The “DMX Patch” field of an effect definition is one line of computer code that translates the parameters of the effect into the DMX channels of the fixture, taking into account the duration of the effect, the angle of the trajectory, and other parameters if applicable.  You can unhide the DMX Patch field in the effects window to examine it.  Here are a few examples of DMX patches for certain kinds of effects. A red flash of an EasyDancing par light has the DMX patch, [beginEndPatch 0 32 0 1 255 255 2 0 0 3 0 0 5 0 0 6 0 0] A red flash of the light beam of a Tomshine moving head spotlight fixture has the DMX patch, [setupBeginEndPatch 1000 0 :pan540 :pan540 :pan540 1 :rTilt230 :rTilt230 :rTilt230 2 0 0 0 3 0 255 0 5 12 12 12] A “Move-To” animated light beam for the Tomshine moving head spotlight fixture has the DMX patch, [setupBeginEndPatch :effectiveSetupPlus1000Ms 0 :pan540 :pan540 :pan540 1 :rTilt230 :rTilt230 :rTilt230 2 :spdFrmESetupF1 :spdFrmESetupF1 :spdFrmESetupF1 3 255 255 0 5 12 12 12 :defineFunc1 :power 250 1 1.6] These three examples cover a range of simple to complicated DMX patches.  The reason the first DMX patch is simple is that par lights don’t have very much interaction with the user interface.  A par light doesn’t animate; it just turns on and off in various colors, and maybe strobes.  Thus the user interface for adding a flash of a red par light to a show involves nothing more than inserting the effect and possibly changing its duration on the timeline.   The numbers after the term beginEndPatch in the first example are the instructions to set the DMX channels to turn the light on with the color red for the duration of the effect. The second example is more complicated because after inserting a light beam effect for a moving head fixture, the user can drag the dotted line trajectory in the 3D view or use functions like “Fan” to change the angle of the light beam.  The DMX patch has to translate the angle of the dotted line that the user specified into the DMX channel values for the moving head fixture, which are typically specified as pan and tilt values.   The extra parameters after the setupBeginEndPatch term provide for that translation. The term setupBeginEndPatch also introduces the concept of “setup time”.  A moving head light fixture doesn’t move instantaneously, so if you want to flash a beam at a particular angle at time T, then you need to start moving the head angle of the fixture prior to T so it is pointing the right direction at the time you want it to flash.  The setupBeginEndPatch specifies the DMX channel values that apply at the beginning of the setup time, and also at the beginning of the visual effect (the effect time), and also at the end of the visual effect (the effect time plus the effect duration).  The concept of setup time also applies to gobos and color wheels, which need to rotate to the desired angles in advance of the effect turning on. The first parameter of the setupBeginEndPatch is the “ideal setup time”, which may be a constant number of milliseconds or may refer to a setup time definition like nominal setup time or effective setup time.  The “nominal setup time” refers to the event’s “Prefire” column in the script.  In DMX patches, the nominal setup time is mainly used in the calculation of the effective setup time as the maximum lookback interval for a Move-To event to connect to a preceding event that defines the “from” angle or blend-from color.  The “effective setup time” is the shorter of (a) the nominal setup time and (b) the time interval between the effect time of the event and the effect time of the nearest preceding event that whose VDL does not contain the keyword “Modifier” (the “effect backstop“).  The VDL keyword “Modifier” is used for effects like “With Strobing” that modify other effects but do not have a visual appearance on their own. The “per-channel setup time” is calculated for each channel of the DMX patch independently.  For each channel, the per-channel setup time is the shorter of (a) ideal setup time, and (b) the time interval between the effect time of the event and the maximum end time of preceding events whose DMX patch specifies a value for the channel (the “per-channel backstop”).  The “nominal duration” is the value of the Duration field in the Finale 3D event with which the DMX command is associated. The third example specifies an animated light beam that moves to the angle that the user specifies by angling the dotted line trajectory in the 3D view, animating from the angle specified by the dotted line of the effect preceding it.  Based on the amount of time in between the preceding effect and the Move-To effect, and the difference of the dotted line trajectory angles, the fixture’s moving head will need to rotate during that time at a particular speed to reach the goal angle at just the right time.  The additional parameters in this third DMX patch example define the formulas for calculating the motor speed DMX channel of the fixture.   Triggering fixtures’ pre-defined macros Some fixtures, like the Explo X2 Wave Flamer, have pre-defined macros, or programmed sequences, that are triggered by initially setting a DMX channel specifying the macro number and then setting the DMX channel to turn the ignition ON to play the macro.  To re-trigger the macro to play again, the DMX channel of the ignition must be turned OFF before being turned on again. If pre-defined macros are scripted back to back, there is no time between the end of one event and the beginning of the next event to turn off and on the ignition.  For the next event to trigger successfully, the ignition channel must be turned off prior to the end of the earlier event.  The setupBeginEndPatch provides a mechanism to guarantee the ignition channel turns off between events, as illustrated by this DMX Patch for one of the pre-defined macros of the Explo X2 Wave Flamer, [setupBeginEndPatch 100 1 0 0 0 2 0 255 0 3 0 0 0 4 :customPartFieldExploX2 :customPartFieldExploX2 :customPartFieldExploX2] The effect with this DMX Patch must also have a non-zero “Prefire” value so that the “backstop” definition relating to the “per-channel setup time” is the beginning of the previous event, not the end of the previous event.  The Explo X2 Wave Flamer’s ignition DMX channel is channel offset 2.  In this example patch, the ignition channel at offset 2 will be set to zero at “per-channel setup time” before  to the start of an event (100 ms) even if that time overlaps the duration of the previous event. In contrast with the pre-defined macros for which turning off and on the ignition is vitally important, effects that employ setup time only if it is available after the end of the previous event, like the red flash example above, should have a zero “Prefire” which causes the “backstop” to refer to the end of the previous event, not the beginning.   Functions The examples illustrate the beginEndPatch and setupBeginEndPatch functions.  There are only four DMX patch functions in total, shown in Table 1.  All of these functions have same basic syntax: they are the first term in a list of terms in square brackets.  The remaining terms in the list are the parameters to the function.  The first example above had a beginEndPatch term followed by 18 parameters.   Table 1 – Functions used in DMX Patches Function name Meaning Parameters beginEndPatch Defines the DMX channel values to occur at the beginning of the effect and at the end of the effect. A list of 3 * N parameters, for N channel specifications; the first three parameters specifying the channel offset, begin-value, and end-value of the first channel specification, the next three parameters specifying the channel offset, begin-value, and end-value of the second channel specification, etc.  Additional optional parameters may follow if entailed by earlier parameters such as :defineFunc1. setupBeginEndPatch Defines the DMX channel values to occur at the beginning of the setup time, and at the beginning of the effect, and at the end of the effect. A list of 1 + 4 * N parameters, for N channel specifications; the first parameter specifying the ideal setup time in milliseconds, evaluated independently for each DMX channel in the DMX patch; the next four parameters specifying the channel offset, setup-value, begin-value, and end-value of the first channel specification, the next four parameters specifying the channel offset, setup-value, begin-value, and end-value of the second channel specification, etc.  Additional optional parameters may follow if entailed by earlier parameters such as :defineFunc1. beginForeverPatch Defines the DMX channel values to occur at the beginning of the effect and to persist forever or until the interrupted by a subsequent effect. A list of 2 * N parameters, for N channel specifications; the first two parameters specifying the channel offset and begin-value of the first channel specification, the next two parameters specifying the channel offset and begin-value of the second channel specification, etc.; no channel changes occur at the end of the event.  Additional optional parameters may follow if entailed by earlier parameters such as :defineFunc1. endForeverPatch Defines the DMX channel values to occur at the end of the effect and to persist forever or until the interrupted by a subsequent effect. A list of 2 * N parameters, for N channel specifications; the first two parameters specifying the channel offset and end-value of the first channel specification, the next two parameters specifying the channel offset and end-value of the second channel specification, etc.; no channel changes occur at the beginning of the event.  Additional optional parameters may follow if entailed by earlier parameters such as :defineFunc1.   Parameters The parameters available for DMX Patches are a mixture of general parameters and specialized parameters that support various calculations.  If you are adding effects for a fixture that is not yet supported in Finale 3D, you may run across a need for a new calculation to support your fixture.  If so, please email the Finale support team to have it added to the DMX Patch language. The most general parameters are just numbers.  Channel offsets are integers beginning with 0.  Channel values are integers from 0 to 255.  All other parameters, shown in Table 2, are symbols beginning with colons that evaluate to calculated values for channel offsets, channel values, or durations.  As a simple example, the parameter :duration10 evaluates to the duration of the effect in 10ms units (hundredths of a second).  If the DMX Patch requires a channel to be set to the duration in hundredths of a second, this parameter produces the right number. The parameter :duration500MsTo2500Ms is also a duration parameter but its calculation maps effect durations from 500ms to 2500ms to integers 0 to 255 (clamped at the ends).  As you can guess from these two examples, many of the calculated parameters are specialized for the needs of of specific fixtures.  If a fixture requires a duration in the range 0-255 for effect durations 500ms to 2500ms, the :duration500MsTo2500Ms parameter is just right.  If the requirement were for 1000ms to 2500ms then a different parameter would be required, and if it weren’t yet defined then you would need to reach out to Finale to have it added. The DMX Patch has a maximum length of 256 characters.   That’s barely enough for some of the most complicated effects, so some of the long parameter names in Table 2 have optional shorter synonyms that take fewer characters.  The third example above uses :spdFrmESetupF1 in place of :speedFromEffectiveSetupAndFunc1 to save space.   