Micro-Scope IIa
Artistic Licence (UK) Ltd.Artistic Licence (UK) Ltd. Software Version V5.0 Manual Revision V4.0
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 2
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 3
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Artistic Licence Product Registration Form
Product: Micro-Scope IIa Version No.
Serial No. Date Purchased:
Supplier:
Name:
Company Name:
Address:
Post/Zip Code: Phone No.
Comments:
Please return to: Artistic Licence (UK) Ltd. B1 & B3 Livingstone Court, Peel Road, Harrow, Middlesex HA3 7QT. England.
Tel/Fax: +44 (0)<PHONE_NUMBER>
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 5
Product Registration Form.....................3 Introduction ...........................................5
Quick Start .......................................5 Features...........................................5
What’s New in Micro-Scope IIa..............6 The Control Surface ..............................7 Over-view..............................................7 Keyboard...............................................7
MENU ..............................................7 TOGGLE..........................................7 LEFT RIGHT ....................................7 UP DOWN........................................7
Menus ...................................................8 Displaying Received DMX512................9
Status...............................................9 DMX Base Address ..........................9 Display Modes................................10 Data Received Indicator..................10 Data Error Indicator ........................10 Loop Through Indicator...................11 Max/Min Mode................................11 Flicker Hunt ....................................11
Detail Mode......................................... 11 Trigger Output..................................... 12 Generating DMX512............................ 13 Transmit Rig Check............................. 13 Transmit Preset................................... 13 Transmit Lamp.................................... 14 Transmit Dynamic DMX512................. 15 Presets ............................................... 15
Snapshot DMX to Preset-12........... 15 Fill Preset with Pattern ................... 15
Testing Cables .................................... 16 Double Ended Cable Test ................... 16 Single Ended Cable Test..................... 16 Auto-Backup ....................................... 17 Loop Through...................................... 17 Start Codes......................................... 17 Displaying Received MIDI ................... 18 Backlight Menu ................................... 18 Power Supply...................................... 19 Pin Connections.................................. 19 Appendix A Lamp Library .................... 20 Lamp bug report form.......................... 32 Appendix B Conversion Tables............ 33
C O N T E N T S
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Quick Start Welcome to the Micro-Scope manual. Micro-Scope is a sophisticated DMX512 and MIDI analyser, but is remarkably simple to operate.
Users who are familiar with either DMX512 or MIDI should find that a scan of the Control Surface section is sufficient to get started.
Please remember to return your product registration card, so that we can keep you informed of new developments.
Features Micro-Scope provides the following features: • Receives DMX512 & MIDI • Display as bar chart, decimal, percentage or hexadecimal • Display update rate, number of channels received, Break and MaB
time • Display maximum, minimum and current value of a single channel • Double and single ended cable test • Generate DMX512 or re-transmit buffered DMX512 or MIDI • Fifteen Preset memories with snapshot • Auto-backup, transmits Preset if console fails.
I N T R O D U C T I O N
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What’s New in Micro- Scope IIa
A range of powerful new features have been added to Micro-Scope IIa.
1. The display now has an LED backlight for those difficult under-stage problems!
• The backlight is software controlled and can be switched off when not required.
• When operating on battery power, a power saver automatically switches off the backlight when the product is idle for more than one minute. The next key press re- illuminates the backlight.
2. A new transmit menu provides a list of over ninety manufacturer
specific lamp definitions. This allows fast and automated testing of automated luminaires without reference to the user manual or a binary calculator.
• The following attributes can be automatically tested: • Lamp on and pointed to centre position. • Intensity ramp. • Pan test. • Tilt test. • Combined Pan & Tilt test. • Colour cycle through up to four colour channels. • Gobo cycle. • Aux. channel test which is manufacturer dependent
but usually tests either Iris or Zoom. • The library includes entries for all the operating modes of
each lamp, including 16 bit pan and tilt. 3. A new receive mode displays two channels in both binary and
hexadecimal. • This is invaluable for product designers and engineers when
solving serious equipment faults such as stuck data lines. 4. A new Flicker Finder ‘Hunt Mode’ has been added. This allows Micro-
Scope to continuously sample consecutive channels and display the error if the channel level fluctuates outside a user programmable range.
5. A “Don’t Care” mode for the received start code. This is particularly useful for Compulite equipment.
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Over-view Micro-Scope is operated by the six front panel buttons. The buttons function as follows:
MENU The MENU key is used to select the operating mode of Micro-Scope. Pressing MENU once will display the currently selected mode. The LEFT and RIGHT cursor keys are then used to select a new operating mode. The process is completed by pressing MENU a second time.
TOGGLE When Micro-Scope is in DISPLAY RECEIVED DMX512, the TOGGLE key is used to step through the different display formats (bar graph, percent, decimal etc.).
In TRANSMIT mode, the TOGGLE key is used to invert the level of the selected channel.
In TRANSMIT LAMP mode, the TOGGLE key selects each of the automated tests in sequence.
LEFT RIGHT
When Micro-Scope is in DISPLAY RECEIVED DMX512, the LEFT and RIGHT cursor keys are used to select a new base address.
In TRANSMIT DMX512 modes, the LEFT and RIGHT cursor keys are used to select a new transmit channel.
If Micro-Scope is displaying the menu, the LEFT and RIGHT cursor keys are used to select the next operating mode.
UP DOWN
The UP and DOWN cursor keys are used to increment or decrement the level of the displayed data.
T H E C O N T R O L S U R F A C E
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MENUS Upon entering MENU mode, twelve different operating modes may be selected. These are:
DISPLAY RECEIVEDDISPLAY RECEIVED dmx512dmx512 1 1
Displays the DMX512 signal from any console, in any of the six available formats
TRANSMITTRANSMIT RIG CHECKRIG CHECK 2
Transmit DMX512. Only a single channel on at a level. This is the basic flash through rig mode.
TRANSMIT PRESETTRANSMIT PRESET NUMBER: 15NUMBER: 15 3 3
Transmit and edit one of 15 Presets. Each Preset allows all 512 channels at individual levels.
TRANSMIT lampTRANSMIT lamp vari*lite vl6vari*lite vl6 4 4
Automatically test any automated luminaire from the library.
TRANSMIT DYNAMICTRANSMIT DYNAMIC dmx512dmx512 5 5
Transmit any range of channels at a level or continuously ramping.
snapshot dmx tosnapshot dmx to preset: 15preset: 15 6 6
Copy received DMX to any of the 15 Presets. Used to create show backup or record useful test patterns.
FILL PRESETFILL PRESET WITH PATTERNWITH PATTERN 7 7
Fill one of the 15 Presets with a symmetrical pattern of channel levels.
double endeddouble ended cable testcable test 8 8
Fully test all three pins of DMX512 or MIDI cables for shorts and open circuits.
SINGLE ENDEDSINGLE ENDED CABLE TESTCABLE TEST 9 9
Test the two signal pins of DMX512 or MIDI cables for shorts, when only the console cable end is available.
AUTOBACKUP IFAUTOBACKUP IF DMX FAILSDMX FAILS 1010
Allows Micro-Scope to connect in-line between desk and dimmers. Switches to a selected Preset if the desk fails.
BUFFER DMX MIDIBUFFER DMX MIDI ENABLEDENABLED 1111
Switch between the DMX512 output of Micro-Scope and a regenerated version of the received signal.
SELECT DMX STARTSELECT DMX START CODE: 000CODE: 000 1212
Allows Micro-Scope to operate with non- standard start codes.
DISPLAY RECEIVEDDISPLAY RECEIVED MIDIMIDI 1313
Display MIDI data characters in hexadecimal form.
backlightbacklight enabledenabled 1414
Enable or disable the display backlight .
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DISPLAYING RECEIVED
DMX512
In DISPLAY RECEIVED DMX512 mode the following keys are active: • LEFT Decrement the current DMX512 start address • RIGHT Increment the current DMX512 start address • TOGGLE Select the display format Received DMX512 data is displayed in one of seven formats. They are: • Bar Graph • Decimal • Percent • Hex • Binary • Max/Min & Flicker Hunt • Detail
STATUS The first five display formats also include the following information: 1. DMX512 base address 2. Display mode 3. Data received indicator 4. Data error indicator 5. Loop-Through indicator The diagram below shows Micro-Scope receiving DMX512 in bar graph mode.
DMX BASE The DMX base address is in the range 1 to 512 and defines the first channel displayed. This value is also used to set the TRIGGER OUTPUT.
1. DMX512 Base
2. Display Mode
3. Data Received
4. Data Error
5. Loop Through
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DISPLAY MODE
This character shows the currently selected display mode:
Bar-graph mode displays twenty four channels as a bar-graph with a resolution of 12.5%. Whilst the resolution of this mode is limited, it is often the most useful when the DMX line is running show information. It is easy to pick out chases, which in other display modes could be mistaken for flickering data.
D Decimal mode displays six channels as numbers in the range 0 to 255. This mode shows the entire resolution of each channel. It is most useful when dealing with moving lights and colour changers.
% Percent mode displays six channels as numbers in the range 0 to 100. This mode provides the most familiar numbering system.
$ Hexadecimal mode displays six channels as numbers in the range 00 to FF. This mode is most useful when working with DMX devices such as relay boxes and smoke machines, which use bit control. See Appendix for conversion tables.
B Binary mode displays two channels as both binary and hexadecimal. This mode is most useful for electronic designers and engineers when solving complex electronic problems such as a damaged data bus.
DATA RECEIVED
This character cell displays a tilde to show that data is being received. The data is not necessarily valid DMX512.
DATA ERROR
This character cell is clear when good data is being received. If an error occurs, one of the following is displayed:
H DMX512 is being received with a non matching Header or start code.
F Data is being received with Framing errors. This can be caused by noise pick-up and also occurs when the phase pins of the connector are reversed.
O Data is being received with Overrun errors. This can be caused by noise pick-up and also occurs when a phase pin is disconnected.
T The received data is outside the DMX512 Timing specification. This display occurs when either the number of channels per frame exceeds 512, or the Break time is less than 88uS, or the MaB time is less than 4uS.
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LOOP THROUGH
This character cell displays 'L' when Micro-Scope's output is providing a clean and buffered version of the incoming DMX512. When the character cell is clear, Micro-Scope's DMX512 generator is connected to the output.
MAX/MIN MODE
Max/Min mode is the "Flicker Finder". A single DMX512 channel is displayed as the current value, minimum value and maximum value. All three numbers are decimal 0 to 255. This mode will capture any fluctuations in the level of a channel. To clear the Max and Min values, press the MENU key twice. When data is not received on the selected channels, the Max value is set to 0, and the Min value to 255.
FLICKER HUNT
The UP & DOWN cursor key are used to start the automatic ‘Flicker Hunt’ mode. In this mode Micro- Scope analyses the level of each channel in thirty consecutive frames of DMX512. Any level which has varied outside the flicker band causes the hunt to stop and the display reverts to MAX/MIN mode, displaying the erroneous channel data. The DOWN cursor key cycles though the range of flicker band values between $01 and $3f. When the flicker band is set to $01, a single bit fluctuation in the level of a single channel will cause the display to revert to MAX/MIN mode.
DETAIL MODE
Detail mode provides four further pieces of information about the DMX signal. The Period "P" is the time between received Breaks on the DMX512 signal. The reciprocal of this number gives the refresh rate. The second number is the Break time "Bk". This is the length of the synchronising code used to restart a new DMX frame. The specification requires this value to be 88uS or greater. If this is not the case, the timing error icon "T" will be displayed in the main receive window. The third number "C" represents the number of dimmer channels received in the last DMX packet. This number should be constant, although the value may be less than 512, depending on the type of console used. The fourth number is the Mark after Break time "MaB". This is the delay between the end of a Break and transmission of the header code. The specification requires a MaB of 4us or greater. If this is not the case, the timing error icon "T" will be displayed in the main receive window. (The MaB limit was increased to 8uS in the DMX512 1990 Revision).
001 CUR 154 001 CUR 154 MIN 153 MAX 155 MIN 153 MAX 155
flicker hunt $01flicker hunt $01 current chan: 012current chan: 012
p=023ms bk=150us p=023ms bk=150us C=512 MAB=012us C=512 MAB=012us
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TRIGGER OUTPUT
The spare two pins of the DMX512 output are used to provide a TTL (5V) oscilloscope trigger output. This signal can be used to synchronise the oscilloscope to either the falling edge of the break or the DMX base address.
45.2uS 52.8uS
TRIGGER
DMX512
BREAK Start bit goes low DIMMER n
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TRANSMIT RIG
CHECK
The TRANSMIT RIG CHECK menu allows any single dimmer channel to be switched on at a level.
The following keys are active: • LEFT Decrement the dimmer channel • RIGHT Increment the dimmer channel • UP Increment the dimmer level • DOWN Decrement the dimmer level • TOGGLE Invert dimmer level The display shows the current dimmer channel, followed by its level as a percentage. The DMX512 output continues when Micro-Scope is in Receive mode.
TRANSMIT PRESET
The TRANSMIT PRESET menu allows any one of the fifteen Presets to be transmitted to the dimmers and also edited. Each Preset contains individual level settings for all 512 channels and is held in non volatile memory. The Preset to be transmitted and edited is selected by the UP and DOWN keys when the menu display is active. Press the MENU key to enter edit mode.
The following keys are active: • LEFT Decrement the dimmer channel • RIGHT Increment the dimmer channel • UP Increment the dimmer level • DOWN Decrement the dimmer level • TOGGLE Invert dimmer level All dimmer channel levels may be set individually. The display shows the current dimmer channel, followed by it's level in percent, binary, hexadecimal and decimal. The DMX512 output continues when Micro-Scope is in Receive mode. The SNAPSHOT and FILL menus are alternative methods of programming the Presets.
CHAN: 001 CHAN: 001 @@ 100% 100% RIG CHECKRIG CHECK
CHANNEL 001 CHANNEL 001 @@ 100% 100% 11111111 $FF<PHONE_NUMBER>1 $FF 255
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TRANSMIT LAMP
The TRANSMIT LAMP menu is the most powerful method of testing automated luminaires. Micro-Scope contains a library of over ninety lamp definitions which can be used to automatically test lamps. When the menu is active, the UP & DOWN cursor keys are used to select the required lamp from the library. To accept the lamp selection press MENU. The display changes to show the start address of the lamp, the current test and the selected lamp. At this point the DMX output will command the selected lamp to point to it’s centre position with the beam on at full white with no gobos. The following keys are active:
