular 0411 Long Sparks (md) SHV3003 Showven [014] Sparkular 0412 Long Sparks (lg) SHV3015 Showven [014] Sparkular 0413 Very Long Sparks (sm) SHV3010 Showven [014] Sparkular 0414 Very Long Sparks (md) SHV3004 Showven [014] Sparkular 0415 Very Long Sparks (lg) SHV3016 Showven [014] Sparkular 0416 One Sec Sparks (sm) SHV3011 Showven [014] Sparkular 0417 One Sec Sparks (md) SHV3005 Showven [014] Sparkular 0418 One Sec Sparks (lg) SHV3017 Showven [014] Sparkular 0419 With Angle 0420 Two Sec Sparks (sm) SHV3019 Showven [014] Sparkular 0421 Two Sec Sparks (md) SHV3020 Showven [014] Sparkular 0422 Two Sec Sparks (lg) SHV3021 Showven [014] Sparkular 0423 Fog Jet (sm) SHV3319 Showven [062] SonicBoom Plus SmokeJet 14CH 0424 Fog Jet (md) 0425 Fog Jet (lg) SHV3320 Showven [062] SonicBoom Plus SmokeJet 14CH 0426 Fog Jet And Red Flash (sm) SHV3300 Showven [062] SonicBoom Plus SmokeJet 14CH 0427 Fog Jet And Red Flash (md) 0428 Fog Jet And Red Flash (lg) SHV3301 Showven [062] SonicBoom Plus SmokeJet 14CH 0429 Fog Jet And Green Flash (sm) SHV3302 Showven [062] SonicBoom Plus SmokeJet 14CH 0430 Fog Jet And Green Flash (md) 0431 Fog Jet And Green Flash (lg) SHV3303 Showven [062] SonicBoom Plus SmokeJet 14CH 0432 Fog Jet And Blue Flash (sm) SHV3304 Showven [062] SonicBoom Plus SmokeJet 14CH 0433 Fog Jet And Blue Flash (md) 0434 Fog Jet And Blue Flash (lg) SHV3305 Showven [062] SonicBoom Plus SmokeJet 14CH 0435 Fog Jet And Yellow Flash (sm) SHV3306 Showven [062] SonicBoom Plus SmokeJet 14CH 0436 Fog Jet And Yellow Flash (md) 0437 Fog Jet And Yellow Flash (lg) SHV3307 Showven [062] SonicBoom Plus SmokeJet 14CH 0438 Fog Jet And Magenta Flash (sm) SHV3308 Showven [062] SonicBoom Plus SmokeJet 14CH 0439 Fog Jet And Magenta Flash (md) 0440 Fog Jet And Magenta Flash (lg) SHV3309 Showven [062] SonicBoom Plus SmokeJet 14CH 0441 Fog Jet And Cyan Flash (sm) SHV3310 Showven [062] SonicBoom Plus SmokeJet 14CH 0442 Fog Jet And Cyan Flash (md) 0443 Fog Jet And Cyan Flash (lg) SHV3311 Showven [062] SonicBoom Plus SmokeJet 14CH 0444 Fog Jet And White Flash (sm) SHV3312 Showven [062] SonicBoom Plus SmokeJet 14CH 0445 Fog Jet And White Flash (md) 0446 Fog Jet And White Flash (lg) SHV3313 Showven [062] SonicBoom Plus SmokeJet 14CH 0447 Fog Jet And Amber Flash (sm) SHV3314 Showven [062] SonicBoom Plus SmokeJet 14CH 0448 Fog Jet And Amber Flash (md) 0449 Fog Jet And Amber Flash (lg) SHV3315 Showven [062] SonicBoom Plus SmokeJet 14CH 0450 Fog Jet And UV Flash (sm) ATM1016 AtmosFEAR [063] Hex Jet 10CH 0451 Fog Jet And UV Flash (md) 0452 Fog Jet And UV Flash (lg) ATM1018 AtmosFEAR [063] Hex Jet 10CH 0453 Fog Output And Fan (sm) ANON1200 Anonymous [067] Low Fog Machine 2CH 0454 Fog Output And Fan (md) ANON1201 Anonymous [067] Low Fog Machine 2CH 0455 Fog Output And Fan (lg) ANON1202 Anonymous [067] Low Fog Machine 2CH 0456 Fog Output (sm) ANON1203 Anonymous [067] Low Fog Machine 2CH 0457 Fog Output (md) ANON1204 Anonymous [067] Low Fog Machine 2CH 0458 Fog Output (lg) ANON1205 Anonymous [067] Low Fog Machine 2CH 0459 Fog Fan (sm) ANON1206 Anonymous [067] Low Fog Machine 2CH 0460 Fog Fan (md) ANON1207 Anonymous [067] Low Fog Machine 2CH 0461 Fog Fan (lg) ANON1208 Anonymous [067] Low Fog Machine 2CH 0462 Head 2 Very Short Flame (sm) 0463 Head 2 Very Short Flame (md) MOK1106 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0464 Head 2 Very Short Flame (lg) 0465 Head 2 Short Flame (sm) 0466 Head 2 Short Flame (md) MOK1107 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0467 Head 2 Short Flame (lg) 0468 Head 2 Standard Flame (sm) 0469 Head 2 Standard Flame (md) MOK1108 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0470 Head 2 Standard Flame (lg) 0471 Head 2 Long Flame (sm) 0472 Head 2 Long Flame (md) MOK1109 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0473 Head 2 Long Flame (lg) 0474 Head 2 Very Long Flame (sm) 0475 Head 2 Very Long Flame (md) MOK1110 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0476 Head 2 Very Long Flame (lg) 0477 Head 2 One Sec Flame (sm) 0478 Head 2 One Sec Flame (md) MOK1111 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0479 Head 2 One Sec Flame (lg) 0480 Head 3 Very Short Flame (sm) 0481 Head 3 Very Short Flame (md) MOK1112 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0482 Head 3 Very Short Flame (lg) 0483 Head 3 Short Flame (sm) 0484 Head 3 Short Flame (md) MOK1113 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0485 Head 3 Short Flame (lg) 0486 Head 3 Standard Flame (sm) 0487 Head 3 Standard Flame (md) MOK1114 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0488 Head 3 Standard Flame (lg) 0489 Head 3 Long Flame (sm) 0490 Head 3 Long Flame (md) MOK1115 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0491 Head 3 Long Flame (lg) 0492 Head 3 Very Long Flame (sm) 0493 Head 3 Very Long Flame (md) MOK1116 