Uli Behringer
7. ADDITIONAL FUNCTIONS OF THE LC2412. 17
7.1 7.2 7.3 7.4 7.5 7.6 7.7 7.8 Locking program mode.. 17 Putting the output on hold.. 17 Special channels.. 17 Theater mode.. 17 7.4.1 Activating theater mode.. 17 7.4.2 Programming fading times in theater mode. 18 MIDI functions... 18 7.5.1 Cascading two EUROLIGHT LC2412s. 18 Storing data on a memory card.. 18 Adjusting differing illumination levels.. 19 Erasing all settings/displaying software version. 19
1.1 Before you get started

1.1.1 Shipment

The LC2412 was carefully packed at the assembly plant to assure secure transport. Should the condition of the cardboard box suggest that damage may have taken place, please inspect the unit immediately and look for physical indications of damage.

8. DIMMER CONTROL.. 19

8.1 Analog control.. 19 8.1.1 Controlling analog dimmers via DMX512.. 19 8.2 Digital control via DMX512.. 19 8.2.1 Digital control features.. 19 8.2.2 Assigning DMX channels (softpatch). 20
Damaged units should NEVER be sent directly to us. Please inform the dealer from whom you acquired the unit immediately as well as the transportation company from which you took delivery of the unit. Otherwise, all claims for replacement/repair may be rendered invalid.

1.1.2 Initial operation

Please make sure the unit is provided with sufficient ventilation, and never place the EUROLIGHT on top of an amplifier or in the vicinity of a heater to avoid the risk of overheating.

9. INSTALLATION.. 20

9.1 Cables recommended for DMX512.. 21 9.2 Terminal resistor (bus termination).. 21 9.3 Pin assignment.. 21 9.3.1 DMX512 connections.. 21 9.3.2 Sub D connections (analog control). 21 9.3.3 MIDI connection.. 21 9.3.4 Audio connections.. 21 9.3.5 Footswitch.. 21 9.4 Rack mounting.. 21
Before plugging the unit into a power socket, please make sure you have selected the correct voltage:
The fuse compartment near the power plug socket contains three triangular markings. Two of these triangles are opposite one another. The voltage indicated adjacent to these markings is the voltage to which your unit has been set up, and can be altered by rotating the fuse compartment by 180. ATTENTION: This does not apply to export models that were for example manufactured only for use with 120 V!
10. SPECIFICATIONS... 22 11. MIDI IMPLEMENTATION... 23 12. WARRANTY.. 24
If you alter the units voltage, you must change the fuses accordingly. The correct value of the fuses needed can be found in the chapter TECHNICAL DATA. Faulty fuses must be replaced with fuses of appropriate rating without exception! The correct value of the fuses needed can be found in the chapter TECHNICAL DATA.

2. CONTROL ELEMENTS

The control panel of your LC2412 is divided into various areas with different functions. The way the controls on the LC2412 were designed makes using the unit and capturing current settings a breeze. The control elements are described on the following pages according to the functions they play. If parts of the unit are shown in light grey in an illustration, that means that these controls belong to another section (described elsewhere in the manual). All control elements and function keys are provided with control lights to enable you full oversight of the setup/functions currently selected. The sections: A PRESET section, B MEMORYsection + bank display, sound to light, FLASH keys, programming section, MAIN section, CHASE section. The LC2412 also has additional functions that cannot be assigned to a particular section (special channels): SPECIAL 1 key. Used to activate a special channel, for example for turning a fog machine on/off. SPECIAL 2 key. The same function as SPECIAL 1 key. Just like in the case of other channels, three DMX channels can be assigned to these two channels (i.e. to SPECIAL 1/2). Both special channels are then labeled as channels 25 and 26 on the console. SPECIAL 1 and SPECIAL 2 keys can be programmed as switches, keys or kill keys. Additional information on this subject can be found in chapter 7.3. POWER switch. Used to power up the EUROLIGHT LC2412. The POWER switch should always be in the Off position when you connect the unit to the mains.
Please take note: Merely switching the unit off does not mean that it is fully disconnected from the mains. When not using the unit for prolonged periods of time, please unplug the units power cord from the power outlet. The BNC connector is used for connecting a gooseneck lamp (optional).
Fig. 2.1: Section overview
2.1 Control elements of the A PRESET section
Fig. 2.2: A PRESET section (detail) Faders 1-12. Used to set the intensity of light elements connected to the dimmer pack. UPPER switch. When you press this switch, the A PRESET section is switched to the twelve additional channels. After that, you can set up the intensity of channels 13 - 24. See also chapter 3.2. Setting up presets Channel faders are used for setting up a preset that can be directly recalled by moving fader A. As in all other setups, the MAIN fader (see chapter 2.6) determines the maximum illumination level of selected light sources.
Fig. 2.3: B MEMORY section Exception: When the LC2412 is in preset mode (P shown in the bank display), the faders control the same channels as the faders of the A PRESET section. This way, you can simultaneously create a second preset. These faders are also a part of this section, but they have a double function. When the LC2412 is in sound to light mode (party light function), they control the illumination level of individual memories assigned to particular frequency ranges. The BANK display shows the storage bank to which the memories you recall belong. It also shows if the LC2412 is currently in preset mode (P diplayed). The display starts flashing when you switch into preset mode, and lights up constantly after three seconds. The preset mode is active only after the flashing has stopped. This prevents accidental activation of the preset mode as well as rough fades.