• LEFT Decrement the start channel to the previous lamp • RIGHT Increment the start channel to the next lamp • UP Increment by one the start chan • DOWN Decrement by one the start channel • TOGGLE Select the next automatic test
The automatic tests function as follows: • ON Point lamp at centre of Pan & Tilt range with a full
power white beam. • INT Ramp up and down the lamp intensity. If a dimmer
exists in the lamp it is used, otherwise the mechanical shutter is used.
• PAN Pan the beam from one extent to the other. • TIL Tilt the beam from one extent to the other. • P/T Pan & Tilt the beam from one extent, diagonally to the
other. • COL Exercise the colours available. This tests up to four
colour attribute channels of the lamp. Depending on the lamp type, the order will be either:
• RED BLUE GREEN COLOUR-WHEEL or • YELLOW MAGENTA CYAN COLOUR-WHEEL
• GOB Run through all the available gobos. • AUX Depending on the lamp, this tests one of the following:
• IRIS • ZOOM • STROBE • GOBO 2
The DMX512 output continues when Micro-Scope is in Receive mode. Appendix A contains a full listing of all supported lamps.
LAMP 001-007 ON LAMP 001-007 ON VARI*LITE VL6VARI*LITE VL6
TRANSMIT LAMP TRANSMIT LAMP VARI*LITE VL6VARI*LITE VL6
TRANSMIT LAMP TRANSMIT LAMP VARI*LITE VL6VARI*LITE VL6
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TRANSMIT DYNAMIC
DMX512
The TRANSMIT DYNAMIC DMX512 selection allows any range of dimmer channels to be switched on at a level, or ramp continuously.
The following keys are active: • LEFT Decrement the end dimmer channel • RIGHT Increment the end dimmer channel • UP Increment the start dimmer channel • DOWN Decrement the start dimmer channel • TOGGLE Stop or Start the channels ramping Any range of dimmers can be controlled. The display shows the start and end dimmer channel, followed by the current percentage level. The level ramp requires ten seconds to increment from zero to full and then decrement back to zero. If the end channel is set to a lower value than the start channel, all output channels are set to zero. The DMX512 output continues when Micro-Scope is in Receive mode.
SNAPSHOT DMX
TO PRESET
The SNAPSHOT menu allows any one of the fifteen Presets to be filled with data captured from the DMX512 input. The Preset to be used is selected by the UP and DOWN keys when the menu display is active. Press the MENU key to take the snapshot. The process requires eight consecutive frames of DMX512 to capture the data. The snapshot can be aborted (for example if the DMX512 input fails) by pressing the TOGGLE button.
When the data has been success- fully captured, the display shows:
FILL PRESET
WITH PATTERN
The FILL menu allows any one of the fifteen Presets to be filled with a symmetrical pattern of channel levels.
The following keys are active: • LEFT Select one of the pre-defined patterns • RIGHT Select one of the pre-defined patterns • UP Increment the Preset number • DOWN Decrement the Preset number • TOGGLE Execute the Fill
CHAN: 001 - 512 CHAN: 001 - 512 @@100%100%
SNAPSHOT DMX TOSNAPSHOT DMX TO PRESET: 15PRESET: 15
DMX RECORDED TODMX RECORDED TO PRESET: 15PRESET: 15
FILL PRESETFILL PRESET WITH PATTERNWITH PATTERN
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Fill patterns are selected from the following list: • ALL CHAN OFF Clear the Preset • ALL CHAN HALF Set all channels to 50% • ALL CHAN ON Set all channels to 100% • ODD CHAN ON Set all odd channels (1,3,5..511) to 100% • EVEN CHAN ON Set all even channels (2,4,6..512) to 100% • RAMP UP Set incrementing ramp from channel 1 to 256
and 257 to 512 • RAMP DOWN Set decrementing ramp from channel 1 to 256
and 257 to 512
TESTING CABLES
Micro-Scope offers two methods of testing DMX512 cables.
The DOUBLE ENDED TEST is used when both ends of the cable are available. Micro-Scope can test for short circuits and open circuits on any of the three active pins of the DMX512 cable.
The SINGLE ENDED TEST is used when only the console cable end is accessible. Micro-Scope can test for a short circuit between the two signal pins.
DOUBLE ENDED CABLE
TEST
The DOUBLE ENDED TEST display shows the connectivity of each of the three active pins of the DMX512 or MIDI cable. An OPEN CIRCUIT is shown by a period, and a SHORT CIRCUIT is shown by the pin number. The diagram below shows a correct DMX512 cable.
The diagram below shows a DMX512 cable with pins 2 & 3 swapped.
SINGLE ENDED CABLE
TEST
The SINGLE ENDED TEST display shows the short circuit status of pins 2 and 3 of the DMX512 output connector. The display will show the
following when there is a connec- tion between pins 2 & 3. This test
DOUBLE END 1.. =1.. DOUBLE END 1.. =1.. .2.=.2. GOOD ..3=..3.2.=.2. GOOD ..3=..3
DOUBLE END 1.. =1..DOUBLE END 1.. =1.. .2.=..3 ..3=.2..2.=..3 ..3=.2.
SINGLE ENDSINGLE END 2 & 3 SHORT/TERM2 & 3 SHORT/TERM
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can be used to test for short cir- cuit in the cable or to confirm that the cable is properly terminated.
AUTO BACKUP
IF DMX
FAILS
The AUTO-BACKUP menu allows Micro-Scope to be connected in- line between a lighting desk and dimmers. Micro-Scope monitors the received DMX512 and should the signal fail, switches one of the fifteen Presets to the output. This mode provides a useful backup which forces a known look on stage should the console fail. When the backup mode is triggered, the user can snap between the presets.
When the menu is entered, the following display is shown and received DMX512 is looped to the output. The UP and DOWN keys are used to select the Preset that will be output should the received DMX512 fail.
If the DMX fails, the following dis- play is shown and the selected Preset is output to the dimmers. When the problem with the received DMX512 has been corrected, simply press MENU twice to reset AUTO-BACKUP mode. When AUTO-BACKUP is active, the UP and DOWN keys are used to snap between consecutive Presets.
LOOP THROUGH
The BUFFER DMX/MIDI option is used to select between Micro-Scope's Generator output and a buffered copy of the incoming DMX512 signal. The Loop Through mode is selected by pressing the TOGGLE key when the menu is displayed. The BUFFER mode of operation allows Micro-Scope to be used as a signal booster for long DMX512 or MIDI cables. BUFFER mode is switched off when the Generator Menu is next selected. When BUFFER mode is active, “L” is shown in the receive window to denote “Loop Through”.
SELECT DMX
START CODE
The START CODE menu is used to select non-zero DMX512 start codes. The START code is defined in the protocol but has not been implemented by many manufacturers. The
AUTO-BACKUP IFAUTO-BACKUP IF DMX FAILSDMX FAILS
AUTO-BACKUP: 15AUTO-BACKUP: 15 WAIT-DMX IS GOODWAIT-DMX IS GOOD
AUTO-BACKUP: 15AUTO-BACKUP: 15 ACTIVE-DMX FAILACTIVE-DMX FAIL
BUFFER DMX MIDIBUFFER DMX MIDI DISABLEDDISABLED
SELECT DMX STARTSELECT DMX START code: 000code: 000
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UP and DOWN keys are used to select any one of the 256 possible values. The same value is used for both receive and transmit DMX512. If a non-zero value is selected, a warning is displayed when the Micro- Scope is next switched on. The Toggle key selects “Don’t Care” mode which is displayed as “xxx”. In this mode a value of zero is used for the transmit start code. However received DMX512 will be displayed as good data whatever the start code. This is particularly useful with Compulite equipment as they have implemented multiple start codes on their equipment.
DISPLAYING RECEIVED
MIDI
DISPLAY RECEIVED MIDI shows six MIDI characters in hexadecimal format. The external MIDI adapter cables are required to use this mode. The TOGGLE key is used to freeze the data display. The following diagram shows the screen layout.
Loop Through may also be used with MIDI. The output circuitry used by Micro-Scope is RS485 compatible. Whilst this is correct for DMX512, MIDI specifies a more simple and less expensive set of circuitry. However, the two sets of circuitry are compatible and the circuitry used by Micro-Scope overcomes the very short cable limitation usually encountered with MIDI. The MIDI input of Micro-Scope is opto-isolated.
ENABLE BACKLIGHT
The BACKLIGHT menu is used to enable or disable the display backlight. The Backlight operates as follows: • DISABLE The backlight is off giving the longest possible battery
life. • ENABLE: When external power is connected the backlight is on
in all modes. When operating on battery power the backlight is normally on, but powers down after one minute of inactivity. The next key press will re-enable the backlight.
Most recent character
Hexadecimal Mode
Data Received
Data Error
Loop Through
BACKLIGHTBACKLIGHT ENABLEENABLE
Least recent character
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The TOGGLE key is used to enable or disable the backlight selection.
POWER SUPPLY
Micro-Scope has an internal Ni-Cd rechargeable battery which provides a life of about 30 hours between recharges (this is reduced to 15 hours when the backlight is used continuously). The external 9 Volt, 300mA DC power supply is used to power and recharge Micro-Scope. As with all Ni-Cd battery products, the best battery life is obtained by completely discharging Micro-Scope prior to recharging. The power switch is used to switch off Micro-Scope, battery charging will continue if the power connector is plugged in. Micro-Scope contains a sophisticated battery manager, which regulates battery charging. A full charge is obtained in three hours, after which the external power supply is used solely to power Micro-Scope. In order to further conserve battery power, Micro-Scope reverts to stand-by mode after 10 minutes of no key presses or received data. Stand-by is exited by pressing any key, or connecting a DMX512 input. Stand-by mode is inhibited when receiving data and when AUTO- BACKUP is triggered, in order that Micro-Scope can be used as a battery powered signal buffer. Stand-by is also inhibited when the external power supply is connected.
PIN DATA
RECEIVE (MALE 5 PIN XLR) Pin 1 Screen Pin 2 DMX Receive Signal- Pin 3 DMX Receive Signal+ Pin 4 MIDI Receive Anode Pin 5 MIDI Receive Cathode The MIDI receive feature of Micro-Scope uses pins 4 & 5 which are undefined by the DMX512 protocol. These pins may be disconnected internally should this conflict with your DMX512 implementation.
A MIDI adapter cable is available from Artistic Licence or can be simply constructed from the following wiring plan:
FEMALE 5 PIN XLR FEMALE 5 PIN DIN Pin 1 Connect to screen No connection Pin 4 Pin 4 Pin 5 Pin 5
TRANSMIT (FEMALE 5 PIN XLR) Pin 1 Screen Pin 2 DMX Transmit Signal- Pin 3 DMX Transmit Signal+
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Pin 4 Trigger output Pin 5 Trigger ground
The Trigger feature of Micro-Scope uses pins 4 & 5 which are undefined by the DMX512 protocol. These pins may be disconnected internally should this conflict with your DMX512 implementation.
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Appendix A - Lamp Library
Legend:
W1 Colour Wheel 1 F Frost Wheel
W2 Colour Wheel 2 H Colour Hue Wheel
R Red Colour Wheel S Colour Saturation Wheel
G Green Colour Wheel E Effects Wheel
B Blue Colour Wheel Lens Lens Change Wheel
Y Yellow Colour Wheel Shutter Mechanical Dimmer
C Cyan Colour Wheel G2 Second Gobo Wheel
M Magenta Colour Wheel Fan Remote Control to Fan
A Amber Colour Wheel G Rotate Gobo Wheel Rotate Control
1 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Adlite Intelli’1 Adlite Intellite 1 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ
þ
þ
þ W1 þ
ý
2 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Adlite Intelli’2 Adlite Intellite 2 8
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
3 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Adlite Intel Pro Adlite Intellite Professional 12
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1/W2 þ þ Zoom
4 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Adlite L’Bounce2 Adlite Litebounce II 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
5 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Amptown PosiSpot Amptown ACC Posi Spot 4
Intensity: Pan: Tilt:
Colour: Gobo:
þ þ þ þ W1 ý
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Aux: ý
6 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Amptown ControlLite PML Amptown ControlLite PML 7 Name changed V4.2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Shutter
7 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Amptown Control PML Mk2 Amptown ControlLite PML Mk2 12 Name changed V4.2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1/W2 þ þ Shutter
8 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Amptown Washlite Halogen Amptown Washlite Halogen 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ YMC ý þ Focus
9 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Amptown W’lite HP Amptown Washlite HP 10 Added V4.2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ YMC ý þ Focus
10 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Amptown WinDesign Amptown WinDesign Moving Fan 3 Added V4.2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ ý ý ý
11 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
B+K Varytec B+K Varytec 5
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
12 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Cam Telescan mk1 Cameleon Telescan mk1 8
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB þ þ Focus
13 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Celco M9 Video Celco M9 Videowall 10 Intensity test cycles thru freeze then thaw entire wall
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ ý ý ý ý ý
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 25
14 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Miniscan Clay Paky Miniscan 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ W1 þ Strobe þ
15 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Miniscan HPE Clay Paky Miniscan HPE 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ Strobe þ
16 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Goldenscan Clay Paky Goldenscan 2 & 3 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
17 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Goldenscn HPE Clay Paky Goldenscan HPE 12 Added V4.2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þW1/2FE þ þ Focus
18 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Superscan Clay Paky Superscan 12
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB W1 þ þ Iris
19 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Supersca Zoom Clay Paky Superscan Zoom 12
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB W1 þ þ Zoom
20 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Stage Scan Clay Paky Stage Scan 16 Added V4.4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB W1 þ þ Zoom
21 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Tiger Multcol Clay Paky Tiger Multicolour 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý ý ý þ W1 ý þ Frost
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 26
22 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Tiger MRG Clay Paky Tiger MRG 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ ý ý þ W1 þ þ G Rotate
23 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Tigerscan MRG Clay Paky Tiger Scan MRG 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ G Rotate
24 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Tiger Scan Clay Paky Tiger Scan 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ G Rotate
25 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Pin Scan Clay Paky Pin Scan 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ ý ý ý
26 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
CP Bazooka 4C Clay Paky Bazooka 4C 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 ý ý
27 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar Baby Col Coemar Baby Colour 2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý ý ý þ W1 ý þ Iris
28 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar Microscan Coemar Micro-Scan 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Shutter
