Category: Console Guides

grandMA3 onPC is the cheapest way into a platform you will meet on many professional riders. The software itself costs nothing, but getting real DMX out of it requires MA hardware, and the parameter count depends on which hardware you connect. This guide explains what’s free, what you need to buy, and how the options compare.

What grandMA3 onPC is (and isn’t)

grandMA3 onPC is the full grandMA3 software running on your own computer. MA Lighting offers it free of charge for Windows (10/11) and macOS; at the time of writing the current software release is v2.5.1.0. It is the same software that runs on the grandMA3 consoles, so the syntax, the windows, the show files and the workflow are identical.

On its own, onPC lets you:

• Learn grandMA3 at home, including with MA University’s free e-learning
• Build and edit show files offline before you reach the venue
• Prepare patches, presets and cue lists for a console you’ll meet on tour

What it does not do on its own is output DMX. MA states it plainly: DMX output from onPC requires grandMA3 onPC hardware connected to the computer. That hardware is what you’re really choosing.

Your options for DMX output

DMX-key starter: 1,024 parameters

The DMX-key starter is the smallest way to unlock onPC output, with 1,024 parameters. It suits small rigs, education and anyone who wants to run a modest real show from a laptop.

DMX-key: 4,096 parameters

The grandMA3 onPC DMX-key is a USB-C dongle with two DMX outputs, and it unlocks 4,096 parameters. For a freelancer or a small venue, it turns a laptop into a working grandMA3 system without any control surface.

onPC Nodes: 4,096 parameters

All grandMA3 onPC Nodes enable 4,096 parameters and handle MA-Net3, MA-Net2, sACN and Art-Net. The current range includes the 2Port, 4Port and 8Port Nodes, the 4Port Node DIN-Rail and the I/O Node. A node makes sense if your DMX needs to leave the laptop over Ethernet and come out near the rig, or if you already plan a networked system.

onPC command wing: 4,096 parameters plus a real surface

The grandMA3 onPC command wing connects to your computer by USB 2.0 and adds a genuine grandMA3 programming surface: 10+2 faders, encoders and the command keys, plus 2 DMX outputs and 1 DMX input. It unlocks 4,096 parameters and weighs 10 kg. This is the classic “laptop plus wing” setup many operators use for small and mid-size shows.

onPC command wing XT: a console without the console price

The command wing XT has 10+2 motorized faders and an integrated computer, so it does not need your laptop. It also unlocks 4,096 parameters and weighs 12 kg. Think of it as a self-contained grandMA3 desk at a lower price than a compact, with fewer parameters.

onPC fader wing

The onPC fader wing adds physical playbacks alongside your onPC setup. It is the add-on for operators who want more faders under their hands.

Price and capacity at a glance

Hardware	Parameters with onPC	DMX ports	Thomann UK, 09/2026
DMX-key starter	1,024	See MA specs	Price on request
DMX-key (USB-C)	4,096	2 out	Price on request
onPC Nodes (2/4/8Port, DIN-Rail, I/O)	4,096	Depends on model	Price on request
onPC command wing	4,096	2 out, 1 in	about £5,890
onPC command wing XT	4,096	See MA specs	about £12,590
onPC fader wing	Adds playbacks	See MA specs	about £3,699

Prices are Thomann UK street prices, checked in September 2026. US prices come from MA dealers on quote.

How onPC compares with a grandMA3 console

The key number is 4,096. The onPC hardware options above unlock at most 4,096 parameters, while the grandMA3 compact and compact XT start at 8,192 parameters, the light at 16,384 and the full-size at 20,480. All grandMA3 consoles can scale to 250,000 parameters per session with processing units M, L or XL.

Put simply: onPC with a command wing is ideal for learning, pre-programming and small to mid-size shows. When the rig grows past 4,096 parameters, you move to a console. Our comparison of the grandMA3 compact vs compact XT covers the next step up, and our guide to how many DMX universes you need helps you estimate your rig.

Recommended setups

• Student or beginner: free onPC plus MA University e-learning. Add a DMX-key starter when you want to drive real fixtures.
• Freelance programmer: onPC on your laptop for show prep; a DMX-key or node for small gigs.
• Small venue or church: onPC command wing with a dedicated computer and one or two external monitors.
• Touring backup or compact FOH: command wing XT, which needs no separate computer.

