GearCast - See the Light: A Guide to Lighting Basics

Lighting is a powerful way to enhance any kind of performance, service, or presentation—here’s what you need to know

Nothing can enhance musical concerts, theatrical events, worship services, clubs, installations, or even corporate presentations as much as effective lighting. But trying to choose the best lighting for your needs can be daunting because there are so many possibilities. Fortunately, though, there are options available for every application and budget. So, you just need to know what’s available so you can make the right decisions—and that’s what this article is all about.

Illumination or Enhancement?

Your first decision is whether you want lighting for illumination, or to enhance a performance with creative effects. With illumination, you’re generally choosing your light, setting it up, and leaving it be. Enhancement requires more advanced fixtures to provide control over the amount of illumination, the color of light, movement, and the option to syncDefinition:
To make two or more pieces of equipment or signals synchronize with each other. the lighting to the performance.

LED vs. Incandescent Lights

LEDs will be the dominant lighting technology of the future. Compared to incandescentDefinition:
A lamp with a metal wire that glows when current is applied. lights, they’re easier to use and maintain, require less power, generate less heat, and are relatively immune to shock. LEDs also offer more flexible color options. The most basic and popular color mix is red, green, and blue; those are the three primary colorsDefinition:
1. (lighting) Adding varying proportions of red, blue, and green produces a wide variety of colors.  2.(painting) Adding varying proportions of red, yellow, and blue produces a wide variety of colors.  3. (printing) Printing uses a subtractive model due to light being filtered through absorbing materials. The subtractive primary colors are cyan, magenta and yellow. of light, so mixing them together gives the most available colors. Adding white to the mix (RGBW) allows for more brightness and the ability to mix a cleaner white light, while adding amber is better for mixing more saturated colors, and also increases brightness. Some manufacturers offer a six-color option that typically includes red, green, blue, amber, white and UV LEDs (RGBAW+UV). This provides the most flexibility for color mixing.

LEDs are spec’d by the number of optics and the wattage in each. For example, 5 x 10W RGBADefinition:
RGB color supplemented by an alpha channel, which determines the opacity (transparency) of each pixel, rather than providing color information. See RGB. means there are five optics each containing a 10W red, green, blue and amber LEDDefinition:
LED (Light-Emitting Diode): A semiconductor light generator used in displays, television, pointers and for general illumination. It is a low-power replacement for incandescent lamps. set. Although wattage doesn’t define the fixture’s level of illumination (as it would an incandescent lamp), it does give a general idea.

Incandescent lights are less expensive than LEDs, making them a popular choice. However, LED lighting is easier to maintain and will ultimately last longer, making the initial investment more cost-effective over time.

Once you’ve decided on your preferred lighting technology, the next step is deciding what kind of fixtureDefinition:
A device for lighting that includes a body, and a socket for easy insertion and removal of lamps. is best for your needs.

Soft, Even Wash of Light Over a Wide Area

PAR (Parabolic Aluminized ReflectorDefinition:
A rigid or flexible surface used to either diffuse lighting from a lighting fixture, or in the field, to use sunlight and reflect it back to the set and actors to control shadow and illumination. Some are collapsible hoops, some umbrella and rigid panels.) fixtures are the most popular and best-suited fixtures for this application. The name of these fixtures originates from the technology; the incandescent lamp is in front of a parabolic reflector, which disperses the illumination over a fairly wide area. Some fixtures, like the ADJ 56 Combo, are incandescent lamp-based and designed to mount higher up, like from the ceiling or a bar. The package includes a 300W lamp, mounting clamp, and gelDefinition:
Colored material for changing the color projected by a light fixture. filters to produce different colors. The Blizzard LB PARDefinition:
(Parabolic Aluminized Reflector) lamp, or a fixture that uses such a lamp. Also LED fixtures that are of the same shape. PAR followed by a number divided by 8 determines the diameter of the fixture. For example, PAR64 is an 8" diameter bulb/fixture. Quad RGBA (Fig. 1) has 12 LED-based optics (10W each) mounted in a fixture that’s equally suitable for ceiling/bar or floor mounting.

These two PARs are single units, but you can also find multiple PARs mounted on a bar—like the Chauvet DJDefinition:
(Disk Jockey): 1. Traditionally applied to people who played recorded music on the radio or at events.  2. Artists who perform using any combination of pre-recorded music, samples, turntables, and musical instruments. 4BAR Flex T USBDefinition:
(Universal Serial Bus) A standard, bi-directional serial connection between computers and peripheral devices. (Fig. 2). Buying packages with multiple PARs often reduces the price compared to buying the same number of PARs individually and also helps reduce your setup time.