29 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar Ultrascan Coemar Ultra-Scan 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Shutter
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 27
30 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar Samuri Coemar Samuri Light 1200 8
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Shutter
31 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar PC1000 Coemar PC1000 8
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB F þ þ Zoom
32 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar PC1200HMI Coemar PC1200 HMI 9
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB F þ þ Zoom
33 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar Nat Ch15 Coemar NAT1200 NAT2500 15 Low resolution Mode
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 HSE þ þ G2
34 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Coemar Nat Ch22 Coemar NAT1200 NAT2500 22 High resolution Mode
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB W1 þ þ G2
35 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
FAL Primoscan FAL Primoscan 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ W1 þ ý
36 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
FAL Superclever FAL Super Clever Scan 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ W1 þ ý
37 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
FLY FOS1/2/3/4 FLY FOS1 FOS2 FOS3 FOS4 12
Intensity: Pan: Tilt:
Colour: Gobo:
þ þ þ þ RGB þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 28
Aux: þ Zoom
38 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Intella V1 High End / LWR Intellabeam Version 1 8
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
39 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Intellabm 000 High End / LWR Intellabeam Version 1 7 Personality set to 000
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
40 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Intellabm 010 High End / LWR Intellabeam Version 1 11 Personality set to 010
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
41 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Cyberlight M1 High End / LWR Cyberlight 20 Updated V4.4 Personality set to Mode 1
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
42 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Studio Color High End / LWR Studio Color 16 Updated V4.4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ YMC W1 þ þ Lens
43 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Technobeam Full High End / LWR Technobeam 18
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Effects
44 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Technobeam Reduced High End / LWR Technobeam 14
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Effects
45 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Technoray Full High End / LWR Technoray 14
Intensity: Pan: Tilt:
Colour: Gobo:
þ ý ý þ W1 þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 29
Aux: þ Effects
46 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Technoray Reduced High End / LWR Technoray 12
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ ý ý þ W1 þ þ Effects
47 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
HE Trackspot High End / LWR Technoray 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Strobe
48 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
JB Varyscan 3 JB Varyscan 3 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
49 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
JB Varyscan Sys2 JB Varyscan System 2 8
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
50 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
JB Varyscan Sys3 JB Varyscan System 3 14
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB W1 þ þ Zoom
51 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
JB Varyscan DM17 JB Varyscan DMX17 17
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB W1 þ þ Zoom
52 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Lampo Sintesi Lampo Sintesi 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
53 Abbreviation: Manufacturer:
Lamp:
Lampo Colum400RG Lampo Columbus MSR 400RG
Intensity: Pan: Tilt:
þ þ þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 30
Number of Channels: Notes:
7 Colour: Gobo:
Aux:
þ W1 þ þ G Rotate
54 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Lampo Gemini Lampo Gemini 5
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ W1 þ ý
55 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
LT Capapillar Lighting Technology Capapillar 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ Nod þ Wiggle ý ý ý
56 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Litebeam Swing 2 Litebeam Swing II 12
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ G2
57 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mad Colour 211 MAD Lighting Colour 211 2 *
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý ý ý þ W1 þ ý
58 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mad Scan 411 MAD Lighting Mad Scan 411 4 *
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ W1 þ ý
59 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mad Scan 611 MAD Lighting Mad Scan 611 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Strobe
60 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin MAC500 1 Martin MAC500 12 Added V4.2 Set personality to Mode 1
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 W2 þ þ Frost
61 Abbreviation: Manufacturer:
Lamp:
Ma MAC600/1200 1 Martin MAC600 MAC1200
Intensity: Pan: Tilt:
þ þ þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 31
Number of Channels: Notes:
10 Added V4.2 Set personality to Mode 1
Colour: Gobo:
Aux:
þ CMY W1 þ þ Frost
62 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Ma MAC600/1200 2 Martin MAC600 MAC1200 12 Added V4.2 Set personality to Mode 2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Frost
63 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Ma MAC600/1200 3 Martin MAC600 MAC1200 12 Added V4.2 Set personality to Mode 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Frost
64 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Ma MAC600/1200 4 Martin MAC600 MAC1200 12 Added V4.2 Set personality to Mode 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Frost
65 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin PAL1200 1 Martin PAL1200 22 Set personality to Mode 1
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
66 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin PAL1200 2 Martin PAL1200 24 Set personality to Mode 2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
67 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin PAL1200 3 Martin PAL1200 24 Set personality to Mode 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
68 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin PAL1200 4 Martin PAL1200 26 Set personality to Mode 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
69 Abbreviation: Martin PAL1200E1 Intensity: þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 32
Manufacturer: Lamp:
Number of Channels: Notes:
Martin PAL1200E 16 Set personality to Mode 1
Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ CMY W1 þ þ Zoom
70 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin PAL1200E2 Martin PAL1200E 18 Set personality to Mode 2
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
71 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin PAL1200E3 Martin PAL1200E 18 Set personality to Mode 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
72 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin PAL1200E4 Martin PAL1200E 20 Set personality to Mode 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ Zoom
73 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin Robocolor 5 Martin Robocolor Pro 400 5 Set personality to standard
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ ý ý þ þ þ
74 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Martin Robocolor 7 Martin Robocolor Pro 400 7 Set personality to extended
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ ý ý þ W1 W2 þ ý
75 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mart Rscan 218 Martin Roboscan Pro 218 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
76 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mart Rscan 518 Martin Roboscan Pro 518 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
77 Abbreviation: Mart Rscan 805 Intensity: þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 33
Manufacturer: Lamp:
Number of Channels: Notes:
Martin Roboscan 805 6
Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ W1 þ ý
78 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mart Rscan 812 5 Martin Roboscan 812 5 Set personality to standard mode.
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
79 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mart Rscan 812 7 Martin Roboscan 812 7 Set personality to extended mode.
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
80 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mart Rscan 1020 Martin Roboscan 1020 12
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 W2 þ þ G2
81 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mart Rscan 1220C Martin Roboscan 1220 CMYR 15
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ CMY W1 þ þ G Rotate
82 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Mart Rscan 1220X Martin Roboscan 1220 XR 11
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ G Rotate
83 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
PanCom ColFader PanCommand ColorFader 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý ý ý þ RGB ý ý
84 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Sagitter Inf Club Sagitter Infinity Club 1200 12
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 34
85 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Sagitter Inf Live Sagitter Infinity Live 1200 20
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Prism
86 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Sag MultiStep Zm Sagitter Infinity Multistep Zoom 14
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Effects
87 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Sagitter Prince Sagitter Prince 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Strobe
88 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Sag Super Prince Sagitter Super Prince 10
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Effects
89 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Sag Mask Col Zm Sagitter Mask Colour Zoom 10
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Zoom
90 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Sajem Copernik Sajem Copernik 5
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý ý ý þ RGBY ý ý
91 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
SGM Galileo SGM Galileo 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ
92 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Space Can Ireos Space Cannon Ireos 8
Intensity: Pan: Tilt:
Colour: Gobo:
þ þ þ þ W1 þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 35
Aux: þ Zoom 93 Abbreviation:
Manufacturer: Lamp:
Number of Channels: Notes:
Starlite Mk5 Starlite MK5 19
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ RGB1 þ þ Iris
94 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Strong Multi1200 Strong Multicolour 1200 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ
95 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Strong Scan 150 Strong Scan 150 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ W1 þ ý
96 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
StudioD Minibeam Studio Due Mini Beam 6 *
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
97 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
StudioD Stratos Studio Due Stratos 12 *
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
98 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
StudioD StratCol Studio Due Stratos Color 14 *
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ MCY W1 þ þ Frost
99 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Summa HTI Suma HTI 9 *
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 W2 þ þ Zoom
100 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Synchrolite A Synchrolite Synchrolite 8
Intensity: Pan: Tilt:
Colour:
þ þ þ þ W1
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 36
Notes: Set personality to Mode A * Gobo: Aux:
þ þ Iris
101 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
TAS MiniUltra200 TAS Mini Ultrascan 200 6 *
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ ý
102 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
TAS Ultrasca 700 TAS Ultrascan 700 8
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
103 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
TAS Symbol 700 TAS Symbol 700 7
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Iris
104 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Vari*Lite VL1 Vari*Lite VL1 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ HS þ ý
105 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL5 Mod1 (8/8) Vari*Lite VL5 VL5A VL5B 8 Mode 1
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ BAM þ þ Diffuser
106 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL5 Mod3 (16/10) Vari*Lite VL5 VL5A VL5B 10 Mode 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ BAM þ þ Diffuser
107 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL5 Mod4 (16/13) Vari*Lite VL5 VL5A VL5B 13 Mode 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ BAM þ þ Diffuser
108 Abbreviation: Manufacturer:
Lamp:
VL5 Mod5 (8/7) Vari*Lite VL5 VL5A VL5B
Intensity: Pan: Tilt:
ý þ þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 37
Number of Channels: Notes:
7 Mode 5
Colour: Gobo:
Aux:
þ BAM þ þ Diffuser
109 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL5 Mod6 (16/9) Vari*Lite VL5 VL5A VL5B 9 Mode 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ þ BAM þ þ Diffuser
110 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL6 Mod1 (8/8) Vari*Lite VL6 8 Mode 1
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Lens
111 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL6 Mod3 (16/10) Vari*Lite VL6 10 Mode 3
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Lens
112 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL6 Mod4 (16/13) Vari*Lite VL6 13 Mode 4
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Lens
113 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL6 Mod5 (8/7) Vari*Lite VL6 7 Mode 5
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Lens
114 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
VL6 Mod6 (16/9) Vari*Lite VL6 9 Mode 6
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
þ þ þ þ W1 þ þ Lens
115 Abbreviation: Manufacturer:
Lamp: Number of Channels:
Notes:
Vari*Lite VLM 7 Vari*Lite VLM 7 Set personality to 16 bit, 7 channel
Intensity: Pan: Tilt:
Colour: Gobo:
Aux:
ý þ þ ý ý ý
116 Abbreviation: Manufacturer:
Vari*Lite VLM 9 Vari*Lite
Intensity: Pan:
ý þ
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 38
Lamp: Number of Channels:
Notes:
VLM 9 Set personality to 16 bit, 9 channel
Tilt: Colour: Gobo:
Aux:
þ ý ý ý
* Lamps available in previous releases only. Contact Artistic Licence for details.
Artistic Licence (UK) Ltd. Micro-Scope IIa Manual 39
Artistic Licence Bug Report Form If you discover an error in the Lamp Library or would like to request a new entry, please
return details to us on this form. Thank you Please also forward any additional manufacturer data, such as channel allocation tables.
-
Product: Micro-Scope IIa Version No.
Serial No. Date Purchased:
Supplier:
Name:
Company Name:
Address:
Post/Zip Code: Phone No.
Lamp Entry:
Description of Problem:
Please detail below the channel level data required to produce a centred white beam without gobo:
Chan 1 Chan 9 Chan 17 Chan 2 Chan 10 Chan 18 Chan 3 Chan 11 Chan 19 Chan 4 Chan 12 Chan 20 Chan 5 Chan 13 Chan 21 Chan 6 Chan 14 Chan 22 Chan 7 Chan 15 Chan 23 Chan 8 Chan 16 Chan 24
Please return to: Artistic Licence (UK) Ltd. B1 & B3 Livingstone Court, Peel Road, Harrow, Middlesex HA3 7QT. England.
 Artistic Licence (UK) Ltd. makes no warranty of any kind with regard to this material, including, but not limited to, the implied warranties of fitness for a particular purpose.
Artistic Licence (UK) Ltd. shall not be liable for errors contained herein or for incidental or consequential damages in connection with the furnishing, performance or use of this material.