If you are new to DMX itself, start with our explainer on what DMX512 is. For the wider software landscape, including free alternatives like MagicQ and Onyx, see our overview of DMX lighting control software, and for the platform as a whole, our grandMA3 review.

Bottom line

grandMA3 onPC is free and identical to the console software, which makes it the best way to learn the platform and prepare shows. For live output, pick your hardware by need: a DMX-key starter (1,024 parameters) for small rigs, a DMX-key or node (4,096) for a laptop-based system, and a command wing or command wing XT when you want a real grandMA3 surface. Beyond 4,096 parameters, it’s time to look at a console.

Frequently asked questions

Is grandMA3 onPC free?

Yes. MA Lighting offers grandMA3 onPC free of charge for Windows and macOS. DMX output, however, requires connected grandMA3 onPC hardware.

How many parameters does a grandMA3 onPC DMX-key unlock?

The USB-C DMX-key with two DMX outputs unlocks 4,096 parameters. The DMX-key starter unlocks 1,024 parameters.

Do grandMA3 onPC Nodes support Art-Net and sACN?

Yes. All grandMA3 onPC Nodes enable 4,096 parameters and handle MA-Net3, MA-Net2, sACN and Art-Net.

What is the difference between the command wing and the command wing XT?

The command wing connects to your computer over USB and has 2 DMX outputs and 1 input. The command wing XT has 10+2 motorized faders and a built-in computer; both unlock 4,096 parameters.

Sources — MA Lighting – grandMA3 software, MA Lighting – grandMA3 onPC command wing, MA Lighting – Training and support (MA University).

If you last looked at Hog consoles when a Road Hog 4 or a Full Boar 4 was the default rental choice, the range has moved on. The entire Hog 4 family is now legacy, and ETC sells a new lineup built around three consoles, two wings and a rack processor. This guide walks through the current Hog range, what each model is for, and where the free Hog PC software fits in. It is based on ETC’s published specifications and on user feedback, not on a hands-on test.

A quick history: from High End Systems to ETC

Hog consoles were developed under the High End Systems name. Barco bought High End Systems in 2008, and ETC acquired the company from Barco in April 2017. Today the old highend.com address redirects to etcconnect.com, and Hog sits in ETC’s console catalog next to Eos and ColorSource.

That matters for buyers in two ways. First, support, training and dealer networks now run through ETC. Second, the product names changed: the numbered “Hog 4” branding is gone from the current catalog, replaced by Tour Hog, Stage Hog, Flex Hog, Gig Hog, Tour Wing and HPU+.

The current Hog range at a glance

All three consoles share the same core: Hog OS, 64 universes, four 5-pin DMX outputs and ten pageable, motorized, RGB-backlit master playbacks. What changes is the screen real estate and the size of the surface.

Model	Type	Universes	Displays	DMX outputs	Weight
Tour Hog	Flagship console	64	23.8″ articulating multitouch + 2 x 12.5″ dashboard	4	35.0 kg / 77 lb
Stage Hog	Mid-size console	64	2 x 12.5″ dashboard + 6 function key displays	4	21.0 kg / 46 lb
Flex Hog	Compact console	64	6 function key displays (external monitors)	4	12.3 kg / 27 lb
Gig Hog	Programming wing for Hog PC	12 with Hog PC	External monitors	2	5.4 kg / 12 lb
Tour Wing	Playback wing	12 with Hog PC	n/a	4	9.6 kg / 21 lb
HPU+	Rackmount processor	64 (32,768 parameters)	8″ multitouch	8	6.8 kg / 15 lb

Pricing for the Hog range varies by dealer and region, so treat all of these as price on request.

Tour Hog

The Tour Hog is the one to look at for arena and festival work, and it’s the model people usually mean when they search for “tour hog”. Its signature feature is the built-in 23.8-inch articulating multitouch display, flanked by two 12.5-inch dashboard displays. At 35 kg it is a true front-of-house desk, not something you carry to a club gig. If you are used to a Full Boar 4 on a touring rider, the Tour Hog is its natural successor in the current catalog.