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0494 Head 3 Very Long Flame (lg) 0495 Head 3 One Sec Flame (sm) 0496 Head 3 One Sec Flame (md) MOK1117 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0497 Head 3 One Sec Flame (lg) 0498 Head 4 Very Short Flame (sm) 0499 Head 4 Very Short Flame (md) MOK1118 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0500 Head 4 Very Short Flame (lg) 0501 Head 4 Short Flame (sm) 0502 Head 4 Short Flame (md) MOK1119 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0503 Head 4 Short Flame (lg) 0504 Head 4 Standard Flame (sm) 0505 Head 4 Standard Flame (md) MOK1120 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0506 Head 4 Standard Flame (lg) 0507 Head 4 Long Flame (sm) 0508 Head 4 Long Flame (md) MOK1121 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0509 Head 4 Long Flame (lg) 0510 Head 4 Very Long Flame (sm) 0511 Head 4 Very Long Flame (md) MOK1122 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0512 Head 4 Very Long Flame (lg) 0513 Head 4 One Sec Flame (sm) 0514 Head 4 One Sec Flame (md) MOK1123 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0515 Head 4 One Sec Flame (lg) 0516 All Heads Very Short Flame (sm) 0517 All Heads Very Short Flame (md) MOK1124 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0518 All Heads Very Short Flame (lg) 0519 All Heads Short Flame (sm) 0520 All Heads Short Flame (md) MOK1125 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0521 All Heads Short Flame (lg) 0522 All Heads Standard Flame (sm) 0523 All Heads Standard Flame (md) MOK1126 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0524 All Heads Standard Flame (lg) 0525 All Heads Long Flame (sm) 0526 All Heads Long Flame (md) MOK1127 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0527 All Heads Long Flame (lg) 0528 All Heads Very Long Flame (sm) 0529 All Heads Very Long Flame (md) MOK1128 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0530 All Heads Very Long Flame (lg) 0531 All Heads One Sec Flame (sm) 0532 All Heads One Sec Flame (md) MOK1129 Moka [076] H-E04 Hi Flame Flame Machine 7CH 0533 All Heads One Sec Flame (lg) 0534 Silver Sparks Mine (sm) 0535 Silver Sparks Mine (md) SPF1600 SF-K2 [099] Kungfupao 2CH 0536 Silver Sparks Mine (lg) 0537 With Clockwise Spinning SPF1807 SF-X2 [201] Spark Spin 4CH 0538 With Counter-Clockwise Spinning SPF1808 SF-X2 [201] Spark Spin 4CH  

If you are using Finale Inventory for stock record keeping, you can synch the quantities in sales orders representing shows from Finale Inventory to the Quota column in Finale 3D for purpose of designing a show to match the pre-allocated inventory.  You can also go in the other direction, synching the quantities in the Used column of Finale 3D back up to Finale Inventory to modify the sales order quantities or add new effects to the sales order.  This article describes the synching process from end to end, illustrating the relationships between quantities in the Quota, QOH, Available, and Used columns in Finale 3D and how the state of the sales order in Finale Inventory pertains to them.   Beginning with a sales order in Finale Inventory All synch operations relating to effects used in a show require a sales order as the representation of the show in Finale Inventory.  Sometimes companies pre-allocate the inventory to a show and design the show to match the allocations; other times companies design the show with a global view of what inventory is available and then base the allocation on the design; still other times companies go back and forth, beginning with an allocation but making substitutions on either end.  No matter what direction your process goes, you need a sales order in Finale Inventory for the show.  If you are working entirely from the design, then create a sales order in Finale Inventory with nothing in it.  You'll fill it out when you update it from Finale 3D.   Figure 1 – Example sales order in Finale Inventory in "Editable" state with two assortment cases allocated for the show.   Figure 1 shows an example sales order in Finale Inventory with two assortment cases packed 72/1.  Figure 2 shows the stock levels in Finale Inventory, with details expanded out for the ASST-A Product ID representing the assortment.  Since the sales order in Figure 1 is in the "Editable" state, it does not yet create a reservation against the Available quantities.  The ASST-A quantities in the sales order have no bearing on the stock quantities at this moment.     Figure 2 – Stock quantities are not affected by the sales order because it is in "Editable" state.   The stock quantities shown in Finale 3D mirror the stock quantites in Finale Inventory.  Figure 3 shows the QOH and Available quantities in Finale 3D.  The only difference is that Finale 3D always counts in "eaches," which it calls devices, whereas Finale Inventory may count in eaches or cases.  