All trademarks are acknowledged.
Artistic Licence © Artistic Licence (UK) Ltd. 1994-99 B1 & B3 Livingstone Court Peel Road Harrow Middlesex England HA3 7QT Tel: +44 (0)181 863 4515


Yesterday was the birthday of long-time Hooting Yard reader Chris Atton. To celebrate the event, Dr Ruth Pastry has supplied two more pictures by Neville Main, onlie begetter of Mat and Nat, the ur-Istvan and ur-Zoltan whose cheery countenances were featured yesterday. Today we have a monkey cutting a birthday cake which is gobbled up by ducks—that's something you don't see every day. (The captions suggest that the ducks only got the leftover crumbs, but I doubt it. Have you seen ducks eat?) The pictures are from Jimmy Goes To A Birthday Party (1950).
If you would like your birthday to be celebrated on this site, please write to the address at the top of the page to request an application form. Returned forms will be scrutinised by a panel consisting of a mountebank, a zany, and a distinguished potato scientist (or similar).


Recent Works
I'm joining the B2B Product Marketing team of Google Germany in Hamburg. I'll focus on acquiring new high potential customers for Google's marketing solutions.
Google's mission is to organize the world's information and make it universally accessible and useful. I'm happy to help changing the world!
I joined the Techstars Barclays Accelerator focused on Fintech startups as a Business Associate. I support the 2016 batch in Online Marketing, Product & Go-To-Market Strategy and Pitch Training.
Techstars is a global ecosystem that empowers entrepreneurs to bring new technologies to market wherever they choose to live.
I supported the 2 co-founders of fitbod Allen and Jesse as the first non-founding team member as the Head of Business Development and Marketing during the early months. I am still involved as an Advisor.
Perform your most productive workout with fitbod, a fitness app offering personalized exercise recommendations in real-time.
I supported the New York team in analyzing and defining potential invetsments, trends and strategic perspectives in the Mobility and Smart City market. During my engagement we invested in Zirx and Zendrive.
BMW i Ventures is a Mobility-focused seed and early-stage Venture Capital company that aims to build strategic long-term partnerships.
About Me
Read MoreStrengths
My Key Skills and Capabilities
Digital Marketing
Leveraging all channels as a full-stack hands-on Marketer
Product Management
Transforming the voice of the customer into sexy products.
Business Development
Building strategic partnerships for the acceleration of business goals.
Strategy
Shaping the business & product roadmap in short- & long-term.
FOLLOW Me
Stay up to date with what I'm up to.