Stage Hog

The Stage Hog keeps the same 64-universe engine and the same ten motorized playbacks, but drops the big central touchscreen. You get the two dashboard displays plus six full-color function key displays, and you add external monitors for your programming views. At 21 kg it suits theaters, houses of worship, corporate staging and one-off concerts where a full-size touring desk would be overkill.

Flex Hog

The Flex Hog is the smallest console in the lineup at 12.3 kg. It has no built-in main screen, only the six function key displays, so plan on bringing external monitors. It still offers the full 64 universes, which makes it an interesting option for fly-in gigs, festival guest desks and rental stock where you want the same show file capacity in a lighter case.

Wings, HPU+ and Hog PC

Hog PC is free

Hog PC is ETC’s free software version of Hog OS. On its own it is ideal for learning the syntax, prepping show files offline and running a visualizer session before load-in. For live DMX output from a laptop, you pair it with Hog hardware. ETC also notes that the paid ETCnomad USB key unlocks Hog PC, which is handy if your venue already runs Eos software. If you are weighing Hog against other free-software ecosystems, our overview of DMX lighting control software puts it in context.

Gig Hog and Tour Wing

The Gig Hog is a programming wing: plug it into a computer running Hog PC and you get 12 universes (6,144 addresses) and two DMX outputs in a 5.4 kg package. It is the budget entry point into the Hog workflow and a sensible backup or pre-programming surface for owners of the bigger consoles.

The Tour Wing is a playback wing. With Hog PC it also delivers 12 universes and has four DMX outputs; next to a console it adds more physical playbacks for busking-heavy shows.

HPU+

The HPU+ is a rackmounted console and DMX processor with a built-in 8-inch multitouch display, eight 5-pin DMX outputs and 32,768 parameters (64 universes). Use it as a processing and output hub at the dimmer world, as a tracking backup, or as a compact standalone system in a rack.

What about the Hog 4 family?

The Hog 4-18, Full Boar 4, Road Hog 4, HedgeHog 4, Hoglet 4, Hog 4 PC, the original HPU and the widgets are all legacy products. You will still find them on the used market and on older riders, and they remain capable desks. But they are not a new purchase recommendation in 2026: parts and long-term support are the key questions to ask any seller. Our Hog 4 review covers that generation in detail.

Which Hog should you choose?

• Touring LD or large FOH position: Tour Hog, optionally with a Tour Wing for extra playbacks.
• Theater, church or corporate venue: Stage Hog, with external monitors sized to your booth.
• Rental stock, fly-in dates, small footprint: Flex Hog.
• Students, freelancers, pre-programming: free Hog PC first, then a Gig Hog when you need real faders and DMX.
• Rack systems and backup: HPU+.

Hog’s reputation has always rested on fast, playback-oriented busking. If your work leans toward cue-heavy theater, compare it carefully with Eos in our ETC vs Hog comparison. For a broader view of the brand, see our main Hog lighting console page, and if you are still deciding between manufacturers, start with how to choose a DMX lighting console.

Bottom line

The current Hog range is simpler than it looks: one operating system, one 64-universe engine, and three console sizes from 12.3 kg to 35 kg. Pick the Tour Hog for big shows, the Stage Hog for fixed venues, the Flex Hog for portability, and use the free Hog PC to learn and prepare shows before you commit to hardware.

Frequently asked questions

Is the Hog 4 still in production?

No. The whole Hog 4 family, including Road Hog 4, Full Boar 4 and HedgeHog 4, is listed as legacy by ETC. The current range is Tour Hog, Stage Hog, Flex Hog, Gig Hog, Tour Wing and HPU+.

How many universes does a Tour Hog handle?

ETC specifies 64 universes for the Tour Hog, and the same 64 universes for the Stage Hog and Flex Hog. The difference between them is the surface and the screens, not the output capacity.

Is Hog PC free?

Yes, Hog PC is a free download from ETC. For live DMX output you connect Hog hardware such as the Gig Hog wing, which gives 12 universes with Hog PC.

Who makes Hog consoles today?