2.4.1 Disabling the solo function
You have the option to exclude specific channels from the solo function, so that these channels remain active even when Solo is activated. Disabling solo is achieved by performing the folloing programming sequence: 1. Press UTILITY 1.
2. Select the option DISABLE SOLO by using the SOFT A key located below the display. The channel for which the solo function should be disabled or enabled is shown in the top left section of the display. The respective disabled/ enabled status of the said channel is indicated to the right of the channel number itself. 3. To select the channel you wish to adjust, turn the DATA. The desired channel can also be selected by wheel using the FLASH key (for channels 13 - 24: first press the UPPER key). Fig. 2.4: The SOUND-TO-LIGHT section The PAUSE fader is, just like the fader , used primarily to control the illumination level of memories. If the sound-tolight function is active, it controls a memory slot assigned to run during program breaks between two musical pieces. The BASS fader takes over the basic configuration of the illumination levels for the memory slot assigned to the bass portion of the frequency range. The MID fader is conversely assigned to the mids. The TREBLE fader is conversely assigned to the highs. and 2.2. : Bank display and UP/DOWN keys, see chapter 4. SOFT B selects DISABLE and thus disables the solo function for this channel; SOFT A selects ENABLE. 5. To exit this procedure, press the QUIT key confirming the procedure. , thus
When you disable the solo function for a particular channel, the channel remains active in case when it is part of an activated memory that fades after pressing one of the FLASH keys.
Example: You have disabled the solo function for channel 8. The light on channel 8 remains lit if you press one of the FLASH keys, as long as the solo function is active. Previously, you have programmed a memory that uses channel 8. The memory has just been activated on the stage. Now, press one of the FLASH keys (CH FLASH is also activated). There are two lights on the stage, i.e. channel 8 and the channel activated with the key!