How Web Applications Work
Http Protocol is a Request and Response protocol
- Client establishes connection with web server.
- Client sends web server a Request. This request has details of what operations the client wants.
- Web Server responds with a Response back to the web client. Content of the response has what was requested and status.
- Connection closes. Web server doesn’t remember anything about the past connections and who the clients were. That means another request coming from the same client is treated as a new request coming from a new client. Because of this, HTTP protocol is called a stateless protocol.
This one pair of Http Request and Response is called an Http Transaction.
URL
public class AddHandler extends HttpServlet {
@Override
public void doGet(HttpServletRequest request, HttpServletResponse response){
int x = Integer.parseInt(request.getParameter("x"));
int y = Integer.parseInt(request.getParameter("y"));
response.setContentType("text/html"); //set content type
PrintWriter out = response.getPrintWriter();
out.println("<!doctype html>\n" +
"\n" +
"<title>Sum of two numbers </title>\n " +
"" +
"Sum of x and y is " + (x + y) +
"");
}
}
request.getParameter()
searches for parameters not only in the query string of the URL but also in the body of the request. That means you can also read the form input fields in the post request which travel in the body of the request. Besides getting the parameters, the request object can be used for getting any other request data, for example the headers, cookies, session, method, etc.
We send a response to the client using the response helper object after setting the content type with the response.setContentType() method. Then, we instantiate a writer object PrintWriter to write to the response body. Then with out.println() method we send back to the client our response data. Note that the data goes straight to the client and is not held in the response object. Response is just a helper object and is not an intermediary space to store the data. After the doGet() method finishes executing, the container closes the connection with the client.
In practice, you can do whatever you want in this doGet() method and are not limited to what's shown above. In this doGet() space you can:
- access a database
- access other components like EJBs
- connect to other servers
- or whatever you can imagine under the sun


Basic Thumbnail.
Example to demonstrate the basic thumbnail component with Image media example.
Horizontal orientaiton of Thumbnail Example.
Example to demonstrate the horizontal orientation of thumbnail images in thumbnail component with Image media
example.
Thumbnail with Video Example.
Example to demonstrate the thumbnail component with Video media example.


This add-on allows the user to implement a profile interpolation lookup based on a CSV file.
A quick start document provides an overview of the addon capabilities. It is located at:
"C:\Users\Public\Documents\National Instruments\NI VeriStand (Year)\Custom Devices\Profile Interpolation\Windows\Quick Start Documentation\Profile Interpolation Quick Start.html"
Most of the addon sections contain additional built-in documentation.
NOTE: The typical use case for this add-on allows for interpolation for a defined set of position vs. load profiles.
Right click on the custom device and select Disable.
To add an interpolation, select the file from the Interpolation File.


We are
hackers
We create products that solve real problems! Whatever your major is, whatever your age be, whatever you do, doesn't matter!
Hop on, if you have that "keeda" of invention.
-
The Observers' Quiz: [.dotMatrix]
ISMites gear up for the test of their attention on 26th January, after the fancy puzzle posted on the event page made everyone scartch their heads.
-
Cyber Labs' Screen
Amusing humans with ONE more perspective they missed out upon, the movie series is up to fire-up the love game with technology and scientific thinking.
-
BuzzLogs
Get things done, together.
-
Demo or Die: 9th January 2015
Demo time for the members- from engaging dustbins, remote alerting systems to basic portal framework: members cross V1 of what was incepted.
-
DigiBoard: Never miss another notice deadline
The digiBoard is the concept to an engaging notice board engaging with simple intuitive colors.
-
"It was THE confluence of designers, innovators and techies!"
Founder, Cyber Labs shares his experience at the MIT Media Lab DI Workshop.
-
Smart Handshake
A smarter concept of exchanging contacts while, uh, simply a handshake!
-
Hard-wire in action
Tinkering up LED displays and seven segment displays whipped up from scratch.