ETC. It acquired High End Systems from Barco in April 2017, and highend.com now redirects to etcconnect.com.

Sources — ETC – Hog family tech specs, ETC – Hog product family, Wikipedia – High End Systems, ETC – ETCnomad features.

A stage lighting control system is everything between the operator’s hands and the light on stage: the console, the control protocol, the network that carries it, the devices that distribute it and the fixtures or dimmers that act on it. Most buying mistakes happen because people choose a console first and discover the network, the nodes and the fixture modes afterwards. This guide takes the system as a whole, from a school theater to a concert stage, and links to our rated console reviews where a specific model matters.

The five layers of a lighting control system

1. The controller: a lighting console (ETC Eos, grandMA3, ChamSys MagicQ, Avolites, Hog, Zero 88 FLX) or control software on a computer with a wing or a USB node. See our professional DMX controller guide and control software guide.
2. The protocol: DMX512 on 5-pin XLR for the last meters, and Art-Net or sACN over Ethernet for the backbone. sACN (E1.31) is the professional choice for multi-universe systems because it multicasts per universe and handles priorities.
3. Distribution: Ethernet switches, DMX nodes (network to DMX), splitters and boosters (opto-isolated), and wireless links (CRMX, W-DMX) where cable is impossible. Our guide on how many DMX universes you need explains the sizing.
4. Power and dimming: dimmer racks for conventional fixtures, relay or constant-power modules for LED and moving lights, all addressed on the same universes.
5. Fixtures: LED washes, profiles, moving heads and effects, each consuming a DMX footprint that depends on its mode. Sixteen-bit modes use two channels per parameter (coarse and fine), raising resolution from 256 to 65,536 steps at the cost of a larger footprint.

Sizing the system: universes, nodes and headroom

Start from the fixture list, not from the console. Add the channel count of every fixture in the mode you will actually use, divide by 512 and round up to the next universe. Then add 30 percent headroom for guest rigs and future purchases. A 200-seat theater with 24 LED profiles, 16 washes and a few effects usually lands at two to three universes; a festival stage with 60 moving heads and LED video elements needs eight or more. Every universe must reach the stage physically: plan one node port per universe, plus a spare, and keep DMX lines under 32 devices and roughly 300 meters with a terminator at the end. For the failure cases you will meet, read common DMX problems and how to fix them.

Theater, concert, church: three typical systems

Theater and performing arts center

Cue-list workflow, long shows, fixed network. The reference is the ETC Eos family (Element 2 for a school, Ion Xe for a regional theater, Gio or Apex for a large house) with sACN nodes in the grid and dimmer or relay racks. Zero 88 FLX S48 is the budget alternative. Our guides: theatre lighting consoles and ETC Eos consoles compared.

Concert stage and touring

Busking workflow, fast programming, redundancy. grandMA3 (light or full-size) is the rider standard, ChamSys MagicQ MQ500M the value leader, Avolites and Hog the operator favorites. Networks use redundant Ethernet lines to stage racks holding the nodes, with a backup console or onPC session running the same show file. See stage lighting controllers and grandMA consoles.

Church and house of worship

Volunteer operators, weekly services, occasional concerts. ETC ColorSource 40, ChamSys QuickQ 30 or Obsidian Onyx with an NX Touch cover most rooms, with a simple sACN network and a handful of LED fixtures in 8-bit modes to keep programming easy. Our dedicated church stage lighting guide goes into the details.

What a lighting control system costs

System	Console	Network and distribution	Typical total (excl. fixtures)
School or church, 1–2 universes	QuickQ 20/30, ColorSource 20/40, FLX S24: 1,500–4,000 USD	2-port node, splitter, cabling: 500–1,200 USD	2,000–5,000 USD
Regional theater, 2–4 universes	Ion Xe, FLX S48, MagicQ MQ70: 5,000–12,000 USD	4-port nodes, switches, backup PC: 2,000–5,000 USD	7,000–17,000 USD
Concert stage / tour, 8+ universes	grandMA3 light, MQ500M, Diamond 9: from around 25,000 USD to well over 60,000 USD depending on model	Network processors, 8-port nodes, redundant lines: 6,000–15,000 USD	from around 30,000 USD, often much more

Prices are indicative street-price ranges and vary widely by region, dealer and configuration, so check current quotes; nodes, switches, cabling and a backup add significantly to the console budget.