Table 2 – Parameters used in DMX Patches Parameter name Evaluates to Meaning :duration10 0-255 channel value Effect duration in hundredths of a second :duration500MsTo2500Ms 0-255 channel value Effect duration from 500ms to 2500ms, mapped to 0 to 255, clamped at the edges :customPartFieldExploX2 0-255 channel value The value ( 2 + X * 255.0 / 100.0 ) rounded to the nearest integer, where X is the Custom Part Field value of the effect, read as an integer; this calculation converts the Explo X2 pre-defined macro numbers to the DMX channel value range 0-255 :speedFromEffectiveSetupAndFunc1 (or :spdFrmESetupF1) 0-255 channel value A speed value in the range 0-255 calculated from (1) the “effective setup time” (as defined earlier) and (2) the angle delta in pan or tilt (whichever delta is greater) between this event and the nearest preceding event whose VDL does not contain the keyword “Modifier”, and (3) the function defined by the optional parameter :defineFunc1 (see Table 3) :speedFromEffectiveSetupAndFunc2 (or :spdFrmESetupF2) 0-255 channel value Like :speedFromEffectiveSetupAndFunc1 but using the function defined by :defineFunc2 :defineFunc1 N/A Defines a function to calculate the speed parameter for a fixture based on the effect duration and angle interval; useful for moving head fixtures (see Table 3). “Move-To” effects need to calculate a “motor speed” parameter based on the angle sweep delta and the duration of the sweep. It would be nice if the speed calculation was simple, such as: speed = angle delta / duration. Unfortunately the motor speeds on different fixtures are not linear, and their min/max speeds are different from fixture to fixture. So Finale 3D‘s DMX Patch in the effect needs to define a function to calculate the speed based on the angle delta and duration. That is what :defineFunc1 does. :defineFunc2 N/A Like :defineFunc1 :effectiveSetupPlus1000Ms Integer for first parameter of setupBeginEndPatch Integer milliseconds suitable for the first parameter of of the setupBeginEndPatch function; “Move-To” effects make channel changes to visible attributes at a time that reaches back by the effective setup time to connect with the preceding effect (such as a “Move-In-Black (MIB)” effect), but if a “Move-To” effect has a gobo, the gobo channels need to be set even in advance of the effective setup time in order to be fully rotated at the time the visible attributes change; the extra 1000ms provides a time point for the DMX Patch to set the gobo channels or color wheel channels. As an example, imagine you begin at time t=10sec with the head aiming straight up, turned OFF.  Then from time t = 20s to time t = 22s you want to do an angle sweep from -45 degrees to 45 degrees with the head turned on RED.  The event at time t = 20s would be the “Move-In-Black” effect.  The event at time t = 22s would be the  “Move-To” effect.  The “Move-To” effect needs to turn the light ON at t = 20s with the color RED, but if the fixture uses a color wheel, the color wheel takes some time to rotate to the correct color, so the color wheel channel parameter needs to be set in advance of t = 20s so that when the light is turned on at 20sec the color wheel is already at the correct rotation to show the color RED.   Thus the  “Move-To” effect at time t = 22s needs to reach back 2s + some extra time to set the color wheel rotation. :effectiveSetup10 0-255 channel value The effective setup time in hundredths of a second :effectiveSetup Integer for first parameter of setupBeginEndPatch The effective setup time in milliseconds :nominalSetup Integer for first parameter of setupBeginEndPatch The prefire time of the effect definition in milliseconds (from the Prefire column in the effects window) :p0, :p1, :p2, :p3, …:p29 0-255 channel value The corresponding parameter value from the DMX Parameters field of the script row, which can hold a single number, as in 128, or an array of numbers enclosed in brackets, as in "[128 0 0 60 255 255 0]", or a map object of the form {[:p0 255] [:p7 255]} containing a subset of parameter values or {[channelValues [128 0 0 60 255 255 0]]}} containing array of numbers. The parameter :p0 refers to the number if the DMX Parameters field holds a single number, or to the first number in the array if the field holds an array of numbers; or the parameter value :p0 from the map if present.  If the value for a given parameter:pN is not present, i.e., if the array is shorter than the parameter index or if the map doesn’t have a value for the parameter, then the DMX Patch will not write to the channel associated with the parameter. :pan540 0-255 channel value The pan angle of the effect (right hand rotation around Up-axis), mapped from 0-540 degrees to the value 0-255; the calculation is, (“Effect’s Pan in Finale 3D converted to 0-360 degrees” * 127.5 / 270 ) rounded to the nearest integer. :rPan540 0-255 channel value Like :pan540 except calculated from the negated Pan angle in Finale 3D, converted to 0-360 degrees. :rTilt230 0-255 channel value Like :tilt230 except calculated from the negated Tilt angle in Finale 3D, converted to -180 to 180 degrees. :rTilt244 0-255 channel value Like :tilt244 except calculated from the negated Tilt angle in Finale 3D, converted to -180 to 180 degrees. :rTilt270 0-255 channel value Like :tilt270 except calculated from the negated Tilt angle in Finale 3D, converted to -180 to 180 degrees. :rTilt180 0-255 channel value Like :tilt180 except calculated from the negated Tilt angle in Finale 3D, converted to -180 to 180 degrees. :rTilt180z5 5-250 channel value Like :rTilt180 except clamped to the range 5 to 250, supporting fixtures for which 0 or 255 values have special meaning. :tilt210 0-255 channel value The tilt angle of the effect, i.e., bending forward/back or left/right (right hand rotation around Pan-rotated Right-axis), mapped from -105 to 105 degrees to the value 0-255; the calculation is, (“Effect’s Tilt in Finale 3D converted to -180 to 180 degrees” * 127.5 / 105 + 127.5 ) rounded to the nearest integer. :rTilt210 0-255 channel value Like :tilt210 except calculated from the negated Tilt angle in Finale 3D, converted to -180 to 180 degrees. :tiltL76R255 76-255 channel value The tilt angle of the effect, mapped from -90 to 90 degrees to the value 76-255; the calculation is, (“Effect’s Tilt in Finale 3D converted to -180 to 180 degrees” * 89.5 / 90 + 165.5 ) rounded to the nearest integer and clamped to the valid range. :rTiltL76R255 76-255 channel value Like :tiltL76R255except calculated from the negated Tilt angle in Finale 3D, converted to -180 to 180 degrees. :tilt90x200 0-255 channel value The tilt angle of the effect, i.e., bending forward/back or left/right (right hand rotation around Pan-rotated Right-axis), mapped from -45 to 45 degrees to the value 28 to 228; the calculation is, (“Effect’s Tilt in Finale 3D converted to -180 to 180 degrees” * 100.0 / 45 + 127.5 ) rounded to the nearest integer and clamped to 28 – 228 :tilt45ToChannelOffset0To4 0-4 channel offset A channel offset 0-4 representing best nearest match fixed angle fixture head, for fixture heads at -45, -22.5, 0, 22.5, 45 matching the tilt angle of the effect :tilt45ToChannelOffset1To5 1-5 channel offset Like :tilt45ToChannelOffset0To4 except offsets beginning at 1 instead of 0 :tilt45ToChannelOffset1To3 1-3 channel offset Like :tilt45ToChannelOffset1To5 except for three fixture heads at -45, 0, and 45 degrees :rTilt45ToChannelOffset0To4 0-4 channel offset Like :tilt45ToChannelOffset0To4 except except calculated from the negated Tilt angle in Finale 3D :rTilt45ToChannelOffset1To5 1-5 channel offset Like :tilt45ToChannelOffset1To5 except except calculated from the negated Tilt angle in Finale 3D :rTilt45ToChannelOffset1To3 1-3 channel offset Like :tilt45ToChannelOffset1To3 except except calculated from the negated Tilt angle in Finale 3D :tilt40ToChannelOffset0To4 0-4 channel offset A channel offset 0-4 representing best nearest match fixed angle fixture head, for fixture heads at -40, -20, 0, 20, 40 matching the tilt angle of the effect :tilt40ToChannelOffset1To5 1-5 channel offset Like :tilt40ToChannelOffset0To4 except offsets beginning at 1 instead of 0 :tilt40ToChannelOffset1To3 1-3 channel offset Like :tilt40ToChannelOffset1To5 except for three fixture heads at -40, 0, and 40 degrees :rTilt40ToChannelOffset0To4 0-4 channel offset Like :tilt40ToChannelOffset0To4 except except calculated from the negated Tilt angle in Finale 3D :rTilt40ToChannelOffset1To5 1-5 channel offset Like :tilt40ToChannelOffset1To5 except except calculated from the negated Tilt angle in Finale 3D :rTilt40ToChannelOffset1To3 1-3 channel offset Like :tilt40ToChannelOffset1To3 except except calculated from the negated Tilt angle in Finale 3D :tilt180 0-255 channel value The tilt angle of the effect, i.e., bending forward/back or left/right (right hand rotation around Pan-rotated Right-axis), mapped from -90 to 90 degrees to the value 0-255; the calculation is, (“Effect’s Tilt in Finale 3D converted to -180 to 180 degrees” * 127.5 / 90 + 127.5 ) rounded to the nearest integer. :tilt180z5 0-255 channel value Like :tilt180 except clamped to the range 5 to 250, supporting fixtures for which 0 or 255 values have special meaning. :tilt230 0-255 channel value The tilt angle of the effect, i.e., bending forward/back or left/right (right hand rotation around Pan-rotated Right-axis), mapped from -115 to 115 degrees to the value 0-255; the calculation is, (“Effect’s Tilt in Finale 3D converted to -180 to 180 degrees” * 127.5 / 115 + 127.5 ) rounded to the nearest integer. :tilt244 0-255 channel value The tilt angle of the effect, i.e., bending forward/back or left/right (right hand rotation around Pan-rotated Right-axis), mapped from -122 to 122 degrees to the value 0-255; the calculation is, (“Effect’s Tilt in Finale 3D converted to -180 to 180 degrees” * 127.5 / 122 + 127.5 ) rounded to the nearest integer. :tilt270 0-255 channel value The tilt angle of the effect, i.e., bending forward/back or left/right (right hand rotation around Pan-rotated Right-axis), mapped from -135 to 135 degrees to the value 0-255; the calculation is, (“Effect’s Tilt in Finale 3D converted to -180 to 180 degrees” * 127.5 / 135 + 127.5 ) rounded to the nearest integer. :timeFromEffectiveSetupAndFunc1 (or :tmFrmESetupF1) 0-255 channel value A time value in the range 0-255 calculated from the “effective setup time” (as defined earlier) and (2) the angle delta in pan or tilt (whichever delta is greater) between this event and the nearest preceding event whose VDL does not contain the keyword “Modifier”, and (3) the function defined by the optional parameter :defineFunc1 (see Table 3) :timeFromEffectiveSetupAndFunc2 (or :tmFrmESetupF2) 0-255 channel value Like :timeFromEffectiveSetupAndFunc1 but using the function defined by :defineFunc2   Optional parameters The functions of Table 1 are followed by a list of required parameters and optional parameters following the required parameters.  The optional parameters, which begin with :defineFunc1 or :defineFunc2, define functions that can be referred to by required parameters, such as :speedFromEffectiveSetupAndFunc1.  The purpose of the function is to provide a user-defined calculation for a motor speed channel value of a moving head fixture. The parameter :speedFromEffectiveSetupAndFunc1 does just that — it evaluates to the DMX channel value for motor speed that will make the head rotate at the correct rotational velocity in degrees per second to cover the Move-To angle over the effective setup period of time.  Unfortunately, the motor speed DMX channel values of most fixtures do not correspond to rotational velocities in a simple linear equation, so the only way to figure out what the correspondence actually is is to measure it, as in Figure 1.   Figure 1 – Motor speeds for Tomshine moving head fixtures   The X-axis in Figure 1 represents the channel values, going from 0 to 255.  The Y-axis represents the observed rotational velocity based on measuring the time it takes for the head to move some number of degrees with a stop watch.  