Dagger
Dagger is a very popular dependency injection library created by the team at Square. Although Jake Wharton is associated with it, he has mentioned in his talks that the idea and initial development for Dagger was done by Jesse Wilson and Bob Lee (these two were also involved in the development of the another popular D.I. library - Guice at Google). Dagger uses a Directed Acyclic Graph(DAG) to map the different creational classes and hence the name DAGger. The folks at Google advocate against the use of DI frameworks on account of these frameworks using reflection and give example of Guice. However, Dagger was designed to avoid this issue and does not use reflection at all and instead uses static dependency to build the ObjectGraph. To be honest, I don’t know understand everything of what I have written in the last two sentences, but it just sounded so cool and so trustworthy that I felt inclined to use it. Once I started using it, I realized the awesome power especially as my app grew. We will be using Dagger 2 for this tutorial.
Step 1: Dagger setup with Ggradle files
Modify the build.gradle file for your project to include the neenbedankt plugin:
buildscript {
repositories {
jcenter()
}
dependencies {
classpath 'com.android.tools.build:gradle:1.2.3'
classpath 'com.neenbedankt.gradle.plugins:android-apt:1.8'
}
}
allprojects {
repositories {
jcenter()
}
}
Modify the module gradle file to include dagger and provide the jsr annotation (make sure to include the neenbedankt info. at the top of this file):
apply plugin: 'com.android.application'
apply plugin: 'com.neenbedankt.android-apt'
android {
compileSdkVersion 23
buildToolsVersion "23.0.2"
defaultConfig {
applicationId "com.primedroid.primedagger"
minSdkVersion 15
targetSdkVersion 23
versionCode 1
versionName "1.0"
}
buildTypes {
release {
minifyEnabled false
proguardFiles getDefaultProguardFile('proguard-android.txt'), 'proguard-rules.pro'
}
}
}
dependencies {
compile fileTree(dir: 'libs', include: ['*.jar'])
compile 'com.android.support:appcompat-v7:24.0.0-alpha1'
apt 'com.google.dagger:dagger-compiler:2.2'
compile 'com.google.dagger:dagger:2.2'
provided 'javax.annotation:jsr250-api:1.0'
}
Step 2: Fruit class
In this project we will be creating a Fruit class, which we will be injecting in the MainActivity.class. The class will look as follows:
public class Fruit {
private String name;
private String color;
private int weight;
private static Fruit fruit;
private Fruit(String name, String color, int weight){
this.name = name;
this.color = color;
this.weight = weight;
}
@Override
public String toString() {
return fruit.name+" "+fruit.color+" "+fruit.weight;
}
public static Fruit getFruit(){
if (fruit!=null) {
return fruit;
} else {
fruit = new Fruit("Apple", "red", 10);
return fruit;
}
}
}
Step 3: App module
Dagger is all about modules. You will need an App module to start with and then a MyApp module for your object. We will do the MyApp module after the object class creation. Here is the app module:
@Module
public class AppModule {
Application mApplication;
public AppModule(Application application) {
mApplication = application;
}
@Provides
@Singleton
Application providesApplication() {
return mApplication;
}
}
Step 4: Fruit module and component
Fruit module is the engine through which Dagger will get a Fruit object:
@Module
public class FruitModule {
String fruitName;
public FruitModule(String fruitName){
this.fruitName = fruitName;
}
@Provides
@Singleton
// Application reference must come from AppModule.class
Fruit providesFruit(Application application) {
return Fruit.getFruit();
}
}
Fruit component is the interface used to inject the Fruit object inside the MainActivity.class:
@Singleton
@Component(modules={AppModule.class, FruitModule.class})
public interface FruitComponent {
void inject(MainActivity activity);
}
Step 5: MyApp module
The MyApp module is the last piece in the puzzle:
public class MyApp extends Application {
private FruitComponent mFruitComponent;
@Override
public void onCreate() {
super.onCreate();
mFruitComponent = DaggerFruitComponent.builder().appModule(new AppModule(this))
.fruitModule(new FruitModule("Apple"))
.build();
}
public FruitComponent getFruitComponent() {
return mFruitComponent;
}
}
Don’t forget to specify this app in the manifest. For the application tag, add the name as .MyApp.
Step 6: Use Dagger to create the object
Now got to MainActivity.class and first inject mFruit and then create it use the MyApp application context:
public class MainActivity extends Activity {
@Inject
Fruit mFruit;
@Inject
SharedPreferences sharedPreferences;
@Override
protected void onCreate(Bundle savedInstanceState) {
super.onCreate(savedInstanceState);
setContentView(R.layout.activity_main);
((MyApp) getApplication()).getFruitComponent().inject(this);
Log.d("STRINGFRUITNAME", mFruit.toString() );
}
You can access the sample project at the following location:
If you want to go in depth, take a look at the following take by the man himself:


Welcome to JS Quiz
Welcome
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Main
Question
Who invented JavaScript?
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To get started, please open your browser console.
You can access store
, FarceActions
and
BoundFarceActions
in the global environment.
Try your first navigation:
store.dispatch(FarceActions.push('/new/path'));


You are here: Home / Dessert / The Best Chocolate Chip Cookie Recipe Ever
THE BEST CHOCOLATE CHIP COOKIE RECIPE EVER
Last updated on December 29, 2020. Originally published February 11, 2018 2,729 Comments
Jump to Recipe
This is the best chocolate chip cookie recipe ever! No funny ingredients, no chilling time, etc. Just a simple, straightforward, amazingly delicious, doughy yet still fully cooked, chocolate chip cookie that turns out perfectly every single time!
Overhead view of the best chocolate chip cookie recipe ever one cookie with melty chocolate chips surrounded by four other cookies and chopped chocolate
Everyone needs a classic chocolate chip cookie recipe in their repertoire, and this is mine. It is seriously the Best Chocolate Chip Cookie Recipe Ever! I have been making these for many, many years and everyone who tries them agrees they’re out-of-this-world delicious!


I populate this table from this Google Doc, in case you are interested.
| Date | Slides | Topic | Reading |
|---|---|---|---|
| {{row.date}} | {{row.slides|string|safe}} | {{row.topic}} | {{row.required_reading|string|safe}} |
{% include 'templates/head.html' %}
{% include 'templates/nav.html' %}I populate this table from this Google Doc, in case you are interested.
| Date | Slides | Topic | Reading |
|---|---|---|---|
| {{row.date}} | {{row.slides|string|safe}} | {{row.topic}} | {{row.required_reading|string|safe}} |


| | |
- JobStatus
- OpalService
class JobStatus |
| |
This class represents a Opal job status and can be used after launching a job to
monitor its execution. A Job Status is returned by a launchJob call, or it can be
constructed from a jobID and its corresponding Opal Service |
| |
Methods defined here:
- __init__(self, opalService, jobID)
- A JobStatus can be constructed passing a OpalService object and string
containing a valid jobID
- destroyJob(self)
- request the server to kill this job
- downloadOutput(self, baseDir)
- download all output files from the job and it places them in the local baseDir
(baseDir must exists). This function currently works only with newer opal services,
@return: true if the operation was successful false otherwise
- getBaseURL(self)
- it returns the URL that contains all the job outputs
- getError(self)
- It returns the error message of the job
- getJobId(self)
- it returns the jobid of this job
- getOutputFiles(self)
- it returns a list of strings containing the URLs of the output files
produced by the job
- getStatus(self)
- it returns the numeric representation of the status of the job
- getURLstderr(self)
- it returns the URL of the stderr
- getURLstdout(self)
- it returns the URL of the stdout
- isRunning(self)
- this function returns true is the job is still running false if it finished
- isSuccessful(self)
- If the job sucesfully finished its execution, this function returns true
- updateStatus(self)
- this function retrives a updated version of the jobStatus
from the Opal server
|
class OpalService |
| |
This class wrap a single Opal service. You should have one of this class for each
Opal Service you want to use. |
| |
Methods defined here:
- __init__(self, url)
- A OpalService can be contructed passing a string containing a valid Opal URL
- getServiceMetadata(self)
- return the XML appConfig used by this application
- getURL(self)
- @return: a string containing the end point URL used by this services
- isOpal2(self)
- it returns true if this service points to a opal2 server
false in the other cases
- launchJobBlocking(self, commandline, inFilesPath, numProcs=None, email=None, passwd=None)
- launchJobBlocking(commandline, inFilesPath[, numProcs, email, passwd]) -> JobStatus
This method functions like the launchJobNB, but instead of returning it waits
until the invoked application is finished or failed.
- launchJobNB(self, commandline, inFilesPath, numProcs=None, email=None, passwd=None)
- launchJobNB(commandline, inFilesPath[, numProcs, email, passwd]) -> JobStatus
It invokes the execution of the remote application and return.
commandline: is a string containing the command line that should be executed
inFilesPath: is a list of strings containing relative or absolute path to the
files need to be uploaded for the execution of the application
numProcs: is the number of processors that should be used to run the parallel
application (this option is valid only for parallel applicaiton)
email: is a string containing the email used to send notification when the
application execution will finish
passwd: is a string containing the passwd used to authenticate with the server
@returns: a JobStatus Oject which can be used to monitor its execution
| |


Python/Statsmodels workshops
Survival analysis
Mixed models
Other Python workshops
Unix workshops
Go workshops


In the given 60 seconds, try to answer as many Office trivia questions as you can. You will have four answer choices to choose from. For every incorrect answer, your time will be deducted by 5 seconds. Good luck!
Your final score is .
Save your score:


