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CPM Reviews:
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We’re living in exciting times in terms of stage lighting. In recent years, technology that could formerly only be seen on large, high-dollar music tours has found its way into the local church. Churches of all personalities and sizes are embracing intelligent lighting fixtures - fixtures that can be refocused remotely, produce an almost infinite palette of color, and offer multiple beam shaping and pattern options. With these advances, though, has come the challenge of controlling these tools. Because the consoles of days gone-by are simply not up to the task, there is a need for consoles that can easily control these intelligent fixtures and a plethora of DMX accessories while still offering practical control of ever-present dimmers. Though there are several higher-end consoles that do a great job of this, there is a need in places like churches, where nonprofessionals often handle the lighting, for consoles that are not daunting to beginners and are easy-toteach and learn – while still being affordable.
The LP-X24 and the LP-X48 are Leprecon’s answers to this need. Located in Hamburg, MI, Leprecon has had a long-time presence in the stage lighting, dimming, and control market. With a reputation for manufacturing dependable and easy-to-use equipment, Leprecon’s broad range of products can be found on tours, in clubs, in schools, and in churches. For this article, I’ll be focusing on the larger of the two consoles: the LP-X48. My test console came with an optional touchscreen monitor, a package having a suggested retail price of $7,300.
Before I get started, please allow me to express my thanks to Jim Bradfield and the folks at The Bradfield Company in Nashville, TN. They were kind enough to give me space in their shop and the use of fixtures for my testing.
Layout and Capacity
The working area of the console is divided into seven general sections: mode control, display, manual scene, keypad, playback, stack, and master.
The code control section allows the user to select console modes: run, record, edit, and setup. It also contains buttons for different programming modes.
Using a 64-character by 240-character backlit LCD as its focal point, the display section gives access to console functions and relays information to the user. Around the LCD are soft keys and selection wheels.
The manual scene section serves a dual purpose. Its 24 faders and associated momentary buttons give familiar and instant access to the first 48 dimmer channels (in two banks). The momentaries also act as intelligent fixture selects. There, intelligent fixtures are patched into “slots” without forcing the user to understand DMX patching or remember fixture numbering schemes.
- The keypad section is where data is entered and dimmers are controlled. Though any dimmer channel’s level can be set with the keypad, those not controlled by the manual scene section are called “virtual” channels and are set only here.
- The playback and stack sections are similar. One of two places where cues are stored, the playback section offers 20 pages of 12 playback (preset) faders each. Like the manual scene section, each fader in this area also has a momentary button. This section also features a programmer master fader and a page selection wheel with a large, easy-toread LED numeric indicator. As with other Leprecon consoles, active scenes hold their looks when pages are changed. Functionally, the stack section is the same as the playback section, though having controls more similar to many theatrical-style consoles.
- In the master section one finds the grandmaster, the manual scene master, and chase controls.
Also on the front of the console is an illuminated trackball. The trackball provides familiar on-screen navigation.
On the rear of the console are a floppy disk drive, a power connector, PS2 connections for a keyboard and a mouse, a VGA output, MIDI connectors, a serial connector, an audio-in connector, and sockets for two Littlite gooseneck work lights. Used together, the VGA and serial connectors allow the operator to use a touchscreen monitor. Also on the rear of the console are two DMX connectors for each of the console’s two DMX universes.
The LP-X48 will control up to 48 intelligent fixtures and 192 conventional (dimmer) channels, assuming that together their quantity doesn’t surpass the available 1024 DMX channels. (For example, the LP-X48 would control a maximum of 26 x.Spots and 36 dimmers simultaneously.)
Function
Programming is pretty simple: With the console in “record” mode, create a look on-stage (making sure the programmer fader is at full):
- Dimmer levels are set using the manual scene section or the keypad.
- Intelligent fixtures are selected using the momentary buttons in the manual scene section of the console. Once selected, the fixtures’ parameters, such as position, color, or pattern, are set using the LP-X48’s system of palettes, called “labels.” In the console provided (more on this later), labels are accessed through a scrolling list system and have real-world names. Found in the same menu system is an effects engine, which builds position moves based on geometric shapes or label-based loops of any of the parameters.