You can construct a graph like Figure 1 using a lighting desk and your fixture with the following procedure: 1) set the fixture’s DMX channel for speed to a value between 0 and 255, 2) move the head angle to 180 degrees, 3) start the stop watch and simultaneously quickly change the DMX channel value for head angle to aim it back at zero degrees, 4) record the time it took to travel 180 degrees, 5) the degrees per second is thus 180 / measured time. Based on your measurements you can connect the dots to make a curve, and then you can define a mathematical curve that approximates the measured curve with the parameters of the :defineFunc1 or :defineFunc2 functions, as shown in Table 3.  When referenced by parameter :speedFromEffectiveSetupAndFunc1 the result of the function :defineFunc1 is interpreted to be “speed” in degrees per second.  When referenced by :timeFromEffectiveSetupAndFunc1 the result is interpreted to be “time” in seconds.   Table 3 – Parameters of the functions defined by :defineFunc1 and :defineFunc2 Parameter index Meaning Values +0 Name of interpolation function: :power means Y=(Y1-Y0)* ((X-X0)/(X1-X0))^C+Y0 :rpower means Y=(Y0-Y1)*((X1-X)/X1-X0))^C+Y1 where X0=the DMX channel value 0, X1=the DMX channel value 255, Y0=Degrees/sec at DMX channel value 0, Y1= the function value (e.g., degrees/sec or seconds) at DMX channel value 255, C=exponent defined in parameter +3 that affects the shape of the curve :power or :rpower +1 The function value for the DMX channel value 0 (Y0 in the interpolation function) float +2 The function value for the DMX channel value 255 (Y1 in the interpolation function) float +3 The constant exponent C of the interpolation function (C = 1.0 means linear interpolation) float +4 (optional) Min valid DMX value on the X-axis if not zero (to restrict value range to reliable values for the fixture; e.g., Explo X2 Wave Flamer does not work reliably for values < 25 or > 128) integer 0-255 +5 (optional) Max valid DMX value on the X-axis if not 255 integer 0-255   The parameters define the function as an interpolation between the speed at 0 and the speed at 255 (parameters +1 and +2) by way of the function chosen by parameter +0 with exponent C from parameter +3, the result clamped by optional parameters +4 and +5.  If C is 1, then the function is simply a straight line.  If C is 2 then the curve is a parabola.  Other values of C, including fractional values, produce different curves with different bends.  You can choose :power or :rpower and find a value for C that yields a decent approximation to your measured values by graphing the functions in Excel and adjusting the values to find the best fit. The third example from the beginning of this article included the defined function for the 80W Tomshine fixture of Figure 1: :defineFunc1 :power 250 1 1.6 From Table 3, you can see this function begins with 250 degrees/sec at DMX speed channel value = 0, ends with 1 degree/sec at DMX speed channel value 255, and uses the power C = 1.6.  That produces the yellow line in Figure 1.  The knee of the curve is closest to DMX speed channel value = 0.  If you want the knee to be on the other end, at 255, then try the function :rpower instead.  If the observed motor speed essentially stops before reaching the maximum DMX channel value, you may find it useful to specify a negative value for parameter +1 or +2 to make the curve cross the X-axis at the right DMX channel value.   End value optimizations The end value for DMX channels specified in the setupBeginEndPatch and beginEndPatch (but not beginForeverPatch and endForeverPatch) code segments may be changed to zero in some circumstances to facilitate optimizations that reduce the size of the script file for certain firing systems.  If the specified end value is X, that means, “X, or optionally zero if the next event that sets this channel sets it to zero.”  These semantics enable the DMX script exporter to use a feature of some firing systems that automatically sets the value of a channel to zero after a given duration without requiring an additional script row to set it to zero. In some cases, DMX Patches need to work around the end value optimizations to avoid visual ramifications.  The MARQ moving head fixture’s shutter channel value range of 0-3 corresponds to closed, beam not visible.  The DMX Patch for the initialize fixture effect sets the shutter to remain with an “end” value of 255 (“open, beam visible”), but “end” values in DMX Patches may be changed by the exporter to 0 as a valid optimization if the following event begins with the value 0 for the same channel.  Consequently, if an event begins with shutter channel value of 0 it could affect a previous shutter value (for instance, changing the “end” value of the initialize fixture from 255 to 0).  To prevent this unfortunate side-effect of the shutter channel value of 0, the MARQ DMX Patches simply never use the shutter value of 0; the values 1-3 are equivalent and do not cause end value optimizations.   Move-In-Black and Move-To For moving head fixtures, the DMX Patches for Move-In-Black effects set the dimmer value (or RGB values directly if dimmer is combined with strobe on the same channel) to zero (OFF) instead of leaving it unchanged, for reasons that are a little complicated.  Move-To effects begin their nominal interpolation period at the effect time of the previous non-modifier event on the fixture (modifier events like “With Strobing” or “With Gobo” contain the word “Modifier” in their VDL to avoid affecting the Move-To interpolation periods).  While the nominal interpolation period extends back to the effect time of the previous non-modifier event, each affected DMX channel’s interpolation period extends back to previous time the DMX channel itself was set.  If the Move-In-Black effects don’t set the dimmer value to zero, then a Move-To effect that follows the Move-In-Black effect will cause the dimmer to be ON beginning prior to the Move-In-Black effect! For precisely the reasons that Move-In-Black effects do set the dimmer value, they do not set the color wheel parameter or gobo parameter for fixtures with rotating wheel mechanisms, because a Move-To effect that follows the Move-In-Black effect does need to cause the wheel parameters to be set prior to the Move-In-Black effect time, so the wheels have time to rotate properly before the effect turns on visibly at exactly the Move-In-Black effect time. You can string multiple Move-To events together, e.g., Move-In-Black, Move-To, Move-To, Move-To, etc.  It is clearer to begin a Move-To sequence with a Move-In-Black, but users may begin them with a Flash effect instead.  It is imperative that the DMX Patch of a Flash effect sets the motor speed to full speed, just as the Move-In-Black does.  Otherwise a Move-To effect following the Flash effect will likely cause the motor speed to be set to a slower speed prior to the Flash effect, sabotaging its ability to achieve the desired pan/tilt angle by the time of the Flash effect. Table 4 and Table 5 provide patch templates for fixtures with color wheels (Example: YF [081] Beam 230 Moving Head 16CH), and fixtures with RGB LEDs an independent dimmer channel (Example: U `King [029] Moving Head RGBW 11CH).  Some fixtures with LEDs combine the dimmer and strobe on the same DMX channel (Example: Betopper [090] DJ Mini Moving Head 9CH).   Patches for such fixtures use the RGB channels rather than the strobe+dimmer channel to turn the lights on so the strobe+dimmer channel can be used to control strobing independently, essentially ignoring its application as a dimmer.  These patches are described in Table 6. Multi-function fixtures that combine LEDs and lasers using a single dimmer channel globally for both the LEDs and the lasers may need to use patches similar to those in Table 6, essentially ignoring the dimmer channel so the LEDs and lasers can be turned on independently (Example: U `King [089] Pocket Moving Kaleidoscope/Laser 15CH).   Table 4 – Flash, Move-To and Move-In-Black patch templates for fixtures with color wheels Type Of Effect Patch Red Flash [setupBeginEndPatch 1000 PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 COLORINDEX COLORVALUE COLORVALUE COLORVALUE DIMMERINDEX 0 255 0 SPEEDINDEX 0 0 0] Move-In-Black [setupBeginEndPatch 1000 PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 DIMMERINDEX 0 0 0 SPEEDINDEX 0 0 0] Red Move-To [setupBeginEndPatch :effectiveSetupPlus1000Ms PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 COLORINDEX COLORVALUE COLORVALUE COLORVALUE DIMMERINDEX 255 255 0 SPEEDINDEX :spdFrmESetupF1 :spdFrmESetupF1 :spdFrmESetupF1]   Table 5 – Flash, Move-To and Move-In-Black patch templates for fixtures with RGB LEDs; and with dimmer that is not combined with strobe on the same channel  Type Of Effect Patch Red Flash [setupBeginEndPatch 1000 PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 RINDEX RVALUE RVALUE RVALUE GINDEX GVALUE GVALUE GVALUE BINDEX BVALUE BVALUE BVALUE DIMMERINDEX 0 255 0 SPEEDINDEX 0 0 0] Move-In-Black [setupBeginEndPatch 1000 PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 DIMMERINDEX 0 0 0 SPEEDINDEX 0 0 0] Red Move-To [setupBeginEndPatch :effectiveSetupPlus1000Ms PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 RINDEX RVALUE RVALUE RVALUE GINDEX GVALUE GVALUE GVALUE BINDEX BVALUE BVALUE BVALUE DIMMERINDEX 255 255 0 SPEEDINDEX :spdFrmESetupF1 :spdFrmESetupF1 :spdFrmESetupF1]   Table 6 – Flash, Move-To and Move-In-Black patch templates for fixtures with RGB LEDs; and with dimmer that is combined with strobe on the same channel  Type Of Effect Patch Red Flash [setupBeginEndPatch 1000 PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 RINDEX 0 RVALUE 0  GINDEX 0 GVALUE 0 BINDEX 0 BVALUE 0 SPEEDINDEX 0 0 0] Move-In-Black [setupBeginEndPatch 1000 PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 RINDEX 0 0 0  GINDEX 0 0 0 BINDEX 0 0 0 SPEEDINDEX 0 0 0] Red Move-To [setupBeginEndPatch :effectiveSetupPlus1000Ms PANINDEX :pan540 :pan540 :pan540 TILTINDEX :rTilt230 :rTilt230 :rTilt230 RINDEX RVALUE RVALUE 0  GINDEX GVALUE GVALUE 0 BINDEX BVALUE BVALUE 0 SPEEDINDEX :spdFrmESetupF1 :spdFrmESetupF1 :spdFrmESetupF1]   With XXX By convention, effects that modify other effects and do not have a visual effect on their own are named “With XXX” where XXX is a description of an effect modification that applies for the duration of the effect.   These are called “modifier effects”.  Examples are “With Strobing” or “With Safety Channel”.  As described in Table 2 of  Creating or modifying DMX effects for existing fixtures, the VDL of modifier effects should contain the term “Modifier” and “Non-Physical” to make them appear correctly on the timeline and to prevent them from interfering with the effective setup time for Move-To interpolation.   Reset Fixture Some fixtures require a “Reset/Initialize Fixture” effect to set certain DMX channels to initial values.  It is most common for DMX channel values of 0 to correspond to natural default values, but that’s just not the case for some fixtures.  The 30W Tomshine moving head fixture’s “no gobo” pattern does not correspond to the DMX gobo channel value of 0; it corresponds to values between 16 and 23!    The flash effects for this fixture do not themselves set the gobo channel, in order to allow “With Gobo” effects to apply the gobo as a modification.  Thus if the gobo channel value of 0 corresponds to a gobo, the user is in for a surprise unless the user adds a “Reset Fixture” effect that sets the gobo channel value to a number between 16 and 23 to nullify the gobo pattern. The fixtures requiring a “Reset/Initialize Fixture” effect are listed in Table 1 of Supported light fixtures (and Standard Fixture IDs).   Table 7 – Example files Download link Explanation dmx_patch_functions02.xlsx Excel worksheet for defining functions