Choosing the controller last

Once the system is sized, the console choice becomes simple: match the workflow (cue list versus busking), the universe count with 30 percent headroom, the network protocol your nodes and fixtures speak, and the operators’ skills. Our beginner console guide, under-1,000 USD guide and DMX control system guide cover the three most common budgets.

FAQ

What is a stage lighting control system?

It is the chain that turns an operator’s decisions into light on stage: a lighting console or software, a DMX or network signal path (Art-Net, sACN), distribution devices (nodes, splitters) and the fixtures or dimmers that receive the data.

How many DMX universes does a stage need?

Count the DMX channels of every fixture in its chosen mode and divide by 512. A small theater with 40 LED fixtures in 16-channel modes needs about two universes; a mid-size concert stage with moving heads typically needs four to eight.

Do I need a console or is software enough?

Software (grandMA3 onPC, MagicQ PC, Onyx, Eos Nomad) with a USB node or wing is enough for fixed installs, small venues and programming. For live busking and touring, a hardware console with faders and executors is faster and more reliable.

Is a theater lighting control system different from a concert one?

The components are the same. Theater favors cue-list consoles (ETC Eos, Zero 88 FLX) and fixed networks; concerts favor busking consoles (grandMA3, MagicQ, Avolites) and portable racks with redundant lines.

A DMX lighting control system is the whole chain that runs a stage or venue’s lighting: the console or controller, the network that carries the signal, the nodes that output DMX, and the fixtures themselves. Understanding it as a system — rather than fixating on the desk alone — is what separates a rig that behaves from one that fights you. This guide explains the parts, how they fit together, and clears up a common confusion about the name. For the control surface itself, see our guide to professional DMX lighting controllers.

Important: not building automation

“Lighting control system” on its own usually means building automation — the smart-home and architectural dimming world of Lutron and Crestron, where the goal is to schedule and scene-set the lights in a home, office or hotel. A DMX lighting control system is a different discipline entirely: it’s the entertainment-lighting world of stages, venues and shows, where the priority is live, cue-accurate control of intensity, color and movement. The two share the word “lighting” and little else, so if you’re researching gear it pays to be clear which universe you’re in before you compare products or read reviews.

The parts of a DMX system

• Console / controller — programs and plays back the show; this is the brain and the operator’s interface.
• Network — Art-Net / sACN carry many universes over standard Ethernet, so a single cable can transport what used to need dozens of separate DMX lines.
• Nodes — convert the network back to physical DMX near the fixtures, placing the output right where the lights hang.
• Fixtures — dimmers, LED washes, moving lights and everything else that turns instructions into photons.

The logic flows in one direction: the console builds and triggers looks, the network distributes them across the venue, the nodes hand off to real DMX cable, and the fixtures respond. Design the system so each stage has headroom — spare universes on the network, spare ports on the nodes — and expansion later becomes a matter of patching rather than rewiring.

Why the network layer matters

On a small rig you can run DMX straight from the console to the fixtures and never think about a network. As soon as the rig grows past a universe or two, though, Art-Net and sACN over Ethernet become the sensible backbone: they carry many universes down a single, cheap, easily replaced cable, and they let you place nodes wherever the fixtures are instead of dragging long DMX lines across a building. That architecture is also more resilient — a managed switch and a tidy addressing plan make faults easy to isolate, and adding a new zone is often just another node on the network. The tradeoff is that you now own a small data network, which rewards a little discipline around IP addressing, universe numbering and cable management.

For installations

In auditoriums and permanent venues, reliability and operation by non-specialists come first. An ETC system is a common choice, precisely because the whole chain — desk, gateways, dimming and networking — is designed to work together and to keep running with volunteers or house staff at the controls. In a fixed install the emphasis shifts away from raw programming power toward predictability: clear station control, simple presets for everyday events, and a system that a technician can hand over and trust to behave the same way months later.

FAQ

What’s a DMX lighting control system?