Figure 2 shows the quantities of ASST-A in Finale Inventory broken out by cases and eaches separately.  The quantities in Finale 3D shown in Figure 3 convert the cases to eaches and show the totals: 500 eaches + 10 cases of 72 is 1220.   Figure 3 – Finale 3D always counts in eaches:  500 eaches + 10 cases of 72 is 1220.   If you are synching quantities pre-allocated for the show in the direction from Finale Inventory to Finale 3D, then the quantities in the sales order in Finale Inventory will be transferred to the Quota column in Finale 3D.  Unlike the QOH and Available quantities, which are global stock quantities, the Quota is associated with a particular show and will be saved in the ".fin" show file when you save it from Finale 3D. The Quota column shows up no matter what inventory collection you are viewing in the effect window, but the actual data is stored in the Per-show effects collection that is part of the show, and is only editable if you are viewing that collection.   Figure 4 – Updating quotas from the sales order splits out the 2 cases of ASST-A  into the constituents.   Figure 4 shows the Quota column in Finale 3D after doing the "File > Finale Inventory > Update quotas from sales order..." function.   Notice that the two cases of 72 assorted shells in the sales order are automatically split out into 36 of each of the effect types in the assortment, so you can design the show to match the allocation of each effect type instead of a generic total.  The mechanics of this conversion for assortments are described in Case and assortment quantities, and breaking apart assortments. Having updated the Quota column from the sales order, you are ready to design the show.  As you insert effects into the show, the Used column reflects the used quantities, and the color of the Quota column changes from green to white to red as you match and exceed the allocation.   For some types of shows you might choose to insert all the allocated effects into the show as batch with the "Script > Insert multiple effects" menu item.  An overview of the functions for arranging effects into a pleasant design after inserting them into the show as a batch is in the article, Scripting manual shows.   Beginning with a design in Finale 3D If you are synching entirely in the direction from the show design in Finale 3D to the sales order in Finale Inventory, then there's no reason for you to do the "File > Finale Inventory > Update quotas from sales order..." function.  Skip this step and jump directly into designing the show.   Figure 5 – The Used column in Finale 3D fills up as you add effects to the show.   The Used column shows the quantities as you build out the show.  The example show of Figure 5 includes three salute shells that were not in the original sales order.  It also includes one other special effect that happens not to be an inventory item and thus isn't visible in this view.  For inventory management, the assortment constituents in rows 6-9 are counted generically as ASST-A items.  In total, including the salutes, the special effect non-inventory item, and the ASST-A items aggregated together, there are three different Product IDs that will get transferred to Finale Inventory with the function, "File > Finale Inventory > Update sales order from used quantities...".   Figure 6 – Of the three items synched up to Finale Inventory, one is a non-inventory item that Finale Inventory doesn't recognize.   Figure 6 shows the confirmation dialog from the synch operation.  Finale Inventory doesn't have a Product ID matching the non-inventory item in the show, so the dialog mentions that it will appear as an "item note" on the sales order. Figure 7 shows the sales order in Finale Inventory after the update.  If you compare Figure 7 to the original state of the sales order in Figure 1, you can see that two lines have been added, one for the salutes that weren't in the initial allocation of inventory, and the other for the non-inventory item as an item note.  Also notice that the quantity of the assortment as been changed from cases to eaches, which happens as a consequence of the fact that Finale 3D always counts in eaches.  If you want that quantity to be in cases in Finale Inventory, you have to edit it manually in the sales order to convert it back.   Figure 7 – Finale 3D quantities are always eaches, so if you update the sales order from Finale 3D, the quantities will be in eaches.   The sales order must be in the "Editable" state in Finale Inventory for the "File > Finale Inventory > Update sales order from used quantities..." function to work.  While in the "Editable" state, the sales order does not hold a reservation of the effects against the Available quantities.  