Finale 3D has general DMX capabilities to support scripting shows for all kinds of DMX fixtures, including lights, special effects, and flames.  Every different DMX fixture, however, requires its own effect library, which includes the VDL visualization instructions and DMX Patch specifications necessary to display the effect and export the DMX instructions for the controller. To script a show involving DMX lights, your first step is obtain an effect library for the fixtures you want to use.  Finale 3D has effect libraries for a few fixtures in its Generic Effects collection, and more effect libraries in the supplier catalogs.  The complete list of effect libraries that Finale 3D currently has constructed is here: Supported light fixtures (and Standard Fixture IDs).  Since this list is diminutively small relative to the tens of thousands of DMX fixtures that exist, it is likely that you will need to create an effect library for your fixture.  If your fixture is a common fixture and you have the instructions for it, Finale’s support team will be happy to create the effect library for you free of charge.  For less common or more specialized fixtures, Finale can connect you to a consultant who can make the effect library for you.  So, after checking the list to see if Finale 3D already has an effect library for your fixture, please email support at Finale if you need an effect library created.   Instructions Follow the basic DMX instructions (DMX basic instructions) to design a show for light fixtures.  When you right-click on positions to configure them as DMX fixtures, as shown in Figure 1, the list of options will include all fixtures identified in your effect collections, which includes Generic Effects, all supplier catalogs that you’ve turned on, and any of your own inventories or effect files that you have loaded.   Figure 1 – Right-click on positions to configure them as light fixtures.     Light fixture effects Effect libraries for light fixtures contain a set of pre-defined effects to use in your show.   Most of the effects in the libraries are one-shot effects like “Red Flash” that you insert into the show at the desired time and adjust the duration of if you need to by editing it in the Duration column in the script.  Unlike pyro and flame effects, light and sfx effects have durations that are editable in the script (see Why is ‘Type’ so important? What depends on it?). Effects for moving head fixtures can aim in arbitrary directions.  After you insert them into the show, drag the dotted line trajectory in the design view to aim in the desired direction.  Finale 3D will take into account the angle when it exports the DMX script, translating the angle to the corresponding pan and tilt channel values for the fixture. Effect libraries for moving head fixtures generally contain “Move-In-Black” effects and “Move-To” effects, to create a sweeping effect that rotates from one angle to another.  Insert the “Move-In-Black” effect at the “from” time and drag its trajectory dots to the “from” angle.  Insert the “Move-To” effect at the “to” time and drag its trajectory dots to the “to” angle.  On the timeline, the “from” and “to” effects will be connected.  As you drag them farther apart or closer together on the timeline, the line between them expands or contracts.  The duration of the line is the duration of the effect.  The “Move-In-Black” effects generally have zero duration in their definition, so they appear as dots on the timeline by themselves.  The meaning of “in black” is that the light fixture is off (black) as it moves to the “from” angle in preparation for the effect.  The “Move-To” effects generally turn on the effect and specify the color, as in the effect “Red Move-To (lg)”.  The suffixes “(sm)” or “(md)” or “(lg)” indicate the intensity of the effect. On the timeline “Move-To” effects reach back to the immediately preceding effect on the same fixture, as shown in Figure 2.  Most often the preceding effect would be a “Move-In-Black” effect, but it can also be any of the one shot effects or can be another “Move-To” effect if you are stringing together a sequence of multiple sweeping segments (e.g., “Move-In-Black” then “Move-To” then “Move-To” then “Move-To”).  The sweeping period of the “Move-To” effect during which the angle is rotating extends from the effect time of the preceding effect (i.e., from its cue flag) to the end of the duration of “Move-To” effect.  “Move-To” effects generally have zero duration in their definition for clarity, since their effective start time is based on the preceding effect yet their effective end time is the end of their own duration.  If you want to lengthen the duration of a “Move-To” effect it is usually easier to drag it to the right on the timeline, but you can also edit its duration, which accomplishes the same goal.   Figure 2 – A “Move-In-Black” (cue flag 105) and a “Yellow Move-To” 5s later define a moving effect, visualized as a yellow bar.   Effect libraries may also contain modifier effects like “With Strobing Fast” or “With Gobo Star”.  Modifier effects appear as dotted lines on the timeline, as you can see in Figure 2.  They do not turn on or off the fixture themselves.  They modify any effects that they overlap.  If you want a yellow, strobing, star gobo effect for a moving head light that sweeps from one angle to another, you would insert a “Move-In-Black” effect at the “from” time, and a “Yellow Move-To” effect at the “to” time.  Then you’d also insert a “With Strobing” effect and a “With Gobo Star” effect at the “from” time or just before, and you would adjust the durations of these two modifier effects to cover the duration between “from” and “to”, or longer if the strobing or gobo effects are intended to apply to other effects also that you add after the “to” time.   Table 1 – Types of light fixture effects Type of effect Explanation One-shot effects Effects like “Red Flash” create an effect at their time on the timeline.  Edit their duration in the script window if needed.  Drag the trajectory dots to the desired angle for moving head fixtures. Move-To effects Effects like “Red Move-To” create an effect that extends from the end of the preceding effect for the same fixture to the end of its own duration on the timeline.  Drag the trajectory dots to the desired angle for moving head fixtures to define the “to” angle of the movement. Modifier effects Effects like “With Strobing” or “With Gobo” are not visible themselves, but will modify other effects that they overlap on the same fixture. Setup effects Effects like “Reset/Initialize fixture” may be required to setup up the fixture before applying other effects.  Most fixtures do not require these effects.  For those fixtures that do, simply insert one of these effects at the beginning of the show for each fixture.   Exported DMX scripts Moving head fixtures and fixtures that use rotating wheels for gobos or color selection require some preparation time prior to the beginning of the effect to move the head or rotating wheel to the correct spot for the effect to begin.  In the exported DMX script, Finale 3D automatically sets the channels that need preparation time prior to effect’s beginning time.  If there is enough time between effects, the inserted preparation time for some channels may be as much as one second.  If effects are close together, the preparation time will be compressed to avoid interaction between the effects.  If the effects are back to back, which eliminates any preparation time, then the spinning of the color or gobo wheel or the movement of the head may become visible to the audience in the show, since it takes place while the effect is on.   Limitations Most light fixtures have the capability of producing a wider range of effects based on their possible DMX channel values than are provided in the effect libraries.  For example RGB fixtures can produce effects for a full color gamut of millions of colors; yet the effects in the effect libraries include only a handful of colors by name.  If you need effects that are not provided in the effect libraries, you can create your own effects in your My Effects collection by copy/pasting effects from the fixture’s effect library and modifying their VDL to change their visualization and their DMX Patch to change the exported DMX channel values.  In general, modifying effects requires knowledge of the fixture’s DMX personality and also some programming knowledge of the syntax of DMX Patches.  Please contact support at Finale for instructions if you need to modify effects. With the exception of modifier effects, each fixture in the script is capable of doing only one effect at a time.  It is an error to add a “Red Flash” effect and a “Blue Flash” effect at the same time or overlapping times, for example.  It is also an error to add modifier effects between a “Move-To” effect and the effect it reaches back to, because doing so would make the “Move-To” effect reach back only to the modifier effect. Since the one-shot effects in most effect libraries specify the color and the intensity of the effect, it is also not possible to adjust the color or intensity during an effect, without inserting multiple effects back to back.  Inserting multiple effects back to back is perfectly convenient except for moving heads.  Since the angle range of “Move-To” effects is defined by the “from” and “to” effects on the timeline and the angle of their trajectory dots, adjusting the color or intensity of “Move-To” effect by way of inserting multiple effects requires that all the inserted effects in the sequence except the first are “Move-To” effects and that each of their trajectories is angled at the appropriate intermediate angle.  

The firing systems and controllers listed in Table 1 support DMX in scripts exported from Finale 3D.  If you have a pyro firing system or DMX light desk that has a facility to import script files in a standard interchange format like a text file and output a DMX signal, please email the documentation of the file format to support@finale3d.com, and Finale may be able to support it.   Table 1 – DMX-capable firing systems and controllers Firing system Compatible Finale 3D version Universe paradigm Universes Channels per universe Cobra ALL current releases (beta and full release) Each 36M or 72M module can output one independent or shared DMX universe; the universe number is configurable separately from the module numbers; the 18M modules do not support DMX. 1-100 1-200 Fire Control G2 ONLY the full release 2025.07.18-f01426461 One global DMX universe. 1 1-512 FireOne (CSV) ALL current releases (beta and full release) Each module address is a separate DMX universe. 1-99 1-512 fireTEK ALL current releases (beta and full release) Each module address is a separate DMX universe. 1-99 1-99 Mongoose ALL current releases (beta and full release) Each module address is a separate DMX universe. 1-99 1-512 Piroshow ALL current releases (beta and full release) One global DMX universe; all module addresses serve the same DMX universe. 1 1-512 Pyrodigy ONLY the full release 2025.07.18-f01426461 Each module can output one independent or shared DMX universe; the universe number is configurable separately from the module numbers. 256 1-512 Pyromac V1 Firmware ALL current releases (beta and full release) One global DMX universe; all module addresses serve the same DMX universe. 1 1-50 Pyromac V2 Firmware ALL current releases (beta and full release) Pyromac Master modules share the same DMX universe; and Pyromac DMX Boxes each serve their own DMX universe 10 independent DMX Box universes + 1 shared Pyromac Master universe Master: 1-50 DMX Box: 1-512 PyroSure ONLY the full release 2025.07.18-f01426461 Each module address is a separate DMX universe. 1-255 1-255 Pyrotronix ONLY the full release 2025.07.18-f01426461 One global DMX universe. 1 1-127 Showven ALL current releases (beta and full release) One global DMX universe. 1 1-512

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.    

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.  

