Elation DARTZ 360

Continuous rotation is separate from position. A valid position does not cancel an active continuous-pan or continuous-tilt command.

1. Read the received values in Function > Disp. Set > Chan. Value. Continuous pan/tilt use channels 3/4 in Basic and 5/6 in Standard or Extend. The 190–193 range commands no rotation; use 191 for a controlled comparison.
2. Keep position and rotation separate in the console profile. Set the Special Functions/Internal Programs channel to 0 for this test so an internal program is not adding movement. Rehearse with a clear motion area; do not restrain the head by hand.
3. If rotation continues with expected data, record Information > Error. Info, software versions, mounting orientation and whether it occurs without the original data source. A persistent PAN/TILT error needs qualified service; do not disable Feedback, open the fixture or use repeated resets as a repair.

Basic uses coarse position control; Standard and Extend add fine pan and tilt. Sending fractional numbers to a single DMX channel does not create a fine channel.

1. Confirm Standard 22 CH or Extend 25 CH in both fixture and software if fine positioning is required. Pan coarse/fine are channels 1/2 and tilt coarse/fine 3/4. Confirm the sender outputs both bytes in the correct order.
2. To compare software control, keep continuous rotation at its no-rotation value and compare a slow position fade with both bytes against a coarse-only fade. Hold the data path and movement-speed setting constant. Record the mode and source used to interpret the comparison.
3. If a known-good console produces smooth motion but the media-server output does not, inspect channel mapping and integer conversion in the sender. If both reproduce the fault, retain channel readings and error history for service before changing calibration or firmware.

Begin by identifying the intended source. A lit display or a connected Ethernet cable does not confirm that the expected universe is reaching the fixture.

1. Record protocol, address, universe and input settings. For Art-Net or sACN, compare Protocol Set, Universe, UnitIPAddr and Mask ADDR with the sender; check how each system numbers universes. The manual requires a Gigabit switch supporting IGMP when a network switch is used.
2. To set up E-FLY, first turn off the E-FLY transceiver that will supply the signal. Power on the fixture, enable E-FLY, and set Wireless to the same channel as the compatible transceiver; check channels in use nearby so the fixture does not respond to another source. Set the DMX address and repeat setup on the other fixtures. Turn on the source transceiver only after all fixtures are configured and powered on. Confirm the green link indicator and test at the actual audience and antenna locations. For a wired-only diagnostic, record and disable the wireless input to rule out another source.
3. Check NoDMX Mode: Hold retains the last look, Auto can run an internal program, and Blackout extinguishes output on loss. Rehearse loss at the actual fixture input and recovery, with a safe motion area. Do not infer input loss merely by stopping a console while a node or another source still transmits.

Agree on which source controls movement, color and effects, and how control is handed over. A protocol name does not confirm correct profile output.

1. Prepare a short scene with position, slow movement and blackout, checking coarse/fine channels for the selected mode and separate continuous-rotation commands.
2. We can compare media-server control with a dedicated lighting source or split functions. Share program, software versions, and signal route; integration needs a system rehearsal.
3. Include the date, venue, approximate dimensions, existing equipment, and moments when video and lights need to coincide. We can assess equipment only, profile and scene preparation, video coordination, or operation as requested. Agree on who calls cues and which scene should return after a pause; programming, licenses, rehearsal, and staff should be defined in the quote.

Frost changes the DARTZ beam, but does not by itself establish uniform coverage, useful light or suitable camera results over a whole area.

1. Test actual positions with and without frost, initially without prisms; compare center, edges and camera shots where relevant.
2. We can assess DARTZ effects with a dedicated wash, or the intended use if testing supports it. Share area, approximate throws and visual goal; quantities and layout follow that evidence.

The position needs assessment first. The DARTZ 360 manual limits use to dry indoor locations and requires at least 1.5 m from flammable materials. That is not a universal projection distance or permission to aim the beam at eyes.

1. Send a sketch or photos showing the artist route, audience, decorations, and approved mounting positions. We can assess another position, an effect on a surface, or a combination with steady entrance lighting. For an outdoor project, another model documented for those conditions needs comparison; this one is not proposed for that use.
2. Installation must be assessed by competent personnel, with the moving-head path and access routes clear as required by the manual. Tell us the schedule and who will operate; supports, accessories, configuration, programming, and operation require confirmation in the proposal. A visual reference helps quoting but does not guarantee the same result at another venue.