ADJ WMX1 Mk2

A correct address cannot compensate for the wrong profile.

1. Compare model, variant and channel mode against the fixture chart. Also check universe and assigned XLR output.
2. In DMX Values, use a Test value to check a channel with the fixture under control; release the test by restoring its current value.
3. Do not confuse Test with Default: Default changes the starting value. Avoid Beam Editor changes or reset channels until the map is understood.

MIDI input uses USB-A and requires a compatible device.

1. The manual supports standard MIDI controllers; devices requiring a custom USB driver are incompatible. Do not expect the power port to perform the same function.
2. In Mappings, match Note or CC type, channel and device index; use LEARN with a single identified command.
3. Check the assigned target and LED feedback messages. Receiving clock does not establish that a button mapping is correct.

Group assignments and exclusions affect the result.

1. Place front wash in a separate group and check which effects and Flash controls apply to it.
2. Check Exclude Blackout: an excluded group may remain on. Test blackout coverage before the show.
3. Save the project and check whether presets recall group dimmers. Do not perform a factory reset to correct an assignment without backups.

We can assess WMX1 Mk2 for group-based effects and looks during a performance. A precise scripted sequence needs verification of how actual moments are prepared and triggered; channel count alone should not decide.

1. Share setlist or rundown, known fixtures and modes, operator and fixed versus improvised changes. Rehearse a representative sequence with transitions, pauses and recovery; keep people lighting under its intended control.
2. We can compare Mk2 prepared for live operation with a cue-based console better suited to the script. State what equipment, files and personnel your production supplies; GLMedia can assess and quote a partial supply or a scope with fixture profiles, patch, grouping, look preparation, rehearsal and operation. Model, availability of the actual unit, version, licenses, accessories and deliverables are confirmed in the proposal; renting the controller alone does not include programming or an operator.

Synchronizing an effect’s rhythm and executing an artistic change at a specific moment are different needs. Audio, MIDI clock and a mapped MIDI button should not be treated as equivalent.

1. State music source, MIDI controller and intended messages, or who provides the manual cue. Test tempo and triggers separately with the actual compatible device, including pauses and each group’s Blackout behavior.
2. We can assess manual control, compatible MIDI or dedicated operation according to the program. Automatic song recognition or a ready sequence merely from connecting audio is not promised; prepare project, profiles and external backup, with accessory changes outside the performance.

We can assess a base set of looks for the run, with venue-specific adaptation. Mk2 organizes fixtures into groups, but saving the project does not establish matching profiles, positions, universes or outputs on another rig.

1. Share dates and venues, a provisional fixture/mode list or photos, permitted positions, controller and versions, and the moments to preserve. Identify what travels with production and what each venue supplies. Preserve the original base and record each venue’s prepared configuration before changing patch, groups or positions.
2. We can quote common preparation with local review and rehearsal, a touring equipment package where viable, or a different console/configuration if the script requires another operating method. Check levels, colors, movement areas, Blackout and recovery with the actual rig and intended operator. Matching looks, adjustment-free reuse or compatibility with another Mk or firmware are not promised from a shared brand alone.