The end-to-end entertainment-lighting chain: console plus network plus nodes plus fixtures — not home or building automation. It’s the whole signal path from the operator’s fingertips to the light on stage.

Is DMX the same as a lighting control system?

DMX is the protocol — the language the signal is spoken in; the “system” is everything around it that generates, transports and acts on that signal. You can have DMX without a full networked system, but a modern venue system is built on DMX (and its networked cousins Art-Net and sACN).

Do I always need nodes and a network?

No. A small rig can run direct DMX from the console. Nodes and an Art-Net/sACN network earn their place once you outgrow one or two universes or need to distribute output across a large space.

Photo credit: Unsplash

Read also: Stage Lighting Control System: How It Works and How to Design One (Theater, Concert, Church)

For theatre, one platform dominates: ETC Eos. A theatre lighting console is built around cue-based (tracking) operation — write a show once, play it back identically every night — which is exactly what theater, opera and dance need. Where a live-events desk lives on improvisation, a theatre console lives on precision: every fade, every follow spot pickup, every blackout lands on the same count at every performance, whether the operator is the designer or a stage manager calling a green light to a student on the board. This guide covers what to look for and which consoles fit. For the wider landscape, see our professional buyer’s guide.

Why ETC Eos owns theatre

Eos is the theatre standard: cue-based programming, proven reliability in institutional venues, and a coherent ecosystem. From the entry Element 2 to the flagship Apex, it’s a platform you learn once and find everywhere. That ubiquity is not an accident. The command-line syntax that feels foreign on day one becomes the fastest way to build and edit a large cue stack once it clicks, and because tracking carries a value forward until you deliberately change it, a designer can shift a single channel across an entire act without re-recording every cue by hand. Universities, regional houses and road houses standardize on Eos so that visiting designers arrive already fluent and a graduating student walks into the industry knowing the desk. Details in our ETC Eos guide.

What to look for in a theatre desk

Cue-based operation is the non-negotiable: a proper cue list, tracking behavior, and the ability to build, renumber and edit cues quickly under pressure. Beyond that, look at how the desk handles complex sequences — multipart cues with independent fade and delay times, follow and hang times, and effects that layer over the base state without disturbing your recorded look. Magic sheets or custom layouts help an operator find channels fast in a dark booth. Fader count matters less in theatre than it does in live work, because most of the show plays back on a single GO button, but you still want enough submasters and playbacks to handle house lights, work lights and the occasional busked moment. Finally, weigh the ecosystem: fixtures, gateways, networking and offline software that all speak the same language reduce the number of surprises on a tight tech schedule.

Other options

For houses that also do heavy live or touring work, grandMA is an alternative — though for pure cue-based theatre, Eos remains the reference. A venue that hosts concerts one night and a scripted play the next may value grandMA’s fast, hands-on live workflow, and its operators can adapt it to cue playback. But most designers who work primarily in scripted theatre reach for Eos, because the cue-editing model and the depth of tracking tools are simply built around how a play is rehearsed and run. Choosing the road-less-traveled desk in a theatre also means fewer local operators know it and fewer visiting designers arrive ready to sit down and program.

For small theatres

A small theatre rarely needs a flagship desk: an entry Eos (or a capable stage lighting controller) covers most needs while keeping the same workflow you’d grow into. The advantage of starting on the family’s entry model is continuity — a volunteer or student who learns the syntax on a small board can walk up to a much larger one and feel at home, because the software is shared across the range. That protects your training investment and makes it easy to rent a bigger desk for an ambitious production without relearning anything. Start with the console that matches your fixture count today, and lean on the shared platform to grow into larger rooms and shows later.

FAQ

What lighting console do most theatres use?

ETC Eos, by a wide margin, especially in the US and in institutional venues. Learn it and you can walk into almost any theatre gig ready to work.

Theatre or theater — does spelling matter?

Same thing: “theatre” (UK / international) and “theater” (US) refer to identical consoles. Manufacturers, designers and dealers use both spellings interchangeably, and it has no bearing on the hardware or the workflow.

Do I need a flagship console for a school or community theatre?

No — an entry model in the same family gives you the identical cue-based workflow at a fraction of the price, and the skills transfer directly if you later step up to a larger desk for a bigger show.

