Where is the love for Congo?

Hi Guys,

David Lincecum here - I duck in and out. Ducking in. We at ETC love Congo!

You are correct that the education center has not been offering Congo training.  In the US the Congo user base is widespread, not as dense as the Ion user base. We have had some Congo events that did not make or had low attendance. Since the user base is very large in Europe we have many more trainings there. You can understand that it is hard to have trainings that are not attended or have low attendance.

We would like to offer you the training you need and help your crew improve their skills. We are discussing options for doing that.

Can you make suggestions for cities you are willing to travel to?

What kinds of topics should we focus on?

Would Video trainings - beyond what we offer - be of more value?

What would best serve the Congo community?

Thanks for your responses.

David Lincecum

Marketing manager, ETC

This is a conversation I've had several times with Ellen, Spencer, Ulf, and several others. Like David said, Congo just isn't as popular in the United States. It's not as if every school, church, and mid-sized facility is picking these up like they are the Element and Ion.

While the people who like Congo, love it, there are just as many people who don't understand the syntax and don't want to spend time getting used to it. For people who have spent their lifetimes working on Express(ion) and Obsession desks, getting into the groove of how Congo works is difficult -- it's not an intuitive syntax or thinking process for them. That's my theory as to why it's not caught on as much here in the States.

I sent Ulf an email a while back  which I unfortunately can't access because I sent it to him while I was interning at ETC, using my ETC email account that I no longer have access to. Several paragraphs beat to death the point that to understand the brilliance and efficiency of working with Congo is (literally) physically impossible until you've been working regularly on the desk for nearly two weeks. Until the muscle memory is developed and you've learned not to use the mouse for anything, you just can't reap the benefits of the console.

It's just not the Express or the Strand 520i -- desks where you can give the same command dozens of different ways and however you "talk" to the desk, the sentence you string together will give you the right keystrokes. [Ch.] [80] [Thru] [90] [At] [75] is how people are used to speaking and communicating, so just about anyone can walk to up an Express and punch the right keys. Congo screws that up for people because they have to stop and think, instead typing in, [80] [Ch.] [90] [Thru] [75] [@Level].

Having worked with Congo almost exclusively for the last year, it's become my native language. I think the RPN, and when someone else is sitting at the console and I'm telling them what to turn on, I often do the thinking for them and speak the RPN. Once I have my show files setup and have my groups setup on masters and if it's a larger show I might even have a channel layout -- it's not at all unusual for me to get the levels on something changed before the LD finishes his sentence telling me what to change.

The flip side of that is that when I go to program on an Express at a roadhouse about 30mi from here, I look like a total idiot because I've changed my thinking to the Congo syntax and when I sit in front of an Express it's a catastrophe waiting to happen. Randy will say, "Channel 30, 32, 43, and 45 at 85" and I'll stare blankly at the desk while trying to type the commands in. Now that I think and speak Congo, one of the easiest consoles to use in the world is a thousand times more difficult to use because I always find myself doing the keystrokes I'd do for Congo. Randy and I laugh about it and he understands where I'm coming from, but learning Congo has cost me some of my professional backwards compatibility because it took the world I knew and the language I spoke and shook it like a magic eight ball.

I want to emphasize that there's no joking when I say it's physically impossible to embrace Congo and comprehend how quickly you can program on it until you've developed the muscle memory. Until you've got the syntax down and you can hit the keystrokes like it's your native language, you just sort have to trust that it's as awesome as you've been told it is -- something that customers and end-users aren't often crazy about doing.

• What kinds of topics should we focus on?

Putting screen layouts on masters (Matt showed me how to do this in the Consoles lab several months ago and I've not only forgotten but can't seem to find details anywhere on how to set that up again)

What a streamlined preset-recording process looks like. I feel like I'm doing it wrong because the process seems obtuse when I have to say, "Stop, give me a moment -- I have to switch navigate this dialog box to add in the fade times."

• Would Video trainings - beyond what we offer - be of more value?

Yes. The only topics covered right now are basics. It's alright when I want to just sort of figure out how workflow in Congo looks like, but I'm beyond that now -- I own a console and have to setup entire show files. The first time I used Selador fixtures also happened to be the first time I used intelligent fixtures on my Congo and it was an adventure. I spent way too much time on the front-end of a tech rehearsal just trying to figure out why my intensity levels on my ColorBlasts were recording into presets but not on my Seladors. The moment I resorted to pressing the "?" button I knew I was in for it because I had 50 people waiting on me to dig through that behemoth of jargon which eventually was in vain and didn't solve my problem anyways. I had better luck just throwing spaghetti at the wall, eventually changing settings haphazardly until something worked. Really, anytime myself or any of our programmers resort to pressing the "?" button, we know we're screwed and that it's time to toss a 15 or 20-minute break out for the cast so that we can get things in order without them waiting on us.