The list below shows the fixtures that Finale 3D supports. If your fixture matches one of these — or has the same DMX channel configuration — you can simply configure a position as a DMX fixture in Finale 3D and choose the fixture from the list. Use control-F to search this page in your browser by fixture name or brand.  If you don’t find your fixture listed by brand, examine if any of the “Anonymous” fixture brands (sorted as ANO below) match the number of channels and description of your fixture, and if so then examine the user’s manual to compare the channel map line by line with the user’s manual provided with your fixture. If your fixture is not listed anywhere, fill out the online DMX Fixture Request Form to get it added for free.  These support requests typically take 1-2 weeks to fulfill. Further details and troubleshooting advice are here: Troubleshooting DMX fixtures.   Table 1 – Supported fixtures Brand ID ID Manufacturer Fixture Name Category Number of DMX Channels Manual and Notes ACM 280 Acme Ginamp Pixel Panel Wash Light 13CH GINAMP User Manual D Version.pdf ADJ 045 ADJ Fog Fury Jett Fog Jet Machine Fog Jet Machine 7CH 28596-ADJFOGFURYJETTPROUserManual.pdf ADJ 082 ADJ Inno Pocket Spot Pearl Moving Head Moving Head 9CH inno_pocket_spot_pearl.pdf ADJ 049 ADJ QWH12X RGB Par Light Par Light 8CH Adj Flat Par QWH12X.pdf ADJ 272 ADJ Jolt 300 Pixel Panel Pixel Panel 8CH ADJ Jolt 300 User Manual_ENG.pdf ADJ 273 ADJ Mega Hex Par Light Par Light 8CH ADJ_Mega_Hex_Par_-_USER_MANUAL_06-19-2023.pdf ADJ 278 ADJ HYDRO BEAM X2 Moving Head Moving Head 17CH ADJ Hydro Beam X2 – User Manual.pdf ADJ 327, 328 ADJ DP-415R Dimmer/Switch Box Relay Or Dimmer Box 4CH-SWITCH (327), 4CH-DIMMER (328) ADJ dp_415r.pdf (The hardware supports per-channel relay/dimmer assignment, but Finale 3D provides all-relay and all-dimmer fixture definitions. For mixed use, choose 4CH-DIMMER and use 0% / 100% effects as OFF / ON for switched devices.) AML 353 AML Lighting AL-MH1960IP Moving Head Moving Head 26CH AL-MH1960IP RGBL User Manual (latest verison).pdf ANM 246 Anmingli Stormy 3000CC Strobe Light 1320 Pixel Panel Pixel Panel 8CH PyroStrobe Manual Stormy 3000CC LED.pdf ANO 206 Anonymous 12W RGBW Pinspot Spotlight Spotlight 6CH MINI SPOT CHANNEL map.pdf (Strobe feature not accessible with standard effects because it shares channel with dimmer.) ANO 095 Anonymous 150W Mini Beam Spot LED Moving Head Moving Head 12CH 150W Beam Spot LED Moving Head Manual.pdf (Colors based on bench testing by user; inconsistent with manual.) ANO 036 Anonymous 5 Head Flamer Flame Machine Flame Machine 7CH Fan Flame Machine.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) ANO 085 Anonymous Beam 230 7R Moving Head Moving Head 16CH Beam 230w 7r user manual.pdf (Channels 12 and 13 are inconsistent between the Chinese and English User’s Manual translations; implementation is based on the Chinese translation, with channel 13 as 焦距 (focus), which appears more likely to be correct.) ANO 005 Anonymous Easy Dancing 36x1W Par Light Par Light 7CH easydancing-manual.pdf ANO 204 Anonymous ML-B150 150W LED Beam Moving Head Moving Head 17CH ML-B150-Pyrotechnics-QR.pdf (Colors based on bench testing by user.) ANO 072 Anonymous RGB Fog Jet Machine Fog Jet Machine 7CH Fog Machine.pdf ANO 059 Anonymous Small Steel Gun 120W Moving Head Moving Head 16CH MANUAL.pdf ANO 006 Anonymous Spray The Fire Flame Machine Flame Machine 2CH spray-the-fire-user-manual.pdf ANO 067 Anonymous Water Low Fog 3000W Fog Jet Machine Fog Jet Machine 2CH Water Low Fog 3000W.pdf ANO 238 Anonymous ZQ30008 Three-Head Flame Machine Flame Machine 5CH ZQ30008 三头喷火机说明书.pdf (Standard effects for this fixture include three options for spraying the three heads together: “Flash Flame At All Angles” (Channels 1+2+3), “Program 1: 1+2+3 (Adjustable Duration)” (Channel 4), and “Program 2: 1+2+3 (Adjustable Duration)” (Channel 5), which you can use independently or together, choosing what works best for your fixture hardware.) ANO 274 Anonymous 60W Spot Moving Head Moving Head 11CH Manual 60W Spot Moving Head Light.pdf Specification 60W Spot Moving Head Light.pdf (Colors based on bench testing by user, inconsistent with manual.) ANO 277 Anonymous Big LED CO2 Jet Machine CO2 Jet Machine 6CH Big LED CO2 Jet Manual.pdf ANO 283 Anonymous RGBW LED Mini Moving Head Moving Head 12CH LED MINI MOVING HEAD LINGLONG-EU.pdf ANO 298 Anonymous RGBW Moving Head Moving Head 16CH MovingHeadHandbook.pdf ANO 299 Anonymous RGBW Fog Jet Machine Fog Jet Machine 8CH fog-fixture-299.pdf ANO 340 Anonymous BSW400 Moving Head Moving Head 24CH BSW400 Tabla DMX.pdf (Colors based on bench testing by user.) ANO 356 Anonymous White Twinkling Star Universe Light DJ Projector Disco Ball 4CH Sharelife White Twinkling Star Universe DMX Light.pdf (This fixture is categorized as a “Disco Ball”, which matches the capabilities of fixture that projects a field of stars.) ANO 359 Anonymous 36 LED Stage Par Light Par Light 7CH 36 LED Stage Par Light.pdf ANO 366 Anonymous SP-F5 5 Way Flame Machine Flame Machine 8CH 五头喷火机-英文.pdf ANO 367 Anonymous SP-F90 High Altitude Flame Machine Flame Machine 3CH high-altitude-flame-machine-sp-f90.pdf ANO 368 Anonymous SP-SM2S Water Cannon Confetti Machine Confetti Machine 2CH lanza_serpentina_segurapyrofx.pdf ANO 369 Anonymous Rotating Flame Machine Flame Machine 5CH segurapyrofx_180_fuego.pdf ANO 370 Anonymous SP-H4 Rapid Smoke Machine Fog Jet Machine 6CH eco_jet_segurapyrofx.pdf ATM 063 AtmosFEAR Hex Jet Fog Jet Machine Fog Jet Machine 10CH atmosfear-hex-jet_manual_rev_c.pdf AUV 035 Auvi Spark Sparks Machine Sparks Machine 3CH auvi-spark-user-manual.pdf BAL 294 Ballet Star Technology/ Spark Effect (SPX) SP-F180 Circle Flame Machine Flame Machine 5CH 摇头喷火机-英文 Circle Flamer.pdf BET 090 Betopper LM70S DJ Mini Moving Head Moving Head 9CH BETOPPER Moving Head LM70 LM70S Manual.pdf BET 050 Betopper P54 54×1.5W RGB Par Light Par Light 7CH LPC007-LPC008_LPC08-H_BETOPPER_DJ_PAR_Light_User_Manual.pdf BET 306 Betopper LC500 Stage Blinder Strobe Light Strobe Light 12CH-A001 Betopper LC500 Manual.pdf BET 315, 316 Betopper LF4808 200W Strobe Light Strobe Light 4CH (315), 15CH (316) 406-48012-002B_LF4808_BETOPPER.pdf (Standard effects do not include effects for the pattern features of this fixture.) BET 351 Betopper L1015 Moving Head Light Bar Light Bar 13CH L1015_BETOPPER.pdf BET 352, 364 Betopper LF105 150W Strobe Light Strobe Light 8CH (352), 15CH (364) Betopper – LF105 – User Manual.pdf BET 355 Betopper LB295 Beam Moving Head Moving Head 16CH LB295_BETOPPER.pdf LB295顺序-256×300.png (Color wheel colors provided by manufacturer.) BGD 304 Big Dipper Par LED LP009 54X3 RGBWA Par Light Par Light 9CH PAR LED LP009.pdf BGD 337 Big Dipper LPC120 LED Par Light Par Light 8CH Big Dipper Par Light LPC120 User’s Manual.pdf BMZ 041 BeamZ BBP60 Par Light Par Light 10CH beamz-bbp60-manual CAM 307 Cameo Zenit W600 Wash Light Wash Light 10CH CLZW600-dmx_control_table–D004236-en.pdf CHV 091 Chauvet 260X Intimidator Spot Moving Head Moving Head 14CH Intimidator_Spot_260X_UM_Rev2.pdf CHV 079 Chauvet EZpar 64 Par Light Par Light 8CH EZpar_64_RGBA_UM_Rev1_WO-1.pdf CHV 078 Chauvet Geyser RGB Fog Jet Machine Fog Jet Machine 8CH GeyserRGB_UM_Rev8_WO-1.pdf CHV 209 Chauvet Rogue Outcast 2 Moving Head Moving Head 20CH Rogue_Outcast_2_Hybrid_UM_Rev4.pdf CHV 237 Chauvet Rogue R1 Beam Moving Head Moving Head 15CH ROGUE_R1_Beam_UM_Rev3_WO1.pdf CHV 031 Chauvet Scorpion Dual Laser Laser 10CH scorpion-manual.pdf CHV 051 Chauvet Slim Par 56 Par Light Par Light 7CH SlimPAR_56_UM_Rev1.pdf CHV 271 Chauvet Intimidator Beam 140SR V2 Moving Head Moving Head 14CH Intimidator_Beam_140SR_V2_UM_Rev3.pdf CHV 281 Chauvet Color Strike M Wash Light Wash Light 13CH Color_Strike_MV2_UM_Rev15.pdf CHV 285 Chauvet Freedom Stick Light Bar Light Bar 8CH Freedom_Stick_UM_Rev1_WO.pdf CHV 330 Chauvet Freedom Freedom Par H9IP Par Light Par Light 8CH Freedom-Par-H9IP_H9IPX4_UM-Rev4-1.pdf CHV 342 Chauvet Intimidator Spot LED 350 Moving Head Moving Head 14CH Intimidator_Spot_LED_350_UM_Rev8_WO.pdf CHV 343 Chauvet Intimidator Beam LED 350 Moving Head Moving Head 14CH Intimidator_Beam_LED_350_UM_Rev4_WO.pdf CHV 344 Chauvet Intimidator Spot 355 IRC Moving Head Moving Head 14CH Intimidator_Spot_355_IRC PDF MANUAL.pdf CHV 365 Chauvet Scorpion GVC/RVM/RGY Laser Laser 10CH Scorpion_RVM-GVC-RGY_UM_Rev10_WO.pdf CBR 048 Cobra 36x1W Par Light 7CH Par Light 7CH DMX LED Digital