| DOSE: T+ 0:00 |
30 mg |
oral |
2C-E |
| T+ 2:00 |
1 capsl |
oral |
MDMA |
I guess I'll start from the beginning. I got off a bus in Toronto at 9:15 with 5 of my close friends, with the intention of going to a rave, we met up with another friend before leaving from the station and were soon on our way. Some of these friends will be important later, so I'll name them now as N, S, D, G, B and M. The venue for this particular rave was quite far from the station we'd all arrived at, and so we took a subway to get us most of the way there. Almost as soon as we were done riding the subway, I got N to dose me with what we assume to be just upwards of 30mg of 2C-E. This was my first time trying this drug, but I had known that this friend was getting it long in advance and he had already done it before at this point. I'd also done some reading on it myself, but not near enough, I was totally unprepared for some parts of the experience.
By the time we arrived at the rave (approximately 10pm) my dose still hadn't kicked in, I was feeling quite sober, and I spent about the first 40-50 minutes just finding people I knew from other raves, talking, and trying to help N sell some more of his 2C-E. Because I was keeping myself pre-occupied, and because I'm used to tripping on something at a rave anyways, I didn't even notice that I feeling any different until I was already a significant amount into my come-up. When I did notice I happened to be sitting in a smaller 'chill room' type area with a bunch of friends from previous raves, just talking and enjoying myself.
It all of a sudden became apparent to me how many conversations were going on around me at the same time, I could no longer remember which of these conversations I actually belonged to, this is a feeling that I remember persisting for most of the night to a lesser degree. I was quickly becoming staggeringly confused with all of these conversations, and decided I needed to find a close friend, someone who I could talk to. At this point I went back into the main dancing room, searching particularly for N and S, I don't know why I decided to search for them but they seemed like the right people to go to at the time.
I found them fairly quickly, but my conversation with them didn't offer me much relief I still felt very confused. At this point I realized that, for some reason, I needed to find MDMA. I felt like if I could get MDMA into my system, just one capsule, I would feel better, the confusion would leave me and I would be able to enjoy my trip more. Well, MDMA is never really hard to find at a rave, so after asking one or two people I found someone to sell me a capsule, payed them $10 and dropped it right there. Instantly I felt better, I began talking to the people that I had just bought my MDMA from, and found out that some of them had actually also bought 2C-E from N that night.
All of a sudden BAM, I don't know when the music stopped playing, but my friend M, was taking me by the hand and we were going to find the rest of our friends. I wasn't totally sure what was happening for a while, but I trust M and was fine following her.  I've heard quite a few stories about why they actually got called that night, but the reason that they were telling us for the place getting shut down was that it only had one exit.
So M and I walked around and found all of our friends, getting ready to leave, eventually most of us were together again, and suddenly we all realized that G was missing. We waited outside of the venue for him, but he never showed up, after a while M had to leave with some of her friends, which we all said was fine, but we had to stay and wait for G. After a while we were pretty much the last ones left in the area, and the cops were actually coming up to us to tell us specifically to leave. So we had to accept the fact that we'd lost one of our friends, and we began walking, following a guy we had just met outside of the rave, to get to a different party that was going on that night, after all it was still only about midnight and we were all tripping, we needed somewhere to go with a good atmosphere.
It was a fairly long walk from one venue to the next, but we didn’t mind. We all walked and talked and N eventually sold yet another dose of 2C-E to the guy we were following. Somehow during the walk I ended up carrying this guy’s guitar for him, for some reason it made me feel a lot better to have it on my back. The main point that I remember from this walk was running into an older man on the street with a guitar and a microphone. This man began to play some kind of old country-style tune for us, the music sounded absolutely beautiful and all of us sat down on the sidewalk to listen. I remember telling my friends afterward something along the lines of “that made this a good night”.
Anyways, we finally made it to the next party and G was sitting right outside, all of us were so relieved and gave him an earful about leaving the first one without us. I think that for most of the walk my trip wasn’t so strong because of the worry for G, but now that we’d found him again I was happy and my mind was racing with multiple thoughts at once. This is when another of the main sensations that I’ve noted seemed to start; people appearing and disappearing. I was standing with N and S, talking to them, I looked away down the street for a second, and when I looked back there were two new people standing with us. N and S seemed to think that this was completely normal and were now talking to these people as well.
I closed my eyes tight for a second and opened them again, when I did so the two new people were gone and had been replaced with another of my friends. I felt confused and looked across the street, suddenly the entire area seemed unfamiliar, and when I turned back to my friends again there were new additions to our group. N was telling me that one of the guys here had also taken 2C-E at the first party, I don’t remember this guy saying much but I felt like we totally understood each other. After another few sensations of appearing and disappearing people two more of my friends were there to tell us that a small group (approx. 10) of us were going to a park a short walk away to smoke weed. I agreed to come with them and we began walking once again.
This walk was short and uneventful, we made it to the park and sat down in a big circle, N pulled out his pipe and we began passing it around, taking turns packing it. At one point during our sesh I decided to check if I was getting CEVs, so I closed my eyes and dropped my head. The effect was amazing and quickly overtook me, the visuals themselves were brilliant patterns, flowing colours, they all seemed to be controlled and influenced by the sounds and conversations around me. I felt once again that I could hear every conversation going on around me at once, everyone’s voice was equally important, including those of other people in the park not even sitting in our group.
Someone had an ipod playing nearby and the music also influenced the style and mood of the things I was seeing. A few times one of my friends would call me by name, and ask how I was doing, I would respond with a quick “good” or “I’m okay”, but would often not open my eyes to talk to them. At one point I remember an eye filling my vision, for some reason I immediately identified this eye as being some kind of message from M, though I wasn’t sure what it was trying to tell me. Suddenly the eye began to divide and my vision was filled with many different eyes, each of them different. It was apparent to me that each of these eyes represented a different person that I knew, and I began identifying each one of them individually.
This was quite an impossible chore as the eyes were constantly moving and shifting, sometimes turning into completely different, unfamiliar entities. After a while the eyes had all vanished and I was now veiwing what seemed to be a large, pulsating mass, whatever it was, it was alive. This new thing that I was seeing disgusted me, and I didn’t want to see it for long enough to actually see what it was, so at this point I opened my eyes and returned to the circle where I was sitting with my friends.
After blazing for a while (I never really felt the weed kick in, but just the act of smoking it was a nice, familiar feeling) everyone decided that they were cold and wanted to walk somewhere that they could sit down inside. I wasn't particularly cold, or particularly warm, in fact for the entire trip the body sensation was an odd tingling sensation that seemed to be a mixture of cold and warmth. But they wanted to go so once again we began walking, this walk could not have been more than about 20 minutes but seemed to last hours to me. As we walked I kept staring at random street signs and shop signs, because all of the words and designs on them seemed to move and morph together.
The area that we were in was constantly changing and seemed unfamiliar to me, but I was fine with simply following my friends, I didn’t need to know where I was, I didn’t need a destination. My brain was working on overdrive, I was thinking about my life, my friends, I felt that I was figuring out how everything worked, like I was solving some huge puzzle. Among my many realizations, at one point I had convinced myself that this trip was going to last forever, that I would come out of it a completely different person, and many other things along these lines. I felt that these were all facts that I could not help and simply had to accept, while all of this was happening I was also carrying on a totally unrelated conversation with N and S.
Suddenly a man approached us to ask us for money, this is not an uncommon thing to happen while walking on the streets of Toronto at night, but for some reason at this point I froze.  I was suddenly filled with an intense, paralyzing fear and was unable to do anything, unable to say anything to this man except to helplessly mumble “I’m scared”. This was the most afraid that I have ever been of anything in my entire life, I couldn’t even think at all, I had no idea what to do. N told the man that I was on a lot of really hard drugs and he walked away, frustrated and upset with us.
I was glad that he was gone but now my mind began to race once again, this time with bad thoughts, things that I didn’t want to think. N grabbed my attention and quickly said exactly the right thing to calm me down. He simply brought up a story from years ago back at the beginning of high school, the memory calmed me down instantly and I was once again enjoying my trip.
The group of us soon made it to a donut shop where we all sat down, some of us got food, some coffee, and other drinks. I didn’t feel like eating but N offered to buy me an orange juice, which I accepted. I spent quite a while in there with my head down, enjoying some more CEVs, I also had an interesting sensation of looking out the window and not being able to tell what what actually outside, and what was a reflection of the things inside. After about half an hour of sitting inside my CEVs began to subside, becoming less intense and less interesting, so I opened my eyes and told my friends that I was coming down.
Visuals ended fairly quickly but the body high lasted for quite a while afterward, the thing that lasted the longest was a feeling of unfamiliarity. Even in areas that I had been before, I just had an odd feeling that I didn't know where I was, this persisted for most of the next day. When I finally got back home at around 2pm I still had this unfamiliar feeling, I didn't like it so I decided to sleep it off. I didn't have much trouble getting to sleep, and slept straight through until Monday morning. I had almost no hangover symptoms, I wasn't sore, even my jaw, which I felt like I was clenching at many points during the night.
Overall it was a fun experience. I don't know that I will use 2C-E again myself, at least not in the same dosage as I did this time, if I do it will probably be about half the dose. Not because I feel that this dose was too strong, but simply because I feel that this experience and some of the realizations that I came upon during it were unique and should be remembered as such.
Experience Reports are the writings and opinions of the individual authors who submit them.
Some of the activities described are dangerous and/or illegal and none are recommended by Erowid.


interface BluetoothKitSocketInterface : Any
Bluetooth Socket interface for primary functions
Author
Rikin Katyal
| deviceAddress |
abstract val deviceAddress: String |
| deviceName |
abstract val deviceName: String |
| inputStream |
abstract val inputStream: <ERROR CLASS> |
| outputStream |
abstract val outputStream: <ERROR CLASS> |
| socket |
abstract val socket: <ERROR CLASS> |
| close |
abstract fun close(): Unit |
| connect |
abstract fun connect(): Unit |
| BluetoothKitSocket |
open class BluetoothKitSocket : BluetoothKitSocketInterface
Bluetooth Socket wrapper |


This shows how to delete a post. Start by retrieving a post and then you will be given the option to delete it.


{% extends 'base.html' %} {% load static %} {% block content %} Welcome to Text Analyzer Add your text below to perform desired operations on it {% csrf_token %} Actions you can perform : Find word Remove Punctuations Capitalize To Lowercase To Uppercase '.' To New Line Email Addresses Links Sentiment Analysis Check Grammar Lemmitizer Replace Date Extractor Word Frequency Analyze Clear Default Text Back To Home Generator {% if emptyText %} {% endif %} {% endblock %}
Add your text below to perform desired operations on it
Actions you can perform :


When I look in the mirror,
I see a girl who doesn't believe in herself.

