Jands HOG 1000, Operating Manual

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HOG – Version 3.20
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There are three parameter Palettes for creating looks quickly.
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Most parameters use Latest Takes Precedence (LTP), but Intensity channels can playback in both
Highest Takes Precedence (HTP) and LTP on different Masters at the same time.
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Multiple cuelists can be executed simultaneously. This means that there can be more than one “Cue 1,”
for instance.
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Two types of blocking cues. The first uses the State function and only blocks fixtures found in that
cuelist. The second uses the Everything function and blocks all fixtures on the console.
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The console always operates in what is often referred to as Live mode on a theatre console.
For Television Users
The HOG’s versatility makes it ideal for television applications, where flexibility in unstructured situations
is paramount. Up to sixteen independent cuelists can be run simultaneously on their own Masters (eight on
an HOG 500), each one with its own active cues and timings. For example, when working on sets, this
allows each set to have its own cue list. Cue lists can be quickly copied from memory onto a fader, or
sixteen/eight (HOG 1000/500) can be replaced—with crossfading—in one button press by changing the
page. This makes it easy to access and re-order programming to cope with running order changes.
Powerful programming functions allow programming changes to be executed quickly; fixtures can be
automatically updated in their cues and presets, and snapshots can be taken to combine the output of several
cue lists. Additionally, cues and cue lists can be imported from old shows and incorporated into the current
show.
For Touring Console Users
The HOG is a step up from the traditional touring console, but you’ll soon find that accessing fixtures on
the console is as quick as reaching for a fader or button. The differences are the same as those for theatrical
consoles, but also include the following:
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There are no preset faders for direct access. Instead, use the keypad to select a fixture, and the Palettes
or parameter wheels to grab the position, beam or colour parameter you want.
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You set fade times as you program cues. Each parameter in a cue can have its own fade time.
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The Wait time comes before the cue, and the Delay time (can be different for different parameters)
comes before a parameter crossfades.
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Masters control a full cuelist rather than an individual scene or simple chase.
Using this Handbook
Where to Start
There are a few different ways to approach this Handbook when learning to use the console. If you’re a
seasoned board operator—or just impatient—jump right to the Quick Start section (after reading this
chapter) to create looks right away. You can then use the Index to quickly find the information you need.
There’s also a Frequently Asked Questions chapter to assist you with responses to the most common
questions/problems and an Extended Key Chart which summarises certain function buttons.
For a thorough overview, begin with the Getting Started chapter, which shows how to prepare the console
for programming. Continue with the following chapters which explain the basics of programming and
playback.
Terminology
The following terms are used on the HOG:
Cue Tells one or more fixtures to change settings for intensity, beam, colour, and/or focus using
their delay and fade times.
Theatre designers will recognise this term, Jands ESP2 users
know this as a “scene,” Event users will know this as a “memory”, while others may refer to
this as a “look.”
Cuelist Cues grouped in a specific order to run one after another, or even simultaneously. These
may or may not be linked. Jands Event users refer to this as a “stack.” A chase is one type
of cuelist.
Page A group of cuelists residing on the faders. Pages can be changed, allowing the sixteen
(HOG 1000)/eight (HOG 500) faders to be used for many cue lists.
Parameter An attribute of a fixture. A PAR can has one attribute: intensity. Moving lights also have
pan and tilt and usually several others such as colours and gobos.