Display Par Lighting Instructions.pdf CLY 247 Claypaky Sharpy Plus CD3000 Moving Head Moving Head 31CH SharpyPlus_DMX-Channels_11.2025.pdf CLY 312 Claypaky Sharpy Moving Head Moving Head 16CH Sharpy_DMX-channels_12.2014_EN.pdf DJP 338 DJPower Smoke Bubble Smobble HW IP4 Bubble Machine Bubble Machine 4CH SMOKE BUBBLE SMOBBLE HW-IP4 user manual.pdf DJX 219 DJXFLI 180W Moving Head Moving Head 14CH DJXFLI 180W Moving Head Light (scan).pdf DJX 093 DJXFLI Beam 120W Beam + Spot Moving Head Moving Head 12CH DJXFLI 120 Beam+Spot LED moving head.pdf DOM 092 Dominar Beam IP Moving Head Moving Head 14CH Dominar IP manual.pdf DON 276 Donner Mini LED Focus Star Moving Head Moving Head 9CH Donner Mini LED Moving Head Focus Star Manual.pdf (Strobe feature not accessible with standard effects because it shares channel with dimmer.) ENE 094 Erik Nelson Diamond Pro Venue 460 Moving Head Moving Head 25CH PRO-460.pdf EQU 345 Equinox Verti Jet Fog Jet Machine Fog Jet 7CH 1570264200EQLED356_Manual.pdf EWY 230 Eway LUX-FR2 Flame Machine Flame Machine 6CH lux-Fr2 Manual.pdf EWY 295 Eway LUX-SP02 Oscillating Spark Machine Sparks Machine 6CH LUX-SP02 Manual.pdf Manual appears to contain errors in DMX value ranges for some of the predefined programs; implementation corrects the errors. EXL 296, 297 Expolite Tour-LED 50 XCR Par Light Par Light 4CH-AR1.D (296), 6CH-AR2.S (297) expolite-tour-led-50-xcr-10000004811_fo.pdf EXP 032, 033 Explo GX2 Flame Machine Flame Machine 1CH, 1CH GX2 v2.0 (ENG).pdf (For non-DMX users using the Explo Ignition System, please refer to Explo for instructions.) EXP 034 Explo GX3 Power Flame Flame Machine Flame Machine 4CH GX3 Power Flame v1.3 EN.pdf (For non-DMX users using the Explo Ignition System, please refer to Explo for instructions.) EXP 001 Explo X2 Wave Flamer Flame Machine Flame Machine 6CH X2 Wave Flamer v2.0 ENG.pdf (For non-DMX users using the Explo Ignition System, please refer to Explo for instructions.) FOS 354 FOS Technologies Cyclone Pro D2 Strobe Light Strobe Light 14CH products_0_2_2_590.pdf FRG 064 Froggy’s Fog Hyperion D6 Fog Jet Machine Fog Jet Machine 17CH ffm-hyperion-d6-froggys-fog-fog-machine-user-manual2.pdf GEN 217 Generic Generic 128 Safety Channel Safety Channel 1CH (Use for generic flame machines w/ separate safety channel base address, ON = 128) GEN 018 Generic Generic 255 Safety Channel Safety Channel 1CH (Use for generic flame machines w/ separate safety channel base address, ON = 255) GEN 008 Generic Generic Dimmer Flame Machine Flame Machine 1CH (Use for generic 1CH variable height flame machines) GEN 069 Generic Generic Dimmer Spotlight Spotlight 1CH (Use for generic 1CH dimmer spotlight fixture) GEN 007 Generic Generic ON/OFF Flame Machine Flame Machine 1CH (Use for generic 1CH ON/OFF flame machines) GEN 068 Generic Generic ON/OFF Spotlight Spotlight 1CH (Use for generic 1CH spotlight fixture, ON = 255) GLX 002 Galaxis G-Flame Flame Machine Flame Machine 1CH + separate safety channel [016] User-Manual-G-Flame-V2.40-007.pdf (For non-DMX users using the Galaxis Ignition System, please refer to Galaxis for instructions.) GLX 016 Galaxis Safety Channel Safety Channel 1CH User-Manual-G-Flame-V2.40-007.pdf (For non-DMX users using the Galaxis Ignition System, please refer to Galaxis for instructions.) HAN 083 Hansol Hurricane-AW Flame Machine Flame Machine 19CH Hurricane AW manual.pdf (Standard effects for this fixture do not include the predefined angle single shots or “autoshow” programs.  Standard effects automatically set the electric spark channel with each event prior to the event time.) HAN 057 Hansol Sunshine Fixture: 5 Head w/ Pilot Only Flame Machine Flame Machine 5CH + separate safety channel [058] Sunshine Single 16L & 30L.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) HAN 055 Hansol Sunshine Fixture: 5 Head w/ Safety And Pilot Flame Machine Flame Machine 5CH + separate safety channel and pilot light [056] Sunshine Single 16L & 30L.pdf HAN 058 Hansol Sunshine Pilot Only: Pilot At +0 Flame Machine 1CH Sunshine Single 16L & 30L.pdf (This separately addressed safety channel fixture has one channel, which is the pilot light acting as a safety channel) HAN 056 Hansol Sunshine Safety And Pilot: Safety At +0 And Pilot At +1 Safety Channel 2CH Sunshine Single 16L & 30L.pdf (This non-standard safety channel fixture has two channels, not one, a safety channel at +0 and pilot at +1) HAN 053 Hansol Volcano Flame Machine Flame Machine 1CH + separate safety channel [054] Volcano0811-Black-1-1.pdf HAN 054 Hansol Volcano Pilot Light / Safety Channel Safety Channel 1CH Volcano0811-Black-1-1.pdf (Pilot light acting as safety channel; the fixture user’s manual states that the pilot light must be configured as channel 100) HGH 077 High End Uno Moving Head Moving Head 15CH uno.pdf HLD 292 Holdlamp ZQ01424 RGBW Mi Ni Par Light Par Light 8CH holdlamp par led channel list.pdf JOR 264 Jorima Fireball X Plus Flame Machine Flame Machine 1CH + separate safety channel [265] Kurz – Bedienungsanleitung Fireball X PLUS.pdf JOR 265 Jorima Safety Channel Safety Channel 1CH Kurz – Bedienungsanleitung Fireball X PLUS.pdf KRM 074 Karma LED Par120 Par Light Par Light 8CH karma-LED_PAR120_17105.pdf KTV 207 KTV Lights A3 RGB Animation Laser Performer Laser Laser 16CH A3 RGB Animation Laser Performer Manual.pdf LDJ 348 LEDJ Spectra Par 7Q8 Par Light Par Light 6CH LEDJ285_Manual.pdf LED 322 Leding LEDWash 6000MC Moving Head Moving Head 10CH LEDING WASH 6000MC V3.pdf LEM 270 Light Emotion LE60 Moving Head Moving Head 9CH le60_m.pdf LFX 286, 287, 288, 291 LuxSFX LuxeStix Light Wand, Foam Wand, Globe Wand, and Wristband Wearable Light Wearable Light 4CH LuxeSFX DMX-to-RF Bridge Manual.pdf (Each 4CH fixture represents one of the ten independently controllable zones in the 40CH range of the DMX bridge. Use one master and multiple slave fixtures per zone to create a visual simulation of a crowd with multiple people in each zone wearing the wristbands or holding the wands.) LIX 245 Lixada 12 LED Par Light Par Light 8CH Lixada Par Led 12 channel list.pdf LMP 360 Lamposhop 7*20W RGBACL Battery Powered & Wireless Par Light Par Light 12CH SKM_C30826060906040.pdf LMX 346 LightmaXX Vega BAT-1 Par Light Par Light 10CH IMG_20260515_0004-kombiniert.pdf MFX 003, 004 MagicFX Flamaniac 5-Head Flame Machine Flame Machine 5CH-MODE1 (003), 1CH-MODE2 (004) + separate safety channel [017] manual_flamaniac_eng-2017.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) MFX 025 MagicFX Flameblazer Flame Machine Flame Machine 1CH + separate safety channel [017] MAGICFX_FLAMEBLAZER_MANUAL_HR.pdf MFX 017 MagicFX Safety Channel / Device Enable Safety Channel 1CH manual_flamaniac_eng-2017.pdf MFX 019 MagicFX Sparxtar Sparks Machine Sparks Machine 2CH + separate safety channel [017] MAGICFX_SPARXTAR_MANUAL.pdf MFX 021, 022, 023 MagicFX Stage Flame Machine Flame Machine 1CH-Aerosol (021), 1CH-Propane (022), 2CH-Aerosol+Propane (023) + separate safety channel [017] MAGICFX_STAGE-FLAME_MANUAL.pdf MFX 233 MagicFX Firestorm 5-Head Flame Machine Flame Machine 5CH + separate safety channel [017] MAGICFX_FIRESTORM_v01_web.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) MFX 234 MagicFX Flameblazer 5-Head Flame Machine Flame Machine 5CH + separate safety channel [017] MAGICFX_FLAMEBLAZER 5-WAY_v01_web.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) MFX 318 MagicFX ECO2JET Fog Jet Machine Fog Jet Machine 1CH + separate safety channel [017] Eco2jet_manual.pdf MGC 301 Magicolour Aura Beam Moving Head Moving Head 16CH Magicolour Aura Manual Oct 2025.pdf MGJ 347 Mingjie MJ-OS-017 Moving Head Moving Head 12CH Operation Manual for MJ-OS-017.pdf MNR 302 Miner Par LED 1818 Par Light Par Light 10CH Par Led 1818 IP (ENG).pdf MOK 084 Moka E11 Cold Sparks Machine Sparks Machine 2CH MK-E11.pdf MOK 044 Moka H-E01 Genius Flame Machine Flame Machine 2CH H-E01 User Manual(说明书) MOK 043 Moka H-E03 Triple Way Flame Machine Flame Machine 6CH H-E03 User Manual(说明书).pdf MOK 076 Moka H-E04 Hi Flame Flame Machine Flame Machine 7CH H-E04 HI FLAME MACHINE英文说明书.pdf MOK 221 Moka H-E05 5-Head Flame Machine Flame Machine 8CH User Manual_H-E05.