NX4™ Training - Part 6 (Creating Presets)

TL;DR

Presets record by parameter-group type, so an Intensity preset stores intensity-related channels by default (not pan/tilt, color, or gobo data).

Briefing Cornell Notes

Briefing

Presets in NX4/Onyx are built by recording selected fixtures and groups into a named preset, with the console automatically filtering what gets stored based on parameter-group type—so intensity presets store intensity-related channels by default, while pan/tilt presets store pan/tilt-related channels. That default behavior keeps preset content clean, letting lighting designers pull values into the programmer without accidentally dragging unrelated parameters along for the ride.

The workflow starts with clearing the programmer, selecting a fixture group, and recording intensity looks at different levels (for example, full, 50%, 10%, and 0%). After recording, the presets appear in the presets window, and each preset is tied to a parameter group category such as Intensity, Pan Tilt, Color, Gobo, Beam, Beam Effects, or Framing. When recording into a preset, only parameters belonging to that preset’s parameter group are stored unless the user changes record options—an important safeguard when building fast, reusable looks.

From there, the process expands into pan/tilt positions and more complex spatial effects. The designer records spotlights, then centers them, and uses grouping and highlights to keep track of which fixtures are being targeted. For multi-part fixtures, pan/tilt and other values can be recorded safely because the preset will only store the relevant parameter group data. When a preset already exists, recording can either overwrite it or merge new values into it; using the record options “Conflict: Merge” avoids extra prompts and ensures the console combines updates automatically.

Positions are then created for fan patterns and “random” looks by selecting ranges of fixtures and recording pan/tilt states. The transcript emphasizes a practical technique: once the rig is already fanning, subsequent selections can stay in the same pan/tilt mode without repeatedly adjusting tilt, as long as the record options remain consistent.

Color presets follow, using the color picker to build red, green, blue, magenta, yellow, violet, and amber, plus gobo, beam zoom, focus, and prism/beam effects. The designer notes that preset names for gobos can be minimal (e.g., “gobo 1/2/3”) since they’re often just placeholders that can be refined later.

A key section explains how master/part fixtures are handled using Onyx’s slice and range selection modes. Slice mode can select whole fixtures (masters plus parts), while range mode can isolate masters only or parts only by using dot notation: “.0” selects the master, and “.1, .2, …” select individual parts. This enables separate preset sets for master-level intensity and color temperature/macros versus part-level color channels.

Finally, the transcript shows building delay and fade presets for cue timing. Delay values are fanned across a selection (e.g., 0→5→0 across the rig), and recording requires filtering to include the Delay attribute and the Time parameter group. These delay presets can later be placed into cues to create synchronized, wave-like motion across fixtures, with the preset interface listing which parameter groups were stored so designers can verify what’s inside each preset.

Cornell Notes

NX4/Onyx presets are created by recording selected fixture groups into a named preset, and the console automatically stores only the channels that match the preset’s parameter-group type (Intensity, Pan Tilt, Color, Gobo, Beam, Beam Effects, Framing). Designers can build multiple intensity levels, pan/tilt positions, and color/gobo/beam looks, then merge updates into existing presets using Conflict: Merge to avoid extra prompts. For multi-part fixtures, slice and range selection modes let users target masters (using dot notation like 41.0) separately from parts (like 41.1–41.16). The workflow also supports delay and fade presets, where delay is fanned across a selection and stored by filtering for the Delay attribute and Time parameter group—useful later for cue timing.

Why does recording into an Intensity preset usually avoid “messy” preset content?

When recording into a preset, Onyx filters what gets stored by parameter-group type. An Intensity preset records only parameters that belong to that group (e.g., intensity and strobe/shutter-related channels). Pan/tilt, color, gobo, beam, and other unrelated parameters won’t be stored unless record options are changed. This means designers can bring other values into the programmer for work, but only the matching parameter-group data ends up inside the preset.

How can designers update an existing preset without overwriting everything?

Use the record options pop-up and set Conflict to Merge. Instead of replacing the preset, the console merges the newly recorded values into the existing preset automatically. The transcript highlights saving this merge behavior so the designer doesn’t have to re-select it every time, making iterative preset building faster.

What’s the practical difference between slice mode and range mode for master/part fixtures?

Slice mode can select the whole fixture, including both masters and all individual pixels/parts. Range mode can be used to isolate what’s selected within a multi-part fixture. The transcript demonstrates selecting strip lights by fixture numbers and then switching modes to control whether masters only or the full fixture set is targeted.

How does dot notation work for selecting masters versus parts in multi-part fixtures?

In multi-part fixtures, the master is always the “.0” index. Parts are “.1” through the last part index. For example, selecting 41.0 through 48.0 targets masters only, while selecting 41.1 through 48.6 (or 41.1 through 48.16, depending on how many parts exist) targets individual parts/pixels. This enables separate preset creation for master-level control versus part-level control.

What must be filtered to store delay presets correctly for later cue use?

When recording delay/fade presets, the filter must include the Delay attribute and the Time parameter group. The transcript notes that if the goal is to store delay for all attributes, the filter should include all relevant parameter groups; otherwise, designers can limit the filter to specific groups (like intensity or pan/tilt). Without selecting Time and Delay in the filter, the preset may not contain the timing data needed for cue timing.

How does fanned delay behave across a selection?

Delay values are distributed across the selected lights so timing ramps across the rig. The transcript gives an example where delay is entered as 0 through 5 through 0, producing a progression from the start of the selection to the center and then back down toward the end—creating a wave-like timing effect.

Review Questions

When recording into a preset, what determines which channels get stored by default, and how can that behavior be overridden?
How would you select master-only versus parts-only for a multi-part fixture range using dot notation?
What filter settings are necessary to ensure delay presets include the timing information needed for cues?

Key Points

1
Presets record by parameter-group type, so an Intensity preset stores intensity-related channels by default (not pan/tilt, color, or gobo data).
2
Conflict: Merge in record options lets designers update existing presets by combining new values instead of overwriting.
3
Pan/tilt positions and fan patterns can be built by selecting fixture ranges and recording while keeping record options consistent.
4
For multi-part fixtures, slice and range selection modes plus dot notation (.0 for master, .1+ for parts) enable separate master and part preset sets.
5
Color presets can include color temperature/macros, plus gobo, beam zoom, focus, and prism/beam effects, and can be refined later by updating presets.
6
Delay and fade presets require filtering for the Delay attribute and Time so timing data is stored and can be used inside cues later.

Highlights

Recording into a preset automatically filters stored parameters by parameter-group type, keeping intensity presets from accidentally capturing pan/tilt or color channels.

Conflict: Merge turns preset updates into a fast workflow—new recordings combine into existing presets without extra prompts.

Master/part selection hinges on dot notation: “.0” selects the master, while “.1, .2, …” select individual parts/pixels for targeted preset building.

Delay presets can be fanned across a selection (e.g., 0→5→0) and stored by filtering for Delay and Time, enabling wave-like cue timing.

Topics

NX4 Presets
Onyx Parameter Groups
Preset Merge
Master Part Selection
Delay Presets