The SOUND-TO-LIGHT key activates the sound-to-light funtion.
2.5 Control elements of the programming section
Despite its compact size, the EUROLIGHT LC2412 is a versatile light mixing console. In it, we have integrated a plethora of functions, among others, various functions for memories, chases and digital control. The basic elements of the programming section are located at the top right section of the unit. To let you quickly orient yourself in difficult situations, the LC2412 also features a display. use the FLASH keys ( + ) to enable the highest illumination level on individual channels. This function is automatically activated in preset mode (see chapter 3.1.1). However, it has to be manually activated in memory mode. UPPER switch. Used to switch over to channels 13 - 24. See also chapters 2.1 and 3.2. CONTRAST control. Turning this pot lets you adjust the display contrast. PROGRAM display. Depending on the programming procedure, different menues are shown here. If you havent programmed anything yet, or if you have quit a programming procedure by means of pressing the QUIT key , the display shows the current chase and the respective step (basic setup). DATA wheel. Used to change/select programming parameters. For example, it can be used for programming chases, during which you dial in steps and determine their execution speed. Besides, it is also used for directly calling up chases (see also chapter 6.2). SHIFT key. Opens additional programming menues. A more detailed explanation can be found in the description of the respective programming procedures. SOFT A key. Needed for selecting items while in a programming menu. The menu texts and the SOFT A key are ordered in such a way that this key lets you select the options above (appearing in the menu). SOFT B key. Has the same function as the SOFT A key. QUIT key. Used for closing a programming procedure and going back to the main menu.
Fig. 2.6: The programming section PCMCIA CARD slot. This interface accepts the memory card on which you can store your console setups. MEMORY key. By pressing the MEMORY key once, you initiate the procedure that saves a stage scene. How this procedure functions in particular is explained in greater detail in chapter 4.1. CHASE key. Used to initiate the programming procedure (intended for creating a chase). How this is done is explained in chapter 6.1. The CTM key (stands for chase to memory) brings up the menu for storing chases. Basically, you can store completely programmed chases into memory. Each of the ten memory banks has four memory slots (9 - 12) available for this purpose. UTILITY 1. This key takes you to the following programming menus: DISABLE SOLO, SELECT CURVE and THEATRE MODE. UTILITY 2. This key takes you to the following programming menus: DMX PATCH, SELECT MIDI and SELECT SPECIAL. Further information about these functions is to be found in chapters 7 and 8, ADDITIONAL FUNCTIONS OF THE LC2412 and DIMMER CONTROL. LIVE key. By pressing this key, you can route chase or memory steps to the consoles output in order to see what it would all really look like on the stage. This also makes sense for the programming procedure itself, because chases are for example only shown on the LEDs during their selection (normal setting, blind mode). This way, selecting chases is even possible while a program is running on the stage, without disrupting the program itself (automatic preview). The live mode changes everything the other way around: only the settings observed in the preview function are visible on the stage. SOLO. The solo function utilizes the FLASH keys. When the solo function is active, pressing the FLASH key for a single channel/memory completely dimms all other lights. If so desired, individual channels can be taken out of the solo functions reach (see chapters 4.3.1 and 2.4.1). CH FLASH key. Switches the channel flash function on and off. When the channel flash function is on, you can

Fig. 2.8: The chase section NUMBER key. Selects a chase, enabling you to show individual chases on the control LEDs (automatic preview). The control LED of the NUMBER key lights up, as long as chases are active in any form. This means, the LED lights up even when the chase is not active, but just dialed in, ready for action. When you select a chase whose steps have still not been programmed, the LED dies out after letting go of the key. The LED also dies out when the CHASE fader is pulled down. INSERT key. Activating this key while a chase is running lets you alternate between the current step and the one preceeding it by pressing the STEP key. This function can also be executed utilizig the X-FADE control (MANUAL MODE key activated). Additional information on this subject can be found in chapter 6.2.6. CHASE fader. Controls the illumination level of a complete chase setup. Separate ratios of a memory incorporating this chase remain intact. X-FADE control. Used to manually dissolve between individual chase steps. Can also be used to dissolve between memories. Additionally, fade-in speed of chase steps can be configured, provided this speed was not already determined in theatre mode (only when theatre
Fig. 2.10: Additional back-panel connectors MIDI OUT connector. MIDI data can be forwarded from the MIDI OUT connector to a second LC2412 or another MIDI sequencer/PC by using a corresponding cable (connect it to the MIDI IN connector on the receiving unit). This lets you control two consoles in parallel, that is, a total of 156 DMX channels are at your disposal. MIDI IN connector. Used to feed in MIDI data (e.g. from a MIDI sequencer or another LC2412) to control the LC2412. ANALOG IN connector. Connect an output of your mixing console, your CD player or another analog signal source to this 1/4" TS mono jack connector. This lets you use the sound-to-light function and musical control of chases. FOOTSWITCH connector. Connect a footswitch here to remotely control the STEP key. Additional information about this subject can be found in chapter 6.2.4.

3.1 Basic configuration

Pull all the faders all the way down to the zero mark. This way, you assure that you start your exploration of the possibilities of the LC2412 from a neutral setting, and can observe the results of the changes you implement directly. Use the POWER switch to power up your BEHRINGER EUROLIGHT LC2412. The LC2412 displays now the setup that was most recently used, just prior to being powered down last time. If you want to start completely from the beginning, you can use a key combination to erase all programmed configurations. More on this subject in chapter 7.8.