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) MOK 212 Moka MK-P11 Par Light Par Light 11CH MK-P11 par light.pdf MOK 220 Moka P-350 Waterproof 350W Beam Light Moving Head Moving Head 16CH 350W防水光束灯 英文说明书.pdf P-350-Color-Wheel-300×209.jpg MOK 042 Moka P18 18x18W Washer Light Wash Light Wash Light 11CH MK-P18 18X18W 6in1 LED wall washer light.pdf MOK 211 Moka PF-1800 Wave Flame Machine Flame Machine 9CH User Manual_PF-1800.v3（第三版）.pdf MOK 239 Moka PF-800 Flame Machine Flame Machine 6CH User Manual_PF-800.pdf (Horseracing channels 3-5 are not needed because you can program arbitrary sequences in your script directly, without using hardware sync features.) MOK 267 Moka MK-C12 CO2 Jet Machine Co2 Jet Machine 6CH MK-C12.pdf MOK 268 Moka H-F01 Hi-Super Jet LED Fog Jet Machine Fog Jet Machine 8CH H-F01 Hi-super Jet fog machine.pdf MOK 275 Moka H-E02 Fire Machine Flame Machine Flame Machine 2CH User Manual_H-E02.pdf MOK 361 Moka MK-F23 Haze Machine Haze Machine 3CH User_Manual_MK-F23_Hazer.pdf MOK 362 Moka P-C60 RGBW City Color Wash Light Wash Light 9CH P-C60_IP_60X10W_LED_WASH_LIGH.pdf MRQ 052 MARQ Gesture Spot 100 15W LED Moving Head Moving Head 11CH Gesture Spot 100 – User Guide – v1.3.pdf MTN 241, 308 Martin MAC Aura XIP Moving Head Moving Head 20CH-DIRECT-OR-NOT (241), 20CH-DIRECT (308) mac-aura-xip-user-safety-and-installation-manual.pdf (The DIRECT-OR-NOT version only uses the RGB channels, ignoring the W/index channel 12, making it compatible with both personalities; the DIRECT version uses all RGBW channels as they are available in the 20CH-DIRECT personality.) MTR 040 Le Maitre Safety Channel Safety Channel 1CH Salamander Manual 1.3.pdf MTR 039 Le Maitre Salamander Flame Machine Flame Machine 1CH + separate safety channel [040] Salamander Manual 1.3.pdf MTR 279 Le Maitre Salamander Quad Pro Flame Machine Flame Machine 4CH + separate safety channel [040] Salamander Quad Pro Manual – version 1.2.pdf OPP 030 OPPSK Ball Strobe Chase And Laser Disco Ball Disco Ball 15CH disco-manual.pdf OPP 073 OPPSK Wall Washer Light Bar Light Bar 8CH LightBar.pdf PRO 339 PRO Light ECO Slim 180 Par Light Par Light 7CH ECO SLIM 180 – Manual de usuario.pdf PRS 349 PROEL SPA J-WASH 400 Moving Head Pan 540 Tilt 270 Moving Head 25CH Scansione_20260530_105038.pdf This fixture can be configured with various pan and tilt ranges. Finale 3D‘s implementation matches a 540 degree pan range, 270 degree tilt range. PYM 310, 311 Pyromania Dancing Gerbs 1/2 Gerb Holder; and Dancing Gerbs 2/2 Gerb Holder Gerb Holder 4CH dancing-gerbs-machine-v3.pdf (For each fixture consisting of two tiltable gerb holders, manually configure two positions with the same DMX Channel Base; one fixture being Fixture ID 310 for gerb holder 1/2 and the other Fixture ID 311 for gerb holder 2/2.  Manual assignment is necessary because auto-assignment of DMX Channel Base assigns consecutive ranges.  The set of effects for each gerb holder will write to two of the four channels in the channel map without interfering with the other holder. For stationary gerbs: insert the “Flash Sparks” effect; drag its direction dots to the desired angle; adjust its duration to the duration of the pyrotechnic gerb device; and insert an “Ignite” effect starting at the same time as the Flash Sparks.  The Ignite effect generates DMX channel output lasting 1.0 seconds to ignite the device. For moving gerbs: insert the starting “Flash Sparks” effect at the start time T; drag its direction dots to the initial angle; insert the ending “Sparks Move-To” effect at T + duration-of-gerb and drag its direction dots to the ending angle; optionally add additional Sparks Move-To effects at other angles between the starting and ending events to create a back and forth motion sequence; if necessary, change the prefire attribute of the Sparks Move-To event to the duration of the gerb to eliminate the gap on the timeline between the starting and ending events; insert an “Ignite” effect starting at the same time as the initial Flash Sparks.) RCK 080 Rockville Battery Par 50 Par Light Par Light 6CH BatteryPar50_Manual_OL.pdf RCK 071 Rockville Battery Strip 24 RGBW Light Bar Light Bar 9CH BATTERY STRIP 24_Manual_OL.pdf RCK 075 Rockville BestPAR60 Par Light Par Light 10CH BestPAR60_Manual.pdf RIU 205 Riukeo ML-B080 80W LED Beam Moving Head Moving Head 20CH ML-B080-Riukoe-moving-head-fixture-manual.pdf (Colors based on bench testing by user.) RIU 269 Riukeo Laser Beam 50 IP Moving Head Moving Head 16CH Riukoe Laser 50 Manual.pdf SAG 350 Sagitter SG LTBEAM-10R/5R Moving Head Pan 540 Tilt 270 Moving Head 13CH Scansione_20260530_104856.pdf This fixture can be configured with various pan and tilt ranges. Finale 3D‘s implementation matches a 540 degree pan range, 270 degree tilt range. SAH 088 Sahauhy 12 LED RGBW Par Light Par Light 8CH sahauhy-mini-par.pdf SFX 060 SpecialFX.it 18x12W IP65 RGBWAU Par Light Par Light 10CH user manual —-18x12W waterproof 6in1 led par light.pdf SFX 061 SpecialFX.it ML-CS01 Cold Sparks Machine Sparks Machine 2CH User manual –cold spark machine 2021 10.pdf SGM 305 SGM X5 White LED Strobe Light Strobe Light 4CH SGM X5.pdf SHD 218 Shehds 380W Beam With Ring Moving Head Moving Head 19CH SHEHDS-IP65-380W.pdf SHEHDS-IP65-380W-Color-wheel-214×300.png SHD 282 Shehds 275W Beam Moving Head Moving Head 16CH Shehds 275W Beam Moving Head Lighting Manual.pdf Shehds 275W Beam Moving Head Info.txt (Implementation has significant differences from user’s manual based on bench testing by user.) SHD 293 Shehds SP650 Cold Sparks Machine Sparks Machine 2CH Shehds SP650 Manual.pdf SHD 300 Shehds CoralPar-P18A Par Light Par Light 10CH 18X12W 6合1防水扁铸铝帕灯.pdf SHD 321 Shehds 3000mw RGB 3in1 Moving Head Laser Light Laser 11CH Shehds RGB 3in1.pdf (The 11-channel personality provides direct control of the bar tilt, and direct control of all of the heads’ lateral movement together; but not of the heads’ lateral movement individually. Effects like “Flash Color 1” flash the laser beams for a duration that you can change, at an angle you change, in one of the 19 color options. The effect’s direction line determines both the tilt and lateral movement of the bar and heads.  The movement program effects are modifiers that override angles with the pre-programmed animation.  The movement programs only control movement; they do not not assert the dimmer or color.  To create light beams that animate with pre-programmed movements please insert a flash effect like Flash Color 1 and overlay it with a movement effect like “Program: Movement 1 (Modifer, No Sim)”) SHD 357 Shehds LED Par 18x10WRGBLAC Light Bar Light Bar 11CH SHEHDS LED Par 18x10W Wall Wash Light.pdf SHD 358, 370 Shehds LED Beam+Wash 19x15W RGBW Zoom Light Moving Head 16CH (358), 19CH (370) Shehds LED Beam_Wash 19x15W RGBW Zoom Light – Tecnical Manual.pdf JMSWB1915A Shehds.pdf SHD 363 Shehds LED Spot 100W Moving Head Moving Head 14CH SHEDS_100W_Moving_Head.pdf (Colors based on bench testing by user.) SHO 216 Showven Safety Channel Safety Channel 1CH cFlamer mVolcano MANUAL.pdf SHO 062 Showven SonicBoom Plus SmokeJet Fog Jet Machine Fog Jet Machine 14CH SONICBOOM PLUS SMOKEJET.pdf SHO 070 Showven SonicBoom X SmokeJet Fog Jet Machine Fog Jet Machine 11CH SONICBOOM X MANUAL -20210407.pdf SHO 015 Showven Sparkular Cyclone Sparks Machine Sparks Machine 2CH sparkular-cyclone-user-manual.pdf SHO 086 Showven Sparkular Jet Sparks Machine Sparks Machine 2CH 8137_sparkular-jet-en.pdf SHO 014 Showven Sparkular Sparks Machine Sparks Machine 2CH sparkular-user-manual.pdf SHO 229 Showven Sparkular Waver Sparks Machine Sparks Machine 6CH USER MANUAL SPARKULAR WAVER-2.pdf (The User’s Manual incorrectly indicates motor speed channel 2 can be 0 for maximum speed, which is untrue for some firmware versions.) SHO 009 Showven X-F1800 Circle Flamer Flame Machine Flame Machine 6CH showven-circle-flamer-user-manual.pdf SHO 248, 249, 250 Showven cFlamer Flame Machine Flame Machine 1CH-P (1CH + separate safety channel [216], which is called “2CH-P” in the manual; 248), 6CH-N (249), 2CH-N (250) cFlamer Manual.pdf SHO 240 Showven cFlamer Boom Flame And Sparks Mine Machine 6CH cFlamer Boom MANUAL-20250527.pdf SHO 225, 226, 227 Showven cFlamer Quad Flame Machine Flame Machine 6CH-N (225), 6CH-M (226), 5CH-P (5CH + separate safety channel [216], which is called “6CH-P” in the manual; 227) cFlamer Quad Manual.pdf SHO 213, 214, 215 Showven cFlamer mVolcano 5-Head Flame Machine Flame Machine 6CH-N (213), 6CH-M (214), 5CH-P (5CH + separate safety channel [216], which is called “6CH-P” in the manual; 215) cFlamer mVolcano MANUAL.