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[Scott Olewiler]

Yes so all fixtures must be set to slave to maintain control. I also agree with others that the only explaination for this behaviour is that there is another wireless DMX system running somewhere nearby, wifi interference does not produce logical control patterns just random glitches.
Is this a multi room events venue perhaps? If so you just need to select a different control channel, I have run multiple control streams on different wireless channels in the same room and it works well.

I'll have to look at my fixtures when I get back home next week, but is Master/slave normally a menu option when each fixture is assigned a fixed DMX address? If it is then perhaps room interference is simply causing my transmitter/receiver to no communicate properly and the fixtures are defaulting to some auto fade option.

I can also verify now that none of these rooms have any other DMX light fixtures other that what I bring. They are all single event room(with a stage) VFW/Legion type places.

[Paul G. OBrien]

I'll have to look at my fixtures when I get back home next week, but is Master/slave normally a menu option when each fixture is assigned a fixed DMX address? If it is then perhaps room interference is simply causing my transmitter/receiver to no communicate properly and the fixtures are defaulting to some auto fade option.

Yes and yes, most fixtures I see have a separate master/slave option in the menues and the default setting is master so this is something that needs to be changed for wireless operation. Setting a DMX address does not automatically change the master/slave setting, fixtures will usually work correctly in either setting when hard wired because there is a constant dmx carrier(heartbeat) signal over the wire. However when a wireless link is interrupted the fixture sees no input signal at all and will revert to onboard programs if it is set to master, but if in slave mode it will just wait for another command signal.

[Paul Johnson]

I have some fixtures that when they lose a valid DMX signal - from cable or wireless, they go into auto mode. If you leave them on for more than half an hour you start to notice drift as some speed up and some slow down.

Sadly, wireless DMX on 2.4 will get worse now that everyone and their dog are using it. The legitimate users like lights sound and video, but within sound alone there could be four or more systems in operation. The performers using it for their IEM control, click tracks and instruments, with FOH and monitors having their own routers. Then the lighting designer and others join in and video folk using it for control of their stuff. That is without the audience using it to access wifi nodes. Madness. Amazing anything works. Add in a few line 6 units in their angry mode where they stamp on everything to keep their output clean and you have a real mess.

[Tim McCulloch]

Ain't nothin' better than copper wire.  Seriously. 

Large event for an MLM scheme last week, all the fixtures for the set and uplighting contained batteries and wireless DMX receivers.  By the end of setup we were running DMX and power to them because shit got flaky and the AV firms client was having fits.

If you want it to work, wire it.  End of story.  Using 2.4gHz is an exercise in wishful thinking that will fail at critical moments.

And no, I don't own stock in copper mines...

[Brian Jojade]

Ain't nothin' better than copper wire.  Seriously. 

If you want it to work, wire it.  End of story.  Using 2.4gHz is an exercise in wishful thinking that will fail at critical moments.

100% agree.  People love wireless stuff because it seems sooo easy. But reality is it's so much more fragile it's not something you want to rely on.

Wire everything you possibly can. Use wireless only when absolutely necessary.  Have a wired backup plan for those wireless links. 

Only use 2.4ghz or 5ghz public frequencies for things you don't absolutely NEED to function.  Eg, a tablet to do walk around checks is fine, but have a hard wired option available to run the show just in case people coming in create a mess with their devices in their pockets.

[John L Nobile]

Ain't nothin' better than copper wire.  Seriously. 

Exactly why I won't even use a w/less mouse or keyboard. This 2.4 Ghz and BT stuff is a problem waiting to happen. You can't cut the cable with cheap formats. Good w/less mics do it right but it costs you for that peace of mind.

[Brian Jojade]

Good w/less mics do it right but it costs you for that peace of mind.

It takes a $1000 wireless system to get close to being as good as a $30 cable.

[Jeff Lelko]

Ain't nothin' better than copper wire.  Seriously. 

Yep, I've been saying that in threads like this for years...and people think I'm crazy for running wires down the sides of skyscrapers...

[Tim McCulloch]

Yep, I've been saying that in threads like this for years...and people think I'm crazy for running wires down the sides of skyscrapers...

With live pryo on the roof, they wonder?  I mean, that's crazy to start with, but really...

As the audio guy my pyro time code transmission is always over copper.  Always.  I've done 2 shoots where the pyro company did an RF link to the mortar field, sending actual fire cues, not time code to the PyroDigital.  Not my part of the gig but I was plenty worried anyway.

[Mac Kerr]

With live pryo on the roof, they wonder?  I mean, that's crazy to start with, but really...

As the audio guy my pyro time code transmission is always over copper.  Always.  I've done 2 shoots where the pyro company did an RF link to the mortar field, sending actual fire cues, not time code to the PyroDigital.  Not my part of the gig but I was plenty worried anyway.

Who sends anything but FSK TC to pyro anymore? Fire cues and voltage comes out of dedicated boxes run off a laptop. wHile I haven't done a fireworks show since Covid started, the FSK went to the fire positions via walkie talkies. I would assume in a land based show the signal would go to the computer directly on an XLR cable just like it came to the transmitters I was using. Before FSK called fire cues went to an operator at a switch panel. I did my first big show that way in 1976, and my last with FSK via walkie talkie in 2019.

Mac

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