4.2.1 Crossfading between presets and memories
Crossfading between memories and presets works exactly the same way as crossfading between two presets. The only difference is that the EUROLIGHT LC2412 has to be in memory mode. 1. Activate a stored scene (see chapter 4.1.2). 2. Activate a preset by using a fader from the A PRESET section; fader A remains locked.
Should you wish to store additional presets, simply repeat the steps: 1. Adjust the preset (stage design); 2. Select a storage bank using the UP/DOWN keys;
3. Now pull fader B down and fader A up. The preset appears at the console output, while the memories dissappear.
4.2.2 Crossfading between memories
There are several ways to crossfade between memories: Crossfading steplessly using the FLASH keys Please take the following required steps, as follows: 1. Disengage the CHANNEL FLASH key 2. Pull up the CHASE fader 3. Press the INSERT key ; to the desired fade in/out / keys). ; ;
previously remains on the stage unti you pull the fader to zero. The LEDs of the UP/DOWN keys flash in case there are active memories belonging to the abandoned bank. Pull up a memory fader, and the memory stored at this location in the new storage bank is activated.
The memories that were activated before you changed the bank remain visible on the stage until you pull the fader down into its zero position. This way, you can see multiple memories on the stage (and the respective control lights).
4. Adjust the X-FADE control speed;
4.3 Preset flash and memory flash

4.3.1 Preset flash

This key activates the flash function for the A PRESET section. If the solo function is not active, PRESET FLASH adds a lighting configuration (set up in the A PRESET section) to an active memory (fader A at zero). When the solo function is active, pulled up memories are switched off. Configuration: Memory mode, memory fader Fader A closed, MAIN fader raised raised
5. Press the FLASH key (one of the
The memory is faded in. You determine the illumination level by using the CHASE and the MAIN fader. To switch to another memory, simply press another FLASH key. You can alternate between two memories (the current one and the one selected. You can fade in the current before it) by using the STEP key preset setting instead of the memory by using the PRESET FLASH key.

Additional options for using memories stand at your disposal: 1. Implementing memories as building blocks for chases (memory chase, chapter 6.1.2); 2. Implementing memories 9 - 12 via the sound-to-light function, that is, automatically controlled by music.

5. SOUND-TO-LIGHT

To use the sound-to-light function, you have to connect a linelevel signal source (CD player, tape deck, mixing console output or similar) to your EUROLIGHT LC2412. To this end, there is a 1/4" TS mono jack connector (ANALOG IN ) at the back of the LC2412. Signal level adjustment is automatic. As described in chapter 2.3, the sound-to-light function affects the memories stored in slots 9 - 12. and pull the faders Press the SOUND-TO-LIGHT key in the middle position. Overall illumination level can be corrected by using the MAIN fader. You can vary the sound-to-light function by selecting a different bank. Right after switching to another bank, new memories are processed by the sound-to-light function. This is how the sound-to-light function is different from the usual bank change in memory mode. The sound-to-light function can be freely combined with other console functions.
Fig. 6.2: Display Programming level chase If the display shows a different text, please press the SHIFT key. By turning the DATA wheel, you can view steps in succession. 3. You can edit a step you selected by means of channel faders of the A PRESET section. To change one or more already active channels, you first have to draw the respective fader(s) into the previously stored position (snap in). 4. Select ENTER with the SOFT A key and store this step. To delete a step, select DELETE. The display automatically shows the next highest step. Edit as just described or select another step by using the DATA wheel. End the programming with the QUIT key.
6.1.2 Programming memory chase
1. Press the CHASE key described above. to begin programming, as

6. CHASE CONTROL

Chases are sequences of stage designs (presets or memories) that can be stored and can be run in a sequence. The LC2412 can store a total of 650 chase steps, and can store 99 chases in in its memory, each of which can be comprised of up to 99 steps. There are several options when running chases: s control via the bass rhythm of a connected audio signal (e. g. CD player); s control via the internal beat generator (speed set up using the SPEED fader );
2. Select a chase using the DATA wheel. The displays shows whether you are dealing with a level chase or a memory chase. 3. Select MEMORY with the SOFT B key.