Photo credit: Pexels

A stage lighting controller is what turns a rig of fixtures into a show — from a simple controller for a few washes to a full professional console. The term covers an enormous range of gear, and the right choice depends far more on what you’re lighting than on the label on the box. This guide explains the types and how to choose between them. For the full professional picture, start with our guide to professional DMX lighting controllers.

From simple controllers to full consoles

“Stage lighting controller” covers a wide range. At the simple end sit compact controllers that set channels and run basic chases — enough to bring up a few pars and washes and step through some looks. At the professional end are full lighting consoles with deep programming, effects engines and networking across many universes. Between those poles lives a whole middle ground of capable small consoles that handle moving lights and cues without the price or complexity of a flagship. What you actually need depends on how many fixtures you run and, above all, how many of them move — a rig of static dimmers and LED washes asks very little of a controller, while a handful of moving heads changes the equation completely.

Stage lighting control software

You can also control a rig from a computer: stage lighting control software drives DMX through a hardware interface, a flexible and affordable route that has become genuinely professional. The leading manufacturers ship a PC version of their console software, so you can learn the real environment on a laptop, program a show offline, and output DMX through a dongle or a network node when it’s time to run it. For anyone starting out or working to a budget, this is often the smartest first step — you invest in skills that transfer directly to hardware later. See our control software guide.

How to choose

Small fixed rig of dimmers and LED? A simple controller works, and spending more buys you little. Moving lights, multiple universes, repeatable shows? You want a real console — weigh reliability, the operator ecosystem and total cost as covered in our buyer’s guide. Be honest about where your rig is heading, not just where it is today: the most common regret is buying a basic controller, adding a couple of moving heads a few months later, and discovering that programming them on the cheap box is slow and painful. If moving lights are anywhere on your horizon, start with a controller or software that handles them properly and grow into it.

Match the controller to the venue

Beyond fixture count, think about who will run the rig and how often the show changes. A house of worship or a school hall that repeats the same handful of looks week to week values simplicity and repeatable presets over raw programming depth. A mobile operator who faces a different room every night wants fast, hands-on control and quick patching. A permanent theatre install prioritizes reliability and a workflow that a rotating cast of volunteers can learn. There’s no single “best” controller — only the one that fits the fixtures, the operators and the kind of shows you actually do, which is why it pays to define those three things before you shop. Write them down honestly, and the shortlist tends to pick itself: the fixture count sets the floor for capability, the operators set the ceiling for complexity, and the type of show decides whether you prize cue playback or fast live control.

FAQ

Controller or console — what’s the difference?

Loosely the same idea, but “console” implies a serious programming instrument while “controller” spans everything from entry-level to pro. Intent matters more than the word — read the feature set, not the name on the front panel.

Is there a controller for stage lights with software?

Yes — most professional platforms offer a PC version that drives DMX through a hardware interface. It’s a flexible, affordable way to learn a real environment and to keep a backup ready.

What controller do I need for moving lights?

Anything with a proper fixture library and an effects engine — a real console or professional software, not a basic scene-and-chase box. Programming pan, tilt, gobos and color by hand on a simple controller is slow and frustrating.

Photo credit: Unsplash

Read also: Stage Lighting Control System: How It Works and How to Design One (Theater, Concert, Church)

A DMX lighting console is the professional instrument that programs and plays back a lighting show. This guide focuses specifically on choosing a console — for the broader landscape of controllers and software, start with our professional DMX lighting controllers guide.

Console vs basic controller

The word “console” implies a serious programming and playback instrument — not the entry-level boxes also sold as “DMX controllers.” A real console gives you deep programming, effects, networking and reliability. The practical dividing line is what happens when your rig gets complicated: a basic controller runs out of road the moment you add moving lights, multiple universes or a show that has to repeat identically, while a console is built precisely for that complexity. If a product leads on its low price, it isn’t really a professional console — see our lighting desks guide for why the trade uses the term the way it does.

