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CIRCUITO DE INTERRUPTORES CONTROLADOS POR MIDI In 1997 I developed this MIDI-to-switch device. Low cost and CPU-less again. It can drive up to 128 individual relais, solenoids, motors, fireworks, pyrophones, etc. With a MIDI note-on message you may switch on one of the 128 LEDs (or relais). Outputs may be switched off by sending a noteoff message, or by a note-on with zero velocity. The device understands running status messages. It does not react to an all-notes-off message, but, with some additional logic gates, it won't be very hard to implement that yourself. The device only responds to the MIDI-channel selected by the 4 switches (when no switches are closed, channel 0 is selected). I did not incorporate an omni- switch, but it won't be hard to add that yourself. A4-2
The quartz crystal and the 74393 provide the heart of the device: the 31.25 kHz MIDIbitrate-signal. The 4017 and 4015 form a serial-to-parallel-convertor, which places incoming MIDI-bytes on the bus (b0..b7). If it receives a note-on- or note-off-statusbyte on the selected channel, the bottom flip-flop (of leftmost 4013) is SET while the upper flip-flop of that same (leftmost) 4013 remembers whether it was an ON- or an OFFmessage. The bottom part of the rightmost 4013 just counts the number of databytes received: 0, 1, 0, 1, 0, etc. (thus supporting running-status-protocol). Finally, the upper flip-flop (of the rightmost 4013) accumulates all velocity bits to support switch-off with null-velocity. The rest is just trivial latching, multiplexing and some logic-gates. Note that quartz crystals with higher resonance frequencies are often easier to obtain (and cheaper) than low frequency crystals. In the circuit above, one may use crystals up to 8 MHz. As the market pushes us to higher and higher frequencies, it may even be possible in the future to cut costs by building, let's say, a 32 Mhz oscillator and adding a binary counter to obtain the 31.25 kHz MIDI-clock-frequency. For the opto-coupler, CNY17-1, 6N138, or 6N139 may also be used but watch the pin-layout! There might be errors in the diagrams above. I built 2 such devices (prototypes) which operate properly, but I made these drawings afterwards and I cannot really guarantee they are 100% correct. So if you don't understand basic building-blocks like shiftregisters, latches, multiplexers, gates, etc., you'd better not start with it. I hope the timing diagram is of some help though. Anyway, if you encounter any mistakes in these drawings, please e-mail me. But please do not ask me whether I can build this hardware for you, or whether I can sell it to you (for I am a designer, not a Plumbum-sniffer:-). Well, happy soldering then!! A4-3
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Instituto de Acústica Profesor Pat
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INDICE v
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2.3.1. Iluminación 29 2.3.1.1. Dim
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ANEXOS 109 ANEXO 1. TEORÍA GENERAL
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RESUMEN El presente trabajo muestra
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1.1. INTRODUCCION El mundo del espe
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CAPITULO 2. REVISIÓN BIBLIOGRÁFIC
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• Show control se refiere a cualq
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máquina dedicada a una determinada
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2.1.3.1. Basados en Eventos. El adm
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En nuestro ejemplo mostrado en deta
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2.2. DISPOSITIVOS CONTROLADORES DEL
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mediante el lenguaje ensamblador MP
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externo. Un programa de control det
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una manera completamente transparen
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La programación es hecha sobre un
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2.2.3.3. Maquina de Control del Sho
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2.3. SISTEMAS INVOLUCRADOS EN UN SI
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un dispositivo controlado. Sin emba
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2.3.1.2. Controladores de Iluminaci
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2.3.1.2.2. Consolas de Iluminación
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Dentro de las luminarias Floodlight
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archivos numerados del 1 al 15 pued
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El 8TraXX también puede ser contro
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CONEXIONES DEL PANEL TRASERO - Alim
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El panel trasero de la AudioBox cue
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estado de los datos. En 1997, QSC d
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Los controladores escénicos mecani
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2.3.4. Sistemas de Proyección [23]
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interfaces que permiten la sincroni
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corriente eléctrica de miliamperio
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2.4. PROTOCOLOS Un protocolo [25] e
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número de proyectores de diapositi
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En esta versión de Show Control, n
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En los anexos se encuentra un diagr
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2.5. FORMAS DE SINCRONIZACIÓN [35]
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diapositivas y en total sincronía
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2.6. SISTEMAS SHOW CONTROL EN EL ME
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ShowProMI DI Sinodial Stage Researc
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genera una nota MIDI que dispara el
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disparado al mismo tiempo el sistem
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La Galería de Historia muestra la
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CAPITULO 3. MATERIAL Y METODOLOGÍA
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correspondientes al de un Tom de ba
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3.2.3. Sistema de Iluminación Se i
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Fig. 40. Conexión DMX 512 desde la
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Fig. 45. Lista de Cue del software
Page 96 and 97: En tal caso aparecieron los siguien
Page 98 and 99: Fig. 53. Lista de Cue configurada p
Page 100 and 101: los 4 primeros botones Flash, con l
Page 102 and 103: 4. RESULTADOS Al ejecutar la pista
Page 104 and 105: CAPITULO 5. CONCLUSIONES 99
Page 106 and 107: CAPITULO 5. CONCLUSIONES • Show C
Page 108 and 109: CAPITULO 6. REFERENCIAS 103
Page 110 and 111: CAPITULO 6. REFERENCIAS [1] Harada,
Page 112 and 113: AGRADECIMIENTOS En primer lugar, ag
Page 114 and 115: ANEXO 1. TEORÍA GENERAL DE ILUMINA
Page 116 and 117: TEORÍA DE ILUMINACIÓN TEATRAL Par
Page 118 and 119: Una opción de menor costo pero efe
Page 120 and 121: LUMINARIAS Una LUZ de ESCENARIO en
Page 122 and 123: luminarias PAR son altamente eficie
Page 124 and 125: A2-6
Page 126 and 127: NOTE: This version is not the lates
Page 128 and 129: Optionally, Controlled Devices may
Page 130 and 131: Decimal points should be separated
Page 132 and 133: 1 = first frame in 4 or 8 field vid
Page 134 and 135: 44 Dissolvers 45 Shutter Controls 5
Page 136 and 137: 4.4. SOUND COMMANDS The following c
Page 138 and 139: 00 delimiter optional; required if
Page 140 and 141: For compatibility with Controlled D
Page 142 and 143: Starts the 'Auto Follow' clock time
Page 144 and 145: 1D OPEN_CUE_PATH required 1E CLOSE
Page 148 and 149: ANEXO 5. ORGANIGRAMAS A.5.1. MENSAJ
Page 150 and 151: F 0 STATUS 1 - - - - - - - SYSTEM E
Page 152 and 153: F 0 SYSTEM EXCLUSIVE ¿ ? TIEMPO RE
Page 154 and 155: SET nº ¿Read/Write? 1,2,3,4 R/W 4
Page 156 and 157: OPERACIONES BÁSICAS 1. Crossfades
Page 158 and 159: 6. Destellando un Canal o Escena Lo
Page 160: Los tiempos de fades pueden ser pos
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