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) SHO 251, 252, 253 Showven cFlamer Volcano 5-Head Flame Machine Flame Machine 6CH-N (252), 6CH-M (251), 5CH-P (5CH + separate safety channel [216], which is called “6CH-P” in the manual; 253) cFlamer Volcano Manual.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) SHO 011, 012, 013 Showven uFlamer Flame Machine Flame Machine 1CH-P (1CH + separate safety channel [216], which is called “2CH-P” in the manual; 011), 6CH (012), 2CH-N (013) showven-uflamer-user-manual.pdf SHO 259, 260, 261 Showven uFlamer Gasboom Flame Machine Flame Machine 1CH-P (1CH + separate safety channel [216], which is called “2CH-P” in the manual; 259), 6CH (260), 2CH-N (261) USER-MANUAL-U-FLAMER-GASBOOM.pdf SHO 222, 223, 224 Showven uFlamer II Flame Machine Flame Machine 1CH-P (1CH + separate safety channel [216], which is called “2CH-P” in the manual; 222), 6CH (223), 2CH-N (224) uFlamer II Manual.pdf SHO 256, 257, 258 Showven uFlamer Max Plus Flame Machine Flame Machine 1CH-P (1CH + separate safety channel [216], which is called “2CH-P” in the manual; 256), 6CH (257), 2CH-N (258) USER-MANUAL-U-FLAMER-MAX-PLUS.pdf SHO 047, 254, 255 Showven uFlamer Volcano 5-Head Flame Machine Flame Machine 6CH-N (254), 6CH-M/PRO (047), 5CH-P (5CH + separate safety channel [216], which is called “6CH-P” in the manual; 255) uFlamer Volcano Manual.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) SHO 228 Showven uFlamer X-Gasboom Flame Machine Flame Machine 6CH uFlamer X-Gasboom Manual.pdf SHO 231 Showven Sparkular Triple Sparks Machine Sparks Machine 6CH RMMAN087-SPARKULAR TRIPLE MANUAL -20250616.pdf (The standard effect for Reset Fixture sets pre-heat ON for all three nozzles.) SHO 232 Showven Sparkular Spin Sparks Machine Sparks Machine 4CH RMMAN093-SPARKULAR SPIN MANUAL -20250616.pdf SHO 262 Showven Sparkular Wheel Sparks Machine Sparks Machine 6CH SPARKULAR WHEEL-User Manual-20250326.pdf SHO 263, 266 Showven SonicBoom ReCO2 Fog Jet Machine Fog Jet Machine 1CH (266), 11CH (263) (no safety channel) SONICBOOM-ReCO2 Manual.pdf (The white strobe color in 1CH mode is not listed in the manual but is confirmed by users.) SHO 372 Showven Circle Flamer II Flame Machine Flame Machine 6CH Circle-Flamer-II-20240608.pdf SHW 303 Showtec Helix S5000 Q4 Par Light Par Light 6CH SHOWTEC HELIX S5000 Q4.pdf SIG 037, 038 Sigma Services 4-Head or 8-Head FireFly Flame Machine Flame Machine 8CH (037), 16CH (038) Firefly Manual with Four Channel Control_Revision 00_05_16_2017.pdf (Use one position for each head; assign the same DMX Channel Base to all positions; use the “Head 1” effects in the first position, the “Head 2” effects in the second, etc.) SKY 242 Light Sky AQUAPEARL-PRO Moving Head Moving Head 26CH AQUAPERL-PRO-Channel.pdf SKY 243 Light Sky AQUABEAM400 LL Moving Head Moving Head 17CH AQUABEAM400LL-Channel.pdf SKY 244 Light Sky MINI LASER AQUA Moving Head Moving Head 17CH 0102-MINI-LASER-AQUA-CMY-100W-User-Channel-20250425.pdf SPK 203 Spark Fabrica SF-01 Spark Rain Pro Sparks Machine Sparks Machine 2CH SF-01 SPARK RAIN PRO USER MANUAL.pdf SPK 096 Spark Fabrica SF-05 Spark Jet Pro Sparks Machine Sparks Machine 2CH SF-05 SPARK JET PRO USER MANUAL.pdf SPK 010 Spark Fabrica SF-180 Tornado Moving Head Flame Machine Flame Machine 6CH spark fabrica moving head flamer user manual.pdf SPK 098 Spark Fabrica SF-90 I Flamer Plus Flame Machine Flame Machine 2CH SF-90 FLAMER PLUS USER MANUAL.pdf SPK 097 Spark Fabrica SF-F5 Formula Flamer Flame Machine Flame Machine 6CH-B SF-F5 FORMULA FLAMER MANUL.pdf SPK 099 Spark Fabrica SF-K2 Kungfupao Sparks Mine Machine Sparks Mine Machine 2CH SF-K2 KUNGFUPAO USER MANUAL.pdf SPK 201 Spark Fabrica SF-X2 Spark Spin Sparks Machine Sparks Machine 4CH SF-X2 SPARK SPIN USER MANUAL 2023.12.pdf SPK 202 Spark Fabrica SF-X8 Spark Titan Sparks Machine Sparks Machine 2CH SF-X8 SPARK TITAN USER MANUAL.pdf SPK 200 Spark Fabrica SF-Z5 Flyspark Sparks Machine Sparks Machine 6CH SF-Z5 FLYSPARK USER MANUAL.pdf SPK 290 Spark Fabrica Moto Spark M3 Sparks Machine Sparks Machine 2CH Spark Fabrica Moto Spark M3 Manual.pdf SPK 323, 324 Spark Fabrica SF-XO2 Pro Turbo Fog Jet Machine Fog Jet Machine 2CH (323), 8CH (324) SF-XO2 PRO TURBO JET SMOKE XO2 USER MANUAL.pdf SPK 336 Spark Fabrica Moto Spark M5 Sparks Machine Sparks Machine 2CH MOTO SPARK M5（英文）20230306.pdf SPX 313 Spark Effect SP-F90 Flame Machine Flame Machine 3CH SPARK EFFECT – SP-F90 Flame machine.pdf SPX 314 Spark Effect SP-1500W Fog Jet Machine Fog Jet Machine 6CH SPARK EFFECT – SP-1500W FOG.pdf (Color channels are incorrectly listed in the User’s Manual as R-B-G; according to users, the correct order is G-B-R.) SPX 320 Spark Effect SP-S90-WHS Hurricane Sparks Machine Sparks Machine 2CH SPARK EFFECT – SP-S90-WHS Hurricane Spark Machine.pdf TBF 332 TBF Pyrotec 5 Master 5-Head Flame Machine Flame Machine 6CH 5-Master-manual.pdf (“Flash Flame At -40°” targets a fixed head. “Flash Flame (Adjustable Angle)” selects the head closest to the effect’s direction line angle, set by angling the line in the UI.) THO 046 Thomann Fun Generation LED Pot 12x1W RGBW Par Light Par Light 6CH thomann-377666-manual.pdf TNG 066 Tengchang Party Fog Jet Machine Fog Jet Machine 6CH 1500W LED Fog Machine Manual.pdf TOM 027 Tomshine LED Gobo Moving Head Moving Head 9CH tomshine-led-gobo-moving-head-manual.pdf TOM 028 Tomshine Mini Gobo Moving Head Moving Head 9CH tomshine-mini-gobo-moving-head-manual.pdf UKG 087 U King B242X 30W Gobo Moving Head Moving Head 9CH Moving Head DMX.pdf UKG 065 U King Mini Spider Light Moving Head Moving Head 15CH spider-user-manual.pdf (Fixture has two bars each with four eyes of different colors: RGBW; the RGBW color components of standard effects apply to the corresponding eyes on both bars; the tilt of standard effects applies to the angle of both bars; if the physical fixture is configured with 1TIL and 2TIL opposite each other, the tilt of the standard effect will apply in opposing directions on the bars; drag the trajectory dots to the right to open the angle between the bars; the rest position of the bars is aiming straight forward, which corresponds to an angle DMX value of 170; dragging the trajectory dots to aim right 45°, opening up a 90° spread, corresponds to an angle DMX value of 85.) UKG 089 U King Pocket Moving Light Kaleidoscope + Laser Disco Ball Disco Ball 15CH uking_pocket_moving_light.pdf UKG 029 U King RGBW Moving Head Moving Head 11CH uking-manual.pdf UKG 235 U King ZQ01417 18 LED RGBW Waterproof Par Light Par Light 8CH U-King ZQ01417-18-RGBW-Waterproof-Par-Light.pdf UKG 236 U King ZQ02314 Waterproof Beam Moving Head Moving Head 14CH ZQ02314-Waterproof-Beam-Moving-Head-Light.pdf UKG 284 U King ZQ16030 Electronic Sparks Machine Sparks Machine 3CH ZQ16030-Electronic-Spark-Machine.pdf UKG 309 U King ZQ02354 Moving Head Moving Head 9CH Moving head 914 Ch Light.pdf UKG 317 U King ZQ02357 Beam Moving Head Moving Head 18CH Beam Move Head Light.pdf UKG 334 U King ZQ02100 Mini Gobo Moving Head Moving Head 9CH Moving Head Light.pdf ULT 325, 326 Ultratec G3000 Fog Effect Machine Fog Jet Machine 1CH (325), 2CH (326) G3000-Operators-Manual-2022.pdf (The two channel personality controls a relay for an external device on channel 2.) ULT 329 Ultratec LSG With PFI 9D Fog Effect Machine Fog Jet Machine 3CH LSG_w_PFI-9D_Operator_s_Manual.pdf ULT 331 Ultratec Silent Storm Snow Machine Snow Machine 2CH Silent_Storm_Operator_s_Manual.pdf VEV 210 Vevor BJY Cold Sparks Machine Sparks Machine 2CH vevor-(BAGUO)coldsparkmachine-20240108_1732697193106.pdf VSH 335 V-Show CSF650 Sparks Machine Sparks Machine 2CH V-SHOW SPARK MACHINE CSF650.pdf WBG 333 Wahlberg Rotator 280/281 Rotator 6CH Manual_DMX Rotator_280.pdf (For continuous rotation, use a “Set Rotation” effect. To set a static angle, use “Set Angle” and edit the Pan field in the script window. For sweeping patterns, create a sequence starting with “Set Angle” followed by one or more “Move-To” effects, setting Pan for each row in the script window. For correct DMX output, do not cross the Pan = 0 boundary in Move-To sequences. For example, a 90° sweep between Pan = 135 and Pan = 225 produces correct DMX output; the same sweep between Pan = 45 and Pan = -45 does not.) WIS 289 Wisdom XC-5118W LED Par RGBWA-UV Par Light 10CH Wisdom LED Manual.pdf WIS 319 Wisdom XC-5369 Laser Laser 21CH MANUALE LASER.pdf YFG 081 Yingfeng Beam 230 Moving Head Moving Head 16CH-DOUBLE-PRISM beam230-manual.pdf and yf-beam230-additional-documentation.pdf  

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.