When I look in the mirror,
I see a girl who doesn't have any friends.
I see a girl who is lost.
When I look in the mirror,
I see a girl who doesn't love herself.
I see a girl who wishes she was someone else.
When I look in the mirror
I see a girl who fakes a smile,
so no one can see how much she hurts on the inside.
I see a girl who wants to be accepted.
When I look in the mirror
I see a girl who wants to fit in.
I see a girl who may never be loved or accepted.


filetest
OS/161 Reference Manual
Name
filetest - basic filesystem test
Synopsis
/testbin/filetest filename
Description
filetest tests the filesystem by opening, writing to, and reading from
a user-specified file.
Requirements
filetest uses the following system calls:
filetest should run correctly on SFS filesystems with the OS/161
system as shipped. It should continue to work once the file system
assignment is complete.
It will not work in full on emufs, because emufs does not support
remove().


Tutorial¶
Before you run a full example, it would be to your benefit to install the following:
- Nvidia CUDA on machines with GPUs to enable faster training. Installation instructions here
- Tensorboard for training visualization. Install by running pip install tensorboard
This tuturial will make use of a Conda environment as the preferred package manager. Installation instructions can be found here
After installing Conda, create and activate an environment, and install all dependencies within that environment:
$ conda create -n rl-codebase python=3.6
$ conda activate rl-codebase
$ pip install -r requirements.txt
To run locally, we will train DQN on the Carpole-v1 Gym environment:
$ # start training
$ python train.py --sys local --hparams dqn_cartpole --output_dir /tmp/rl-testing
$ # run tensorboard
$ tensorboard --logdir /tmp/rl-testing
$ # test agent
$ python train.py --sys local --hparams dqn_cartpole --output_dir /tmp/rl-testing --training False --render True


See: Description
| Interface | Description |
|---|---|
| PullResultSetReader |
Iterates over the set of batches in a result set, providing
a row set reader to iterate over the rows within each batch.
|
| PushResultSetReader |
Push-based result set reader, in which the caller obtains batches
and registers them with the implementation.
|
| ResultSetCopier |
Copies rows from an input batch to an output batch.
|
| ResultSetLoader |
Builds a result set (series of zero or more row sets) based on a defined
schema which may
evolve (expand) over time.
|
| ResultVectorCache |
Interface for a cache that implements "vector persistence" across
multiple result set loaders.
|
| RowSetLoader |
Interface for writing values to a row set.
|
Readers that discover schema can build the schema incrementally: add a column, load data for that column for one row, discover the next column, and so on. Almost any kind of column can be added at any time within the first batch:
TupleBuilder
class
to build the schema. The schema class is part of the
RowSetLoader
object available from the
ResultSetLoader.writer()
method.
If the input is a flat structure, then the physical schema has a flattened schema as the degenerate case.
In both cases, access to columns is by index or by name. If new columns are added while loading, their index is always at the end of the existing columns.
ResultSetLoader.startBatch()
and a call to VectorState.harvestWithLookAhead()
to obtain the completed batch. Note that readers do not
call these methods; the scan operator does this work.
Each row is delimited by a call to startValue()
and a call to
saveRow()
. startRow() performs initialization necessary
for some vectors such as repeated vectors. saveRow() moves the
row pointer ahead.
A reader can easily reject a row by calling startRow(), begin to load a row, but omitting the call to saveRow() In this case, the next call to startRow() repositions the row pointer to the same row, and new data will overwrite the previous data, effectively erasing the unwanted row. This also works for the last row; omitting the call to saveRow() causes the batch to hold only the rows actually saved.
Readers then write to each column. Columns are accessible via index
(TupleWriter.column(int)
or by name
(TupleWriter.column(String)
.
Indexed access is much faster.
Column indexes are defined by the order that columns are added. The first
column is column 0, the second is column 1 and so on.
Each call to the above methods returns the same column writer, allowing the reader to cache column writers for additional performance.
All column writers are of the same class; there is no need to cast to a type corresponding to the vector. Instead, they provide a variety of setType methods, where the type is one of various Java primitive or structured types. Most vectors provide just one method, but others (such as VarChar) provide two. The implementation will throw an exception if the vector does not support a particular type.
Note that this class uses the term "loader" for row and column writers since the term "writer" is already used by the legacy record set mutator and column writers.
RowSetLoader.isFull()
method.
After each call to saveRow()
,
the client should call isFull() to determine if the client can add another row. Note
that failing to do this check will cause the next call to
ResultSetLoader.startBatch()
to throw an exception.
The limits have subtle differences, however. Row limits are simple: at the end of the last row, the mutator notices that no more rows are possible, and so does not allow starting a new row.
Vector overflow is more complex. A row may consist of columns (a, b, c). The client may write column a, but then column b might trigger a vector overflow. (For example, b is a Varchar, and the value for b is larger than the space left in the vector.) The client cannot stop and rewrite a. Instead, the client simply continues writing the row. The mutator, internally, moves this "overflow" row to a new batch. The overflow row becomes the first row of the next batch rather than the first row of the current batch.
For this reason, the client can treat the two overflow cases identically, as described above.
There are some subtle differences between the two cases that clients may occasionally may need to expect:
Copyright © 2021 The Apache Software Foundation. All rights reserved.


I recently had the honor of writing a tutorial for the Sketchfab Blog about retopologizing 3d scans. I thought this would relevant to this blog so I’ll share it with you.
Read the full tutorial here:
https://blog.sketchfab.com/retopologise-3d-scans-low-poly-game-assets
Here’s a snippet of the article:
What is Retopology?
Retopology is the process of rebuilding your model to reduce polygon count and to allow for UV unwrapping and proper deformation for animation models. Retopology is widely used by digital sculptors to convert their models into usable assets in game or film projects. It can also be used on 3d scans for rapid asset creation. Learning the process is quickly becoming a valuable task as more and more game studios are using 3d scans in their asset pipeline.
Instant Meshes for Retopology
For the retopology we’re going to use Instant Meshes, a free quad-based auto-retopology software recently announced at Siggraph and available for free download. At the moment Instant Meshes supports OBJ, PLY, and ALN formats. By coincidence, the model I’m using is already in OBJ format. But if your model isn’t, there are a number of free converters such as MeshLab or online apps if you prefer not to download one.
Continue Reading
Recently, I received a question in regards to cutting a custom hole onto a surface. Instead of addressing a unique situation, I thought I would give some guidelines for cutting holes. So here it goes.
The Shape
Start by modeling the shape you would like to cut, make it as minimal in vertices as possible. Then place it onto the area you would like to cut it onto.
Basic Form
Delete the major areas needed to make the hole. Again, be minimal in what you delete, only what is necessary.
Shaping the Hole
Shape the vertices to fit around the shape. Don’t move them in too close, make sure there will be room for an edge loop with faces that are consistent in size with the rest of the mesh.
Counting the Loops
Count the vertices around the hole and the shape. Most likely they are uneven. If so, add and remove loops from both the shape and the rest of the mesh. This will be difficult, it may require you to retopologize parts of the mesh in order to make match.
Filling the Gap
Start filling the faces in. Rearrange the varices to make sure the faces are even is size as much as possible.
Mesh Check
After you’re done, check over the model to make sure you didn’t mess up other parts of the model while deleting or adding edge loops. Especially if you’re doing sub-d modeling.
A simple method of modeling a classic shape.
A fast method for creating square panel lines.
Redirecting edge flows within a mesh.
Here’s a few tips to keep in mind when Sub-d modeling. I hope you like this written format. If not, let me know.
1. Always start with an accurate Blocking
Blocking is one of the most important stages of modeling. It’s where you define the scale, style, and look of your model. That’s why you should always start with an accurate base shape. Because once you start adding lots of details and holding edges it’s hard to change a shape without getting a big headache.
2. Use as few Polygons as possible
When sub-d modeling you don’t need to worry about keeping curved surfaces smooth because once you apply a few levels of sub-surf (subdivision surface) you won’t be able to see how “low poly” your model really is. Why should you use a 32 sided cylinder if you can use a 6 sided one and apply some non-destructive sub-surf instead? So keep your models as simple as possible. If a polygon doesn’t perform a specific task, then most likely it should be deleted.
3. Tris and N-gons aren’t always Bad
Tris and n-gons have a pretty hideous reputation of ruining topology, but if used in the right circumstances, they can be useful. And in the end, they will be turned into quads anyways. Don’t take this as a green light to use non-quads all you want, but don’t freak out if you have one or two that aren’t ruining your topology flows.
4. Keep your Quads Square
I know you’ve probably heard this one a zillion times. But I still see lots of models with very rectangular quads. This is one of the most basic things you can do to your model to improve it. Keeping your quads square will help keep your model looking even and smooth. As well as helping other tasks like UV mapping.
5. Model using Modifiers
Modifiers are non-destructive. Meaning you can turn their effects on or off at any point in your modeling process. Different 3d modeling apps have different tools. But whichever app you’re using, find out which modifiers could help you when modeling. They can save hours of work.
6. Creases for small or distant Objects
Instead of adding holding edges to keep your corners sharp, crease your edge instead. It will keep your polygon count down and will look perfectly adequate for small or distant objects.
Here’s a short tutorial on making spiral quads and poking faces. Sorry Autodesk users, this one only works in Blender.
Creating curved corner edge flows.


Unofficial Duolingo Stories
This page is a community project to bring the original Duolingo Stories to new languages. If you want to contribute tell me.
These stories are owned by Duolingo, Inc. and are used under license from Duolingo.
Duolingo is not responsible for the translation of these stories and this is not an official product of Duolingo. Any further use of these stories requires a license from Duolingo.
Visit www.duolingo.com for more information.
Duolingo is not responsible for the translation of these stories and this is not an official product of Duolingo. Any further use of these stories requires a license from Duolingo.
Visit www.duolingo.com for more information.


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