If you’re just starting to explore lighting, you might prefer a pre-configured, “plug and play” package such as the ADJ Mega FlatDefinition:
1. A frequency response curve that looks like a flat line because the response is even throughout the audio spectrum.  2. A scenic element like a wall or door.  3. A musical note that is lower in pitch than the note's standard frequency. See also: Sharp. Hex Pack. This includes four PARs (each 5 x 6-WattDefinition:
Abbreviated W. Amount of electrical energy, derived by multiplying Volts (voltage) times Amps (current)., RGBWA+UV LEDs), four power cables, three cables for connection to DMX controllers (we’ll cover controllers in more detail later), a wireless remote, and a carry bag.

Soft, Even Wash of Light Over Walls and Other Vertical Surfaces

The most suitable option here is strip lights, like the ADJ Mega Bar 50 RGBDefinition:
(Red Green Blue) The color space in computer graphics used to create color images on display screens. Mixing these three hues together in varying proportions creates different colors. The number of potential colors depends on the color depth. See Color Depth. RC (Fig. 3). It includes 24 red, 54 green, and 47 blue 10mm LEDs in a 24" bar. It has a similar light output to a PAR, but spread in a linear form.

Although the Mega Bar is compatibleDefinition:
Capable of operating with a particular selection of hardware or software. with DMX controllers, it also includes a wireless remote control that provides much of the functionality of a separate controller. Note that it draws only 18 watts.

Tight, Bright, Focused Light Beams

This is a job for the venerable spotlightDefinition:
A lighting fixture with ellipsoidal reflector and two lenses. Also known as Leko or Ellipsoidal., which typically has a crisp edge of light to facilitate projecting patterns or images. You’ll often find variable focusDefinition:
1. (stage lighting) To aim and adjust a lighting instrument.  2. (photography) To adjust a camera for the sharpest image. as well, so the edges can be softened somewhat. Spotlights are usually brighter than PAR fixtures, and have adjustable framing shutters to narrow the beam’s width, thus preventing the beam from illuminating areas that shouldn’t be lit. For example, the ETC Source Four Jr 36Degree (Fig. 4), has a 36° lens, but can also be set to 26° and 50° fixed-field angles.

LED spotlight options are available too. For example, the ADJ Encore Profile WW has a 100W light source, and via manual focus, you can change the angle of illumination from 12° to 30°. Of course, the wider the angle, the more the light gets distributed over that range, so wider angles may make the light appear less bright. This unit also offers a great degree of control, including dimming, and a sound active mode where the light intensity responds to audio.

Lighting as Special Effects

You can choose lighting options for just about any visual effect you want to achieve.

StrobeDefinition:
Short for Stroboscope. 1. A very short duration, triggered light for photography. 2. A repetitive series of short light flashes, used for lighting as a special effect. lights output short bursts of very bright light. Because most LED lights have short decayDefinition:
1. The natural volume falloff in an audio or resonating system, such as reverb, or an instrument's note.  2. A parameter in an ADSR envelope. See: ADSR. times and intelligent control options, many of them can be used as strobe effects (although these may not be as bright as dedicatedDefinition:
Designed or used to do a specific task or set of tasks. strobe lights).The Blizzard SnowBlind (Fig. 5), is a good example of an LED-based strobe light.

Brighter strobes, like the ADJ Encore Burst (which draws almost twice as much current as the Blizzard SnowBlind), cost more but create the kind of effect associated with tungsten lamps while offering the advantages of LED lights (less energy draw, cooler operation, and longer life).

Beam effects, which provide tight beams of light shafts (Fig. 6), are also popular.

The more expensive the unit, the greater the variety in terms of color and brightness. A good example of a sophisticated beam effect, the ADJ Aggressor HEX LED (Fig. 7), has two, 12-watt hex color LEDs that produce effects based on red, green, blue, cyan, amber, and white LEDs. It also has 60 sound-activated reactions that move to the sound of the music.

There are also the lighting equivalents of multi-effects. These fixtures can include a mixture of strobes, beam effects, washDefinition:
An even illumination over a large area. lights, or even all three. A good example, the Chauvet DJ Gig Bar 2, features two LED derby fixtures (these spread multicolored, chasing beams throughout a room), LED wash lighting, four strobe lights, and a laser, all mounted on a single bar (Fig. 8).

Effect lighting usually works in tandem with fog/haze machines because the light needs to reflect off of something in the atmosphere to be seen. Without fog/haze the effect is less likely to be noticed. Oil-based fog machines are (thankfully!) a thing of the past—today’s water-based machines, like Chauvet’s DJ Hurricane HazeDefinition:
Similar to fog effect, but lighter and more evenly dispersed to reveal light beams. (Fig. 9) are better for several reasons.

