Documentation / Manuals

I'm fairly new to the Congo but am doing all I can to learn its ways. Unfortunately my access to the desk for live/hands-on time has been limited, so I have been learning primarily from the documents, offline software, and watching others.

What I am missing, and may be useful to others learning the Congo, is some document or manual section describing how the desk works at an abstract level. For example, post #506 in this forum detailed some of the philosophy of the Congo design, and that was *very* helpful. There is also a brief manual section on "Control Hierarchy"--also useful but much too brief.

What I would like is:

1) A description (including graphics would best) of the overall object hierarchy: i.e. channels go into groups, presets comprise channels, groups or attributes, sequences are pointers to presets, etc.

2) Since I am a programmer and think of things that way, I would like to see a picture of how the ultimate output DMX is created. That is, starting from the DMX out, moving back through the patch, to the data sources and how they mix, etc. so that I can keep in my head where the look on stage is coming from and how to change it. That has always been the basis for my feeling solid with a console--understanding how the data flows so I am confident I am in command of it.

Because the Congo has so many ways of doing anything, and the documentation doesn't include the data flow, I have found a common experience for me (and other newer users I watch) is to think everything is cleared while some light or movement continues on stage while you search for its source.

As a general comment, I am surprised how rough the documentation is at V4.3:  the manuals still contain many typos, spelling and grammar errors, and a few erroneous descriptions, as well as being lacking in graphics. Honestly, when I look at a product I observe the quality and attention to detail in the documents as an indication of the same in the hardware and software.
 

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  • Hi Rando -

    You seem to already have a good handle on the data structure of Congo as it is similar to other consoles that control moving lights. For the benefit of others, though, an annotated version is provided below...
     

    1) DMX gets patched to channels.

    A channel is a dimmer, a bunch of dimmers, or a device such as a moving light or media server.

    Channels have levels for intensity and/or parameters.

    Channel selection and intensity levels can be recorded into groups (groups are one kind of record target). Groups are not referenced by any other record target. Groups are typically used for quick channel selections, but may also be used to recall specific intensity states. 

    Parameter levels can be recorded into palettes (another type of record target - of which there are 4 types - Focus, Color, Beam (which filter automatically to that type of data) and All, which can contain focus, color and beam data in one target.) Palettes can be referenced by Presets (meaning if you update the contents of a palette, any preset you have recorded will get that new data when played back).

    Presets (yet another type of record target, and the typical building block of a show) contain the "stage look" and can contain channel levels directly for intensity or parameters, or can contain palette references for parameters. Presets typically contain all active intensity levels at the moment of recording. The method Congo uses for recording parameters into presets defaults to recording only changed parameters, but this is a user setting and can be changed to a number of different options.

    Sequences play back presets in a specific order (any order, actually).

    The Play List can create a stack of sequences to play back in any order and blend one into the next seamlessly on the Main Playback.

    2) This one is simple. Intensity is always handled HTP (highest takes precedence) among all playbacks, and parameters are handled in LTP (last takes precedence) fashion. The only exceptions to this scenario are 1) Parked levels for intensity and/or parameters take top priority, 2) Independent Exclusive control of intensity levels - the 6 faders and 3 switches when set to "Exclusive" will take precedence over the keypad and playbacks , 3) Capture Mode for manual control - captured levels (intensity and parameters) take precedence over playbacks.

    So, as far as who is "winning" control over intensity, usually all you have to do is select the channel(s) in question and the gold box surrounding the channel in the Live display will indicate the HTP winner for that channnel. AB indicates the Main Playback. A number indicates the Master Playback with the highest intensity level for that channel. An "In"  indication means that an Independent fader or switch currently has control.

    For parameters, these are handled entirely LTP, meaning that nobody owns a parameter once it has been given a command. The only exception to this rule is for parked and/or captured parameter levels, which get held at high priority following the same rules above. Independents may activate parameters, but they do not hold onto those levels.

    Essentially, if one performs a 0 GOTO and brings all active masters down, nothing should be left on stage. It is possible, though, to have dynamics continue to run since a 0 GOTO is really an intensity command (there are no move instructions in the 0 step to cause movers to move). In this case, one can either delete the dynamics manually using the softkeys or the Live Dynamics tab, or one can write the first step of the main sequence as a GoInB step and force it to stop all dynamics by inserting the STOP I, STOP F, STOP C and STOP B dynamics on all channels in that first preset.

    Congo offers very flexible playback options and a very simple set of rules for negotiating the actual output. I will suggest that these items be added more clearly to the user manual in a future version, though.

    I hope this helps -

    Thanks -

    Sarah
     

  • Sarah,

    Thanks again for the quick and helpful response! On my second question regarding how thw output is determined from the input, I think you answered it but not directly and maybe I didn't ask it clearly.

    What helped my understanding most is that (if I understand it correctly) the output is determined by looking at all of:  the master playbacks, the main playbacks, the dynamic effects engine, the parked channels, captured channels, the independents. If any channel has an intensity in any of these, the highest value is output. If any attribute is active, the latest value is output.

    Then the GRANDMASTER and B.O./FREEZE controls have something to say about the outputs, which then go through the patch and out to the world (e.g. DMX).

    I think what I am asking for is the rules: you mentioned Congo has a very simple set of rules for negotiating the output and I have been trying to decode those rules from the inside out, but if they are written or illustrated somewhere that would really help me. And maybe others.

    To put it another way, my background is system/software engineering. So when I learn any controller, I look for the underlying design, data flows, and structure of the control scheme. I learn interfaces more by learning the patterns and philosophy and exceptions. But I have seen many people who prefer to learn a controller by memorizing a set of shortcuts, keystrokes or techniques.  Nothing wrong with that, but I think the present docs may work better for the memorizers than the structural learners (for lack of a better term). At least I found myself scanning them for patterns and abstractions.

    If there are any documents that might help in that vein, I would very much appreciate them!

    Again, all this is intended to be helpful!
     

    Randy Brumbaugh 

Reply
  • Sarah,

    Thanks again for the quick and helpful response! On my second question regarding how thw output is determined from the input, I think you answered it but not directly and maybe I didn't ask it clearly.

    What helped my understanding most is that (if I understand it correctly) the output is determined by looking at all of:  the master playbacks, the main playbacks, the dynamic effects engine, the parked channels, captured channels, the independents. If any channel has an intensity in any of these, the highest value is output. If any attribute is active, the latest value is output.

    Then the GRANDMASTER and B.O./FREEZE controls have something to say about the outputs, which then go through the patch and out to the world (e.g. DMX).

    I think what I am asking for is the rules: you mentioned Congo has a very simple set of rules for negotiating the output and I have been trying to decode those rules from the inside out, but if they are written or illustrated somewhere that would really help me. And maybe others.

    To put it another way, my background is system/software engineering. So when I learn any controller, I look for the underlying design, data flows, and structure of the control scheme. I learn interfaces more by learning the patterns and philosophy and exceptions. But I have seen many people who prefer to learn a controller by memorizing a set of shortcuts, keystrokes or techniques.  Nothing wrong with that, but I think the present docs may work better for the memorizers than the structural learners (for lack of a better term). At least I found myself scanning them for patterns and abstractions.

    If there are any documents that might help in that vein, I would very much appreciate them!

    Again, all this is intended to be helpful!
     

    Randy Brumbaugh 

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