Table. 6.3: Chase control via X-FADE fader Each step is shown in the display; the STEP key is disabled. If you additionally enable the INSERT key, you can fade in and out between the two steps selected last.
Letting go of the NUMBER key activates the chase. To view the chase on the stage, pull up the CHASE fader and the MAIN fader. Pausing a chase There are several ways to do this: 1. Pull the CHASE fader 2. Press INSERT or MANUAL. 3. Disable SOUND or RUN mode. 4. Select a chase containing no programmed steps. down to 0 (faded out).
Table. 6.4: Fading in and out via X-FADE fader
6.2.4 Manual fades using the STEP key
When the MANUAL, SOUND and RUN keys are disabled, you can trigger chases only by using the STEP key (or a footswitch).
6.2.1 Chase control through music
When an audio signal source is connected at the ANALOG IN connector at the rear of your EUROLIGHT LC2412, the speed of chases can be determined by the bass rhythm of the music. Of course, a chase must be selected.
Table. 6.5: Chase control via the STEP key
Insert If you additionally activate the INSERT key, you can crossfade between the two most recently selected steps.
If you are currently playing a chase, you can pause it by pressing the INSERT key. Pressing the INSERT key for the second time restarts the chase again. INSERT and MANUAL can also be used in SOUND and RUN modes. Instead of crossfading between chase steps, you can also activate the insert function and then select / ) and crossfade a memory (FLASH keys between the last step and the said memory. Also, you can use the STEP key to crossfade between a preset and a memory in an infinite number of steps.
Fig. 6.5: Start menu for CTM programming 2. Select a memory bank using the UP/DOWN keys.
3. Select a memory where a chase is to be stored by using one of the four FLASH keys. These keys feature a second (yellow) LED, which blinks in the beat if a chase is stored there.
Do the following: 1. Pause a running chase with the INSERT key. 2. Select a memory with one of the FLASH keys. 3. Pull up one or several preset faders (A fader is closed). Fig 6.6: Selection menu for memory, chase number and beat mode The memory and storage bank numbers you selected are shown at the upper left side of the display. 4. Now, select a chase by turning the DATA wheel. The chase selected is indicated on the control lights, without being visible on the stage. 5. Enter the beat: a) Input via the DATA wheel: keep the SOFT A key pressed and select a time by turning the DATA wheel (up to 10 sec.). b) Automatic control via the bass rhythm: Select the EXT option. This option lets you control a using the SOFT B key chase saved in a memory by means of an external audio signal (bass rhythm). The yellow flash key LED beats in the rhythm of the bass sound. 6. Exit the programming procedure by pressing QUIT.

Programming When you cascade two light consoles, you must implement the programming of chases and memories in parallel, that is, specific modifications to memory settings are not automatically carried over from one console to the other. Only recall commands are transmitted.
Just like with chases and memories, stored fading times can also be stored on a memory card.

7.5 MIDI functions

MIDI commands can be used not only for controlling your instruments but also for controlling the functions of your LC2412. In order to enter commands, you need some kind of sequencing software. The advantage of using MIDI for programming is that you can program an entire show via MIDI and then simply let it run. Another simple and clever option lets you transfer existing sequences to a MIDI sequencer via the MIDI OUT connecor. A MIDI implementation chart as well as the required information on individual controllers can be found in this manuals appendix.
7.5.1 Cascading two EUROLIGHT LC2412s
Using MIDI also lets you cascade a second LC2412 to your console. To this end, connect the MIDI OUT connector of the of first console (transmitting unit) with the MIDI IN connector the second LC2412 (receiving unit). Now, you have to activate the MIDI operating mode in the menu. Do the following: 1. Press UTILITY 2 key. 2. Select the MORE option.
Fig. 7.4: MIDI connection
7.6 Storing data on a memory card
The EUROLIGHT LC2412 is an extremely flexible lighting console, and you can use it for a plethora of possible applications. You can additionally expand the range of its possible applications by storing complete chases and memories onto a memory card (PCMCIA ATA Flash card with 4 MB memory). This feature proves itself particularly useful when you work for various artists on different locations: you will save yourself a lot of time and worries. s Insert the memory card into its slot. The LC2412 automatically recognizes the card. To use a new card, you first have to format it. To do that, select YES. s Now you can select one of the 25 storage locations using the DATA wheel. Each of the 25 locations can store the complete set of data containing all console settings. s The display shows if the storage location you selected already contains some data or not. s With the SOFT A (SAVE) you can now transmit the data from the consoles memory onto the memory card. Pressing SOFT B (LOAD) transmitts the data in the other direction: from the memory card into the memory of the console.
Fig. 7.2: Display SELECT MIDI 3. Select the SELECT MIDI option.
Fig. 7.3: Display MIDI channel 4. Now you can use the DATA wheel to select the MIDI channel used to receive (IN) or to send (OUT). Set up the console to receive with the SOFT A key or to send with SOFT B key.