Thus the Available and QOH quantities in Finale Inventory are unchanged at this point from your show design.  Figure 2 would look the same.   Figure 8– Once you put the sales order in the "Committed" state, it holds a reservation against the Available quantities for its effects.   If you change the sales order state to "Committed" in Finale Inventory, as in Figure 8, its quantities will be deducted from the Available quantities shown in Figure 9.  The QOH remains unchanged.   Figure 9 – When the sales order is in the "Committed" state, its quantities are deducted from Available.   Figure 9 has expanded detail for the ASST-A product, which shows the calculation of the Available quantity.  In comparison to Figure 2 you can see the extra row at the bottom, subtracting the sales order's quantities from the Available.   Figure 10 – Shipping the sales order will remove the reservation and deduct quantities from QOH.   Shipping the sales order in Finale Inventory results in the quantities shown in Figure 10.  The sales order's reservation has been released and the quantities have been relieved from QOH.  The detail row at the bottom of Figure 9 representing the reservation is gone from Figure 10 because the order has been shipped.   Figure 11 – Synching with network in Finale 3D updates the QOH and Available from Finale Inventory.     To update the QOH and Available quantities in Finale 3D, repeat the function, "File > Sync with network".  Bearing in mind the conversion from cases to eaches, the quantities of Figure 10 are consistent with Figure 11.

Finale 3D always counts in eaches, which it calls devices, but inventory systems may be keeping track of stock in cases or assortments, so a conversion may need to take place.   For assortments, the conversion is more complicated, because the quantity of shells in an assortment needs to get broken down into the quantities of each kind of shell in the assortment, so you can design a show with the specific types of effects allocated. Finale 3D provides functions to make these conversions generally, no matter what inventory system you are using, and in some cases makes these conversions automatically if you are synching to Finale Inventory.  The first half of this article describes the general conversion functions.  The second half describes the conversions that occur when you synch with Finale Inventory.   Breaking apart assortments into constituents In Finale 3D, breaking apart an assortment into its constituents means converting the generic quantity allocated for the assortment into more specific quantities for constituents of the assortment.  The Quota column holds the allocated quantities for effects.  You can see in Figure 1 and Figure 2 that the 144 shells allocated generically to Assortment A were redistributed to the constituent effects of Assortment A -- the red, green, blue, and cyan peony shells.   Figure 1 – Before breaking apart assortments, the total quantity of shells is in the row representing the assortment itself (part number ASST-A in this case).   The function that does the break apart operation is "Effects > Break apart assortment quotas".  Before using this function, import the allocated quantities ("File > Import > Import quotas...") or synch the quantities from a Finale Inventory sale order ("Effects > Finale Inventory > Update quotas from sales order...").  Then do the break apart command to split up the quantities.  No matter what inventory collection you have selected in the effects window, the quantities shown in the Quota column are actually from the show itself, stored in the show's Per-show effects.  That's why you can't edit the quantities in the Quota column unless you switch to the Per-show effects collection.     Figure 2 – After breaking apart assortments, the quantity is re-distributed to the rows with "children" part numbers (ASST-A-01, ASST-A-02, etc. in this case).   The part number representing an assortment generically and the part numbers representing the assortment's constituents must begin with the same characters, as you can see in Figure 1 and Figure 2 (in this case, "ASST-A").  That's the only way the break apart operation knows what constituents belong to what assortment.  The rule is: a part number XYZ represents an assortment if the collection also contains part numbers of the form XYZ-1, XYZ-2, etc.  The break apart operation takes the total number of shells allocated to an assortment and divides it evenly among the constituents.  In the Figure 2 example, there are four constituents with the derivative part numbers, so the allocated quota of 144 shells is re-distributed to the four constituents, 36 in each. To use the break apart operation, you obviously need to define effects for the constituents themselves, and you need to have those effect definitions in the collection displayed in the effects window.  