Moving lights are yet another option for special effects. These types of lights come in the same fixture types as other common fixtures, but they mount on a moving yoke that allows re-positioning the light to illuminate different places. The Martin Pro RUSH-MH1 Profile Plus (Fig. 10) is a good example of a moving-head LED light fixture. It features a rotating goboDefinition:
An object that blocks light, typically a disk with a pattern cut to cast an image from a spotlight wheel (a gobo, which stands for “goes before optics,” is a template which light shines through, thus projecting a pattern or image onto a surface), two color wheels, and motorized panDefinition:
Horizontal pivot of a camera or light, opposite of Tilt, or the placement of a sound element in stereo or surround sound. and tiltDefinition:
The up-down pivot of a light or camera. Opposite of Pan. See PTZ..

Moving lights are more expensive than non-moving options, and while they can run stand-alone or with a sound-activated mode, you’ll get the most out of them when you can use a control device (e.g., DMXDefinition:
(Digital MultipleX): A method for controlling multiple channels of lighting or effects via a single data cable. DMX512 stands for controlling 512 channels digitally via a single cable.) to control the motion. Also note that the pricing on moving lights varies greatly, from a couple hundred dollars to tens of thousands of dollars.

Control Options

Now that you’ve decided on the technology and lighting type that you need, let’s decide how you’ll control them.

As mentioned at the beginning, if all you want is general illumination, you can simply set up your lighting, and have it provide a static output or look. But where lighting really comes into its own is when it becomes part of a performance—and for that, you need control. Here are some possibilities.

Standalone. This is one of the simplest and easiest to use options because the control is integrated with the light itself. However, it’s also the least dramatic option because the control basically consists of being either on or off. With incandescent lighting, you just plugDefinition:
A connector, normally male and attached to a cable. the fixture(s) into a power source. LEDs usually involve going into a menu and setting the intensity, and perhaps the color. Some LED fixtures can also be programmed with a remote control. In either case, the fixture remains in the chosen state until it’s changed, or powered off.

Sound active. Some fixtures integrate a small microphone that can monitorDefinition:
1. (audio) A loudspeaker or headphone/earphone used for accurate reference monitoring for recording or broadcast.  2. (live performance) A device that reproduces sound, like an in-ear monitor or speaker wedge, so performers can hear themselves. See: IEM.  3. (computers) A device that provides a graphic representation of operations occurring inside the computer.  4. (video) A device that enables seeing what is occurring with a video shoot, or program material from a broadcast or other video media source. the sounds being played, and vary the light output accordingly—the light gets brighter with louder sounds, and softer with softer sounds. This has a precedent in the “color organs” that were popular in the 60s. Ideally, you want to be able to adjust the microphone’s sensitivityDefinition:
In transducers and amplifiers, the how much input energy is needed to produce the desired output. so the light changes more quickly with smaller sonic variations, and less often with large audio variations.

Apps and BluetoothDefinition:
A short distance (less than 33 feet) wireless data transfer standard. It utilizes UHF radio waves in the ISM bands, from 2.402 GHz to 2.48 GHz. A similar but medium distance (less than 1000 feet) wireless data transfer standard is "Bluetooth 5.0". or Wi-FiDefinition:
A wireless network protocol for device networking and internet access. Also spelled WiFi, wifi, or Wifi. for wireless control. This is a relatively new control option, thanks to the proliferation of smart devices. Wi-fi controlled devices are more robust and have a longer wireless range than Bluetooth, but require extra equipment to interfaceDefinition:
A device that adds I/O capability to another device. Common would be a MIDI, audio or video interface for a computer. with the fixtures, and can be costly. ADJ’s Airstream Bridge DMX is a DMX to Wi-Fi interface that works with the free, iPhone/iPad-compatible Airstream DMX iOSDefinition:
Apple proprietary operating system, primarily for mobile devices (iPhone, iPad, iPod Touch, Apple Watch). Current Apple TVs run on tvOS, which is similar to, and based on, iOS. app (Fig. 11), and can control any DMX fixture, making it a great low-cost solution.

Bluetooth is ideal for shorter distances, and less costly. Chauvet builds Bluetooth receivers into some of their fixtures for compatibility with their free BTAir app (note that this works only with Chauvet fixtures, but is available for both iOS and Android). For example, Chauvet’s DJ SlimPAR Q12 BT (Fig. 12) wash light allows for smartphone or tablet control and doesn’t require extra hardware. It’s also compatible with the optional-at-extra-cost IRC-6 remote.

DMX. This is the most advanced control method with the greatest number of options, and is a little more complex to understand—so we’ll stick to a fairly high-level explanation of how a DMX system is put together.

DMX fixtures connect to each other with daisy-chained DMX cables, starting at a consoleDefinition:
A control surface for audio, video, or lighting control positioned like a desk. Also called, Mixer, Controller, Board, or (British) Desk. that generates the DMX control signals. The console can be a standalone piece of hardware, or software running on a computer. To provide individual control, each fixture has a unique address—like how mail gets directed to specific post office boxes. You can set two fixtures to the same address if you want them to react in the same way, or receive the same information.