Whenever possible, use a multicore cable to connect your LC2412 to the dimmer rack, and apportion the cable to individual dimmer packs only once the cable reaches the rack.
8.1.1 Controlling analog dimmers via DMX512
What at first seems like an error is in reality a very useful feature: By using a so-called demultiplexers (demux), you can convert digital commands into analog and therefore control your analog dimmer packs. The advantage of such a configuration is apparent: you can address the demultiplexer freely, that is, it can for example begin with channel 12 and therefore convert control commands from console channels 13 - 24 into analog signals (DMX channel 0 is controlled one-to-one by console channel 1 and so on, hence the numbering offset). Furthermore, you need only short multicores for analog control, since you can arrange the demultiplexer near the dimmers and send control commands via a single DMX line.
Fig. 7.5: Display erase all settings 3. We have created an additional step for your safety. Use the Soft A (NO) or Soft B (YES) keys located under the respective options to select one or the other. Selecting YES erases all memories and stored chases. In doing so, all settings relevant to the consoles functions are reset to their factory settings (SOLO ALL ENABLED, CURVE ALL LINEAR).
8.2 Digital control via DMX512
8.2.1 Digital control features
The EUROLIGHT LC2412 features a modern digital interface according to the DMX512 Digital Data Transmission Standard For Dimmers And Controllers, that was established in April 1990 by the USITT Engineering Commission (United States Institute for Theatre Technology, Inc.). Since virtually all modern equipment
uses this standard (even if it is done with partially different plugin connectors), your EUROLIGHT LC2412 is therefore extremely flexible in how it can be implemented. A big advantage of digital control is its enourmously simplified cabling, since you only need one single cable for transmitting control data. This sets the DMX system apart from its analog conterparts, which need an extra control cable for each individual channel. Another big advantage is made possible by the freely addressable receivers, which is done by menas of software. You can therefore save yourself from having to painstakingly lay cables each time you wish to assign a particular dimmer to a different channel. Additional information on this subject can be found in chapter 8.2.2. Interface format (EIA-485) The DMX512 standard uses the RS485 interface standard for data transmission, well-known for its impunity to interferrence. The data are serially transmitted in the asynchron fashion at a transmission rate of 250 kBit/s, successively for each of the connected dimmers (up to 512 channels). The more dimmers are connected, the longer the time interval until the next command on this channel. To assign the desired DMX channels to individual console channels (or to preview the assignment of channels), go through the following steps: 1. Press the UTILITY 2 key.

To make the capabilities of the DMX512 as well as the capabilities of the LC2412 transparent, we have to draw a clear distinction between three different kinds of channels: Console channels The channels of your LC2412 (= 24+2 channels) are 26 routes through which you can send commands. This in no way means that you can only control 24 lighting elements. Dimmer channels (dimmer loops) Dimmer packs represent the power section of a light control system, comparable to power amplifiers of a PA installation in the audio field. Each dimmer channel is assigned to one DMX channel, that is, it can receive commands from only one channel. For example, if a dimmer loop can handle a maximum power rating of 2.3 kW, you can connect several lamps, spotlights and similar (e.g. 4 x 500 W). DMX channels A DMX channel consists out of one digitally transmitted information unit (1 Byte/8 Bit), whereas 256 different information units can be transmitted. These units are transmitted sequentially, that is, channels 0 and upwards on the sender are accounted for, and the respective information units are assigned. The sequence then starts anew at the next channel. In the worstcase scenario (all 512 channels are in use) the refresh rate has the value of 44.1 Hz. You can derive from this that it is advisable to only use as many channels as you actually need. Since there are 24 channels with adjustable illumination (to each of which 3 DMX channels can be assigned), there is a total of 72 DMX channels that can be laid out. Additionally, there are two special channels, each of which can switch a maximum of 2 DMX channels on and off.
Fig. 8.4: Display DMX Patch 3 3. Now, select ALL CLEAR using the SOFT B key to disengage all connections. Use SOFT A to go back to the standard setting, ALL 1:1.