These constituent effects need to be defined so you can design a show with them, but they usually are not part of your stock record keeping.  In Finale Inventory or your inventory management system of record, they would be defined products but they would never have stock quantities.  The quantities would only exist in Finale 3D as you are designing the show.  Imagine the constituents all having stickers on them like you sometimes see on candy bars in a bulk package: "Not for individual sale!"   Inserting effects into the show based on quotas Finale 3D includes a variety of functions to script traditional manual shows quickly once you have the effects inserted into the show.  Beginning from a packing list imported with "File > Import > Import quotas..." or beginning from a sale order in Finale Inventory, you will have the quantities in the Quota column.  To insert those effects into the show in bulk, try the function, "Script > Insert multiple effects..." and choose the "All effects, by quota" option shown in Figure 3.   Figure 3 – The "Script > Insert multiple effects..." command has an option to insert everything into the show that has a quota.   You may choose to space the effects out with some time in between or to randomize them as they are inserted.  This insertion operation is not meant to give you a completed show.  It just gives you a starting point with all the effects in the show on the timeline, as shown in Figure 4.  From there, Finale 3D has functions to adjust the spacing and manipulate groups of effects, which you can use to mold the effects into a pleasant show design.  An overview of these functions is in Scripting manual shows.   Figure 4 – After inserting effects based on quota, the effects are all on the timeline, ready for you to arrange pleasantly.   Synching cases and assortments with Finale Inventory If you are using Finale Inventory for your inventory management record keeping, you can synch the quantities in sales orders representing shows from Finale Inventory to the Quota column in Finale 3D.  You can also go in the other direction, synching the quantities in the Used column of Finale 3D back up to Finale Inventory to modify the sales order quantity.  The synching details are described in Synching with sales orders in Finale Inventory. Whenever you synch between the sales orders in Finale Inventory and the quantities in Finale 3D, in either direction, a conversion may need to take place.   You may be keeping stock in Finale Inventory as cases or eaches.  Finale 3D only counts in eaches (devices).  Case quantities in Finale Inventory are always converted to eaches when synched to Finale 3D.  When synching in the other direction, however, eaches stay as eaches.  If you synch from Finale 3D to Finale Inventory and you want your Finale Inventory sale order quantities to be in cases, you have to edit the sales orders manually in Finale Inventory to convert the eaches back to cases. Converting eaches to cases manually is not a terrible burden, but converting the constituents of a broken apart assortment back to the assortment quantities would be a bigger deal.  Finale 3D offers a conversion function to do this conversion automatically in the synch operation, which you can turn on in the "My Account > Finale Inventory Settings" page on finale3d.com as shown in Figure 5. Figure 5 – The "My Account > Finale Inventory Settings" page on finale3d.com has an option to break apart and recombine assortments when synching sales orders.   Figure 6 shows a sale order in Finale Inventory with quantity in cases packed 72/1.  After synching this sale order to Finale 3D with the break apart and recombine option on, Finale 3D would display a quota of 144 salutes, and 36 each of the four constituents of the Assortment A, adding up to the two assortment cases packed 72/1.   Figure 6 – A sale order in Finale Inventory can represent quantities as cases or eaches.   After designing the show in Finale 3D using the constituents of the assortment, if you synch back to the sale order in Finale Inventory you will get the quantities shown in Figure 7.  They'll be in eaches since they are coming from Finale 3D, but the constituent quantities have been recombined back into the assortment quantity.   Figure 7 – Finale 3D quantities are always eaches so if you update the sale order in Finale Inventory from Finale 3D, the quantities will come back in eaches.   Format of packing string Both Finale Inventory and Finale 3D interpret packing strings following the same rule: the quantity in eaches is the first readable number in the packing string.  Thus, according to this rule, the packing string 9/1 has the same number of eaches as the packing string 9/4/1 or 9/4 or just 9.  In all cases, the first number is the number of eaches.