Incandescent lights have only one variable (called a parameter) to control—intensity. So, only one DMX channelDefinition:
1. In radio, television, citizen's band radio, and other wireless communications modes, a specific frequency for communication.  2. In mixers and video, an input or output signal path with controls.  3. In MIDI, one of 16 data paths. is required to control it (a DMX channel carries the control signal for a specific destination). LED fixtures may have multiple parameters, like color, intensity, or other specifics dependent on the fixture; each parameter requires its own DMX channel. When addressing a fixture with multiple parameters, you set the DMX address to the first control channel, and then the fixture automatically maps the remaining parameters to the subsequent channels.

The next fixture in the line will need to receive control signals over the next free DMX channel. If the first fixture requires three DMX channels, then it uses channels 1, 2, and 3. So, the following fixture will need to start at channel 4.

All of this information must be programmed into the control console. As a result, the console needs to be told what each device is so that it knows which DMX channels map to the various parameters. It also needs to be told each fixture’s DMX start channel. This setup and preparation process is called patching.

Once set up, the console will allow you to control a fixture’s available parameters. Most consoles can also define scenes, which are predefined settings for multiple parameters. Changing from one sceneDefinition:
1. A subdivision of an event that may have preset settings for sound and lighting equipment. 2. A pre-programmed setting for lights, sound or mechanical device that can be recalled individually or in sequence. to another can trigger a completely different lighting effect.

DMX controllers are available at all price points and levels of complexity. As a start, the Chauvet DJ Obey 3 is a simple controller for RGB LED lighting fixtures for under $60. Additional channels, and the ability to control multiple fixtures and hardware at once, will increase the expense. For example, ADJ’s Hexcon, which provides 36 channels of control with six multi-function faders, costs about $120 while the Elation Stage Setter 24 (a 24-channel DMX lighting console with tap sync speed, audio trigger, and MIDIDefinition:
(Musical Instrument Digital Interface) A hardware/software standard for communication of musical data digitally among electronic instruments, effects, and computers. However it is also used for to control lighting, pyrotechnics, theatrical displays, and mechanical devices. For example, the fountains at the Bellagio in Las Vegas is controlled by MIDI. Also called MIDI 1.0. trigger; see Fig. 13) is around $188. If you need even more capabilities, the ETC ColorSource 20 handles 40 fixtures with 20 hardware faders and a multi-touch display.

For musicians who use Mas OS or Windows computers in liveperformance, and want to run an automated light show while performing, the ENTTEC DMXIS is ideal. You pre-program your entire light show in advance, then step through the light show using a footswitch (not included) plugged into the DMXIS hardware interface. Or, with the VST/AU DMXIS plug-inDefinition:
A software module, typically for signal processing or analysis, that inserts into the signal path of a DAW or video editor, or in some digital consoles. Also Plugin., you can run the lights directly from audio software such as Ableton Live, Cubase, Studio One, Mixmeister, etc. This means that the light show synchronizes automatically to the performance, even if you change tempoDefinition:
A composition's rhythmic "pulse rate," usually specified in BPM or Beats per Minute (i.e., the number of quarter notes that occur in one minute). live.

Setup/Location Considerations

Congratulations! You’ve chosen your technology, fixtures, and how you’re going to control them. The final step is setting them up. The available space and your objectives dictate the best way to do setup; here are some tips.

• When lighting for illumination, front-lighting the performers should always be the priority. Place the fixtures in front of, and above, the performers. The general rule is 45° to each side and 45° up. If a space isn’t big enough to allow for two positions, or there aren’t enough fixtures, placing lights directly in front can work as well.
• If your default choice is a natural/neutral color, then adding color can change the performance’s mood or intention—for example, blue for sadness or romance, red for rage or passion, green for balanceDefinition:
  The ratio of a stereo signal's left channel to its right channel, often controlled with a knob on a mixer. and calming, yellow for joy, white for purity, and the like. (The web has many resources about color psychology, like Effects of Color on Emotions (external PDF) from the Journal of Experimental Psychology.)
• If space and available number of fixtures allow, add a back or top light to help frame the performers and separate them from the background. For this, you can use a saturated color even when the intention is just to provide illumination. Choose a neutral color if the performance will be captured on video or photo, because that provides the best framing for the camera.
• When lighting for effect, if you have the option, placing effect fixtures behind the performer can blend into the performance and provide a more visually cohesive look. Hang the fixtures above the stage or place them on stage; typically, effects fixtures focus into the audience space.

Lighting is one of the most powerful ways to enhance a live musical performance, worship service, play, corporate presentation, or anywhere people gather for an experience. As with so many aspects of technology, lighting continues to become more affordable, while also becoming more capable. If you haven’t taken advantage of the latest advances in lighting, it’s time to... see the light.