9. INSTALLATION

You will need various types of cables for different applications. The following illustrations show you how to lay out these cables. Always use only high-grade cables.
9.1 Cables recommended for DMX512
The cables should be manufactured according to EIA-485 or EIA-422 specifications. Using shielded, twisted, double-stranded data transmission cables is recommended. For example, these are the same cables used for transmitting digital audio data in the AES/EBU format. You can also implement lines with a second wire set, used as a replacement in case of a malfunction. Using high-quality mic cables is also possible, but their length shold be limited to 500 m due to the high cable capacity near a data line.

9.3.3 MIDI connection

Coonect to other MIDI equipment or another EUROLIGHT LC2412 by using common MIDI cables. The cables should never be longer than 15 m (45 ft).

9.3.4 Audio connections

To control the EUROLIGHT LC2412 via an audio signal, please use a mono jack connector with standard configuration.
9.2 Terminal resistor (bus termination)
Using a termnal resistor at the end of the line is an additional condition needed for glitch-free data transmission. To this end, a 120-Ohm resistor is located between both conductors (Pin 2 and Pin 3) in an extra connector. Connect this connector to the DMX out connector of the last piece of equipment in the DMX chain. Shorter connections (up to several meters/roughly 15 ft) do require termination.

9.3 Pin assignment

9.3.1 DMX512 connections
The DMX512 norm mandates the use of 5-prong XLR connectors. The correct layout is shown in fig. 9.1. Fig. 9.2: 1/4" TS connector for audio signals

9.3.5 Footswitch

You can use a footswitch to trigger chase steps. This way, both of your hands remain free, letting you control additional settings of your LC2412.
Fig. 9.1: 5-prong XLR connector for DMX512 connections
9.3.2 Sub D connections (analog control)
The following table shows the cable layout of the individual contacts of the sub D connection for analog dimmer control.
Fig. 9.3: Footswitch connector As long as a footswitch is kept pressed, the connection of both contacts is closed. Therefore, a footswitch does not act as a switch.

Pin No.

Pin 1 Pin 2 Pin 3 Pin 4 Pin 5 Pin 6 Pin 7 Pin 8 Pin 9 Pin 10 Pin 11 Pin 12 Pin 13 Pin 14 Pin 15

Cons. channel

Channel 1 Channel 2 Channel 3 Channel 4 Channel 5 Channel 6 Channel 7 Channel 8 Channel 9 Channel 10 Channel 11 Channel 12 Special 1 Special 2 Ground

9.4 Rack mounting

Your EUROLIGHT LC2412 is factory-equipped with rackmounting brackets. You can screw these on to the side of your LC2412 on a per-need basis.
Always make sure that your LC2412 is provided with sufficient ventilation to avoid overheating of the unit!
Table. 9.1: Cable layout of the sub D connection

10. SPECIFICATIONS

CHANNELS DMX 26 (24 + 2 special switchable channels) 78 out of 512 DMX channels (max. 3 DMX channels per consolechannel) max. 120 max. 99 max. 650, up to 99 per chase 1/4" TS mono jack connector, unbalanced Line level 1/4" TS mono jack connector DIN 5-pole connector XLR 5-pole connector, conforms to the DMX512/1990 standard DIN 5-pole connector Sub D connector, 15-pole 0/+10 V DC 600 PCMCIA ATA flash card 4 MB 3 V lithium battery (e.g. CR2032) USA/Canada 120 V~, 60 Hz Europe/U.K./Australia 230 V~, 50 Hz Japan 100 V~, 50 - 60 Hz General export model 120/230 V~, 50 - 60 Hz 27 W 100 - 120 V~: T 1 A H 250 V 200 - 240 V~: T 500 mA H 250 V Standard IEC receptacle