Once the desired look has been created, the user then taps the selector button above the playback fader onto which the cue is to be recorded. The LP-X48 records a “snapshot” of the output. All parameters are recorded into cues. Scene lists (called “cue lists” or “sequences” on other consoles) are automatically created. All parameters are recorded into cues and cue timing is programmed and shared for whole parameter sets (such as color or beam). Scene lists can be changed to chases by clicking an on-screen option.
Cues can be recorded blind by moving the programmer fader to 0. This also allows on-the-fly cues to be created.
Analysis
Even with the additional intelligent-fixture controls, the LP-X48 will be familiar to those used to the feel and layout of other Leprecon consoles. Also familiar will be the sturdy construction shared with other products from this manufacturer. Having dimmer channels accessible from the Manual Scene section will be welcome to those not comfortable with entering dimmers and levels using a keypad. Even for experienced programmers, setting dimmer levels using the row of faders is a welcome alternative.
Another way that Leprecon helps users to avoid using the keypad is by using the manual scene momentaries as intelligent fixture selects. Associated LEDs give easy-to-understand feedback of which fixtures are selected for programming.
A note-worthy feature is that each of the console’s DMX universes has two buffered outputs, allowing the signals to be split without the need for external devices.
Being used to “mode-free” consoles, I found having distinct console modes to be a little cumbersome. For example, once cues are created, the user must change modes to step through scene lists to see how transitions work. However, there are many users who are more comfortable with this approach. This method of operation can also help prevent accidental changes to cues, for those situations where cues might be programmed by a lighting volunteer and run by another person not familiar with the console's operation.
The touchscreen monitor included with my testing console was very helpful. It provides a much easierto- navigate interface than the on-board LCD. On the review unit supplied, the console operated in either LCD mode or touchscreen mode - meaning that while the console is in touchscreen mode the on-board LCD screen is blank, resulting in the lack of legends for the selection wheels. Though there are wheel function hints on the touchscreen, those hints are not in the same orientation as the wheels and it can be pretty easy to turn the wrong wheel. This has been addressed with the new operating software released in January of 2005, making operation of the wheels much easier.
The LP-X48 does allow the user to invert pan and tilt separately when patching intelligent fixtures. This is particularly useful when changing the orientation of given fixtures from, let’s say, being hung on a pipe to being placed on a stage floor. However, the ability to swap pan and tilt is not available. This is needed when hanging mirror fixtures in different ways and when side-hanging moving-head fixtures.
I found this console’s label “list” system to be somewhat awkward to use. Keeping things organized here for “high parameter” fixtures would be challenging. This is another area that Leprecon recognized the need for improvement, and has addressed this by changing to a more familiar palette mode of operation in the latest console operating software release.
When the playback faders are down, legends on the monitor disappear and cues deactivate, making it difficult to identify the contents of faders and to trigger and fade-in cues while black. However, this also has been addressed in the new version of the operating software for the console.
Conclusions
I think that someone stepping up to the console would be able to easily begin creating looks and recording simple cues with fixtures of a similar degree. Arnez Bonsol, technical director for Willow Creek Community Church’s children’s ministry, told Church Production Magazine that they use three of the LP-X48’s in their children’s ministry rooms. He comments, “It is a fun board. It is an intuitive board. I have teens programming complex moving light routines. Where this console excels is when creating a lighting environment for music. Everyone’s favorite button is the “TAP” button because it makes the lighting guys look like artistic, musical geniuses.”
For the lighting folk out there who like Leprecon’s unique approach, and for the church just getting into automated fixtures or one using simpler devices, this can be a good console to consider. Leprecon does have a solid hardware platform in both the LP-X24 and LP-X48. The changes in operating software recently released for the LP-X48 are clear evidence that Leprecon listens to feedback about their products and strives to make their existing consoles better, instead of merely incorporating their customer’s ideas into the next hardware platform.
