ADJ WMX1 Mk3

Check power separately from port function first.

1. Check the USB-C supply and cable; ADJ recommends 1500 mA for MIDI/WLINK. Do not use a supply with a different voltage.
2. Connect a compatible MIDI controller to USB-A. Having USB-C does not establish that it accepts MIDI input.
3. With the show stopped, compare operation without the peripheral and check Mappings: Note/CC, channel and device index. Do not reset the controller without backups.

Clusters requires firmware and a profile describing those sections.

1. Confirm the exact firmware and profile before changing the patch. A profile with distinct elements is different from dividing equal beams.
2. As of 2026-10-22, ADJ marks Clusters as beta and announces an official release for November 2026. Do not assume stable availability from the Mk3 name.
3. Keep a working project and test the separation outside the show before relying on it.

Trace the path from profile to connector.

1. Match universe, address and channel mode. Check universe entitlement and XLR mapping.
2. If the shared connector receives WLINK or DMX IN, check its mode before using it as an output.
3. In DMX Values, use Test on a known channel and restore its current value. Default changes the starting value: it is not the test-release control.

Define the operating workflow first. ADJ presents WMX1 as performance-oriented live-effects control; a specific cue sequence needs a rehearsal of the required execution.

1. Prepare a sample with event positions, colors, transitions and blackout using actual profiles and software. Compare what the operator must do at each change.
2. We can assess this workflow or a console with programming suited to the program. Share critical cues and operator details; a controller does not imply a prepared show is included.
3. Include the date, venue, approximate dimensions, known fixtures and modes, existing control, and preparation and rehearsal times. Identify changes that can be improvised and those that need a precise cue. We can assess the controller alone, profile and look preparation, or operation during the show. Enabled universes, accessories, required licenses, and responsibilities should be identified in the proposal and remain subject to confirmation.

Project, profiles, outputs and enabled options are part of the system to review. Available connectors do not confirm activated universes or add-ons on that unit.

1. Record version, enabled universes, XLR mapping and planned peripherals. Preserve project and settings; do not buy licenses or install beta software as a diagnostic test.
2. The proposal should identify controller, accessories and preparation or operation scope to assess. If a required function is unconfirmed, we can compare another design before committing to the show.

ADJ documents music synchronization and tempo options, but that does not establish a prepared sequence for your set list. Following an effect’s beat and triggering an artistic change are different decisions.

1. Tell us whether the music is live or recorded, who runs playback, and what should happen at entrances, pauses, repeats, and endings. We can assess beat-driven effects with manual operation, triggering through a tested compatible peripheral, or a console with programming better suited to the script. Automatic song recognition or ready-made synchronization from connecting audio is not promised.
2. Rehearse tempo and triggers separately with the actual software version, profiles, and devices. Define the light that must stay steady on people, blackout scope, and the intended recovery scene. Project preparation, audio/video coordination, rehearsal, and an operator should be addressed in the quote as requested.