Despite the fact that I've watched the video on making Effects work several times, that's another thing I've had terrible luck with. I've actually given up on the feature to automatically setup chase effects because it's only ever been a feature I've sunken time into in the middle of a rehearsal. The director will ask for something, I'll try to provide it through that feature, and end up killing 10 minutes, stopping the rehearsal, and eventually scrapping the idea altogether as I start to just record my own sequence for the effect step-by-step, only to then spend another several minutes trying to get the timings accurate. A well-intended idea  to the effect of "Hey, what if we just try..." that should only take a minute or two to setup ends up killing a full half an hour.

(I seem to recall Sarah or Ulf telling me that more advanced video tutorials were in the works, but I haven't heard anything on that in a couple months.)

• What would best serve the Congo community?

A user manual and more video tutorials in a series that's aptly titled, "You're doing it wrong and 100 ways we think you can suck less at programming."

The reference guide is completely accurate but at the same time entirely useless. I've spent hours in front of that guide trying to figure out how to do something but the guide doesn't make clear how to accomplish certain goals and the video tutorials don't go into all that much depth. Programming Congo is an art -- I get it. Every programmer I've spoken to does things their own way; how they setup groups, masters, channel layouts, live screens, and even just how they setup their tabs. When I first learned Congo, I really struggled putting all of the pieces of the puzzle together because I couldn't ever really get a solid answer out of everyone on a comprehensive how-to on setting up a show file from scratch. The first time I added intelligent fixtures to a show file was quite the adventure because I was making it up as I went along. Like I said earlier, there's a lot of different ways to do things, some of which are a lot easier to do and others that take a long time to setup, don't work very well, but get the lights on. It'd be nice to see a video series AND a written text just on "Streamlining Your Congo Workflow."

(As to what city I'd be willing to travel to, Middleton, but that's because I live only about an hour away.)

I'm just in a very weird position. We have an Express -- it's usually only used in the black box for on-the-fly stuff. When I need real programming in there, I often bring in the Jr that normally resides in our main theatre.  We also have a SmartFade. It's never used on events I do but I'm always the one who's approached when someone wants to use it for some small one-off with a couple SmartBars and I grunt a little bit and shrug because I've never learned how to use it myself and neither have any of our programmers. Then there's the Jr, which is the only console we really spend a lot of time teaching people to use, both our professional staff and our high school students. It's always a blast because for some people, they've never setup a show file in their life and now they need to build one from scratch in a way that makes sense with groups, masters, screen layouts, channel layouts, multiple sequences, presets, independents, and if you see where I'm going with this, you'll understand why we only have a couple people who are experts and a bunch of people we've really only taught how to press a "Go" button. While we had a lot of students and staff take a training session at Mecca this August, many of them won't sit in front of the console again for several months at a time because of the way the high school's events pan out.

It really is amazing how many shows we'll have the few "real" programmers setup by tossing groups onto the wing the night before and then someone who's never touched Congo before ends up running their event off of the sliders. 

The answer to your timings question is pretty quick - don't bother doing it in the dialog.
- The timing options in that dialog are really there to help the 'first time' users and those using the offline editor or client as they don't have the benefit of a real console in front of them.

It's much faster to record the Preset, and then set the times afterwards.

- Look for the little black arrow in Main Playback. This indicates the Times To option, whether times are going into the A (last crossfade) or B (next crossfade)
[Time] & [A] sets it to A, [Time] & [B] to B.

# [Time] - Set both In and Out time to # seconds.
# [In] - Set the In time to # seconds.
# [Delay] & [In] - Set the In Delay to # seconds.

[Out] works the same way for Out times/delays.

Eg: [Record][Record] 6 [In] 3 [Out] would do a new Preset with 6 sec upfade 3 sec downfade (assuming Build mode and Times to A)

As to the syntax thing - At Mode gives you the 'Express(ion)' syntax for selecting channels, groups and effect playbacks. This is a console setting that you can choose in System Settings.

We are indeed in the process of creating some more videos, but as you'll appreciate it does take a fair while to script, film and edit such things.

Thank you for the info.

On the note of syntax, I have no desire to use At Mode. I know it exists, but IMO it defeats the purpose of buying a console with a syntax intended to speed up programming. Like using the mouse to navigate, it's a crutch -- a crutch that'll always prevent you from being able to ever run again.

MN

Thank you for the info.

On the note of syntax, I have no desire to use At Mode. I know it exists, but IMO it defeats the purpose of buying a console with a syntax intended to speed up programming. Like using the mouse to navigate, it's a crutch -- a crutch that'll always prevent you from being able to ever run again.

MN