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Lighting Review: Lehigh Wave 120 Console
After the Wave 120 won a 2008 WFX Product Award for Best Conventional Lighting Console, we thought that it was time to take an in-depth look at it.
The Lehigh Wave 120 console is very approachable and is easy for a beginning operator, starting with the basics and growing as they become more comfortable with the console. The Wave is a manual with memory console that allows it to do more than just a straight manual console. It can be run in two-scene mode for a traditional preset arrangement; it can be switched into one-scene mode for operating with submasters; and it can be a backup console with its DMX In port.
The DMX In feature allows you to backup another console so, in case the other one crashes, you can still operate the lighting. With DMX In, a 512-channel DMX input from another console can be stored as a submaster or a cue.
Into Practice
The Wave console has three operating modes: 30 channel two-scene, two pages of 60 channels in single-scene with hold control, and memory mode with up to 580 memories for a 275-step cue stack. Additional control features include timed split crossfader pair, 120 pile-on submasters, five independent faders and 48 effects, which are assignable to cues or submasters. Independent channels are those that are not affected by the grandmaster, blackout, solo or DMX Inputs. These are normally used for constant power for non-lighting equipment like a fog machine.
There are some limits to the Wave console’s playback capacity. Although you can create a lot of submasters and effects, not all of them can be played back at the same time. You will get a warning on the LCD when the maximum playbacks are reached. All 120 submasters can be played back, but the maximum limits include 50 active submasters and 10 active effects at the same time. There are other limits depending on how you are working and in which mode. The percentage of memory remaining is always displayed.
On the Wave, you use the Mode button to select the mode that you want to be in. “2Scene” is used for simple hands-on control where you build looks—the top row of faders is Scene A and the bottom row is Scene B. You preset the looks and then crossfade between them, and then reset the last row with the next look. Simple, basic, easy to learn for operation by beginners and volunteers. “1Scene” mode is also for manual control, but with up to 120 channels per scene. You build the looks with all of the faders and then it is ‘held’ while the next scene is built.
“Run” mode is used to playback the stack of cues or looks that you have created. The list is created in order and then run from memory. In addition to the operating modes, there are two more modes. “Edit” mode is used to create cues, submasters and effects. You can work in Blind mode inside of Edit where what you do is not output to the lights … also fairly straightforward but needs some more organization and good paperwork. The last mode is “Setup,” which allows changes to system options, patching dimmers to channels, management of show files and upgrade of the consoles software. This final mode does require an understanding of how the console operates and what functions actually do what.
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Michael S. Eddy writes about design and technology. He can be reached at mseddy2900@hotmail.com. .(JavaScript must be enabled to view this email address)
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