The main console families

• ETC Eos — the theatre standard, built around cue-based (tracking) programming.
• grandMA — the touring and large-event standard, the rider default at the top of the industry.
• ChamSys MagicQ — value and accessibility, with genuinely free software.
• Avolites — events and touring, on the Titan platform, strong in the UK and Europe.
• Hog — live events, especially in the US, with a devoted busking following.

Each family has its own culture and workflow, and most professionals end up fluent in one or two rather than all of them. The choice you make early tends to shape the shows — and the gigs — that are open to you.

How to choose

Start from your use case — theatre, touring, events or install — then weigh the criteria that actually decide reliability on the night:

• Reliability and redundancy — will it run a whole show without faltering, and is there a backup path if hardware fails?
• Operator ecosystem — can you find someone to programme or operate it, and is it what the rider specifies?
• Network scale — how many universes over Art-Net and sACN, and does that match your rig’s ambitions?
• Software / onPC — a PC version to programme offline, train on and keep as a backup.
• Total cost of ownership — not just the desk, but wings, nodes, training and support.

Our buyer’s guide covers each criterion in depth.

Match the console to the work

For theatre, opera and dance, cue-based repeatability points to ETC Eos. For touring, festivals and broadcast, grandMA’s ubiquity is a career advantage as much as a technical one. For live events and busking on a budget, ChamSys and Obsidian’s free software let you learn and run shows without a flagship price, while Avolites and Hog reward operators who work fast and live. There is rarely a single “best” console — only the one that fits your shows, your budget and the pool of operators around you.

New, used or software-first?

You don’t have to buy a flagship desk to work on a professional platform. Running a manufacturer’s software (onPC) through a hardware interface is the most affordable way in, and it’s the same environment as the full console. The used market is strong for standards like grandMA and ETC, where a large installed base keeps earlier-generation desks in service for years. And a laptop running onPC makes a cheap, genuinely useful backup for any rig. Weigh the cost of the surface against how much you’ll actually use it live.

FAQ

What’s the difference between a console and a desk?

None, really — “desk” is the British term for a console. See our lighting desks guide.

What’s the most affordable console route?

Running a platform’s software (onPC) with a hardware interface. See our software guide.

Do I really need a full console for a small rig?

If you only run a handful of simple fixtures, a compact controller may be enough. The moment you add moving lights, multiple universes or repeatable cued shows, a console earns its place.

Photo credit: Unsplash

Born at High End Systems (now owned by ETC), the Hog line is a long-standing live-events platform, especially strong in the United States. Generations of concert and touring operators have built their careers around the “Hog way” of working, and the platform still commands real loyalty among those who know it. This guide covers the Hog 4 family, the new-generation Hog consoles that have succeeded it (Tour Hog, Stage Hog, Flex Hog and Gig Hog, all running Hog OS), and where the platform fits today. For the wider landscape, see our professional buyer’s guide.

The Hog 4 family

• Hog 4 — the flagship of the Hog 4 generation for the largest shows, with the biggest surface of the family, external monitor outputs and MIDI, giving an operator plenty of surface and connectivity for a big rig.
• Full Boar 4 — two 15.6″ touchscreens and four onboard DMX universes; the Hog 4’s power in a more compact, affordable package that still holds its own on serious shows.
• Road Hog 4 — a single built-in touchscreen (enlarged on the later Road Hog 4-21) and four onboard DMX outputs in a compact touring form, built to travel light without giving up the core workflow.

All three run Hog 4 OS, so the workflow is identical across the range and a show file moves between them. There’s also a free PC version (Hog 4PC) that runs the same software on a computer for offline programming and practice.

The Hog workflow

What earns the Hog its devoted following is the feel of live operation. Operators describe the programming model as fast and intuitive for busking — building and firing looks on the fly during a concert rather than running a fixed cue stack. That hands-on immediacy is a different philosophy from the strict cue-based approach of theatre desks, and it’s exactly what a concert LD wants when the set list shifts and the band goes off-script. Once the Hog way clicks, people tend to stay loyal to it, which is a large part of why the platform has held a place in US touring for so long even as the wider market has moved.

Value and the used market

Because the Hog 4 family has been in service for years, a healthy second-hand market has built up around it, and a used Full Boar 4 or Road Hog 4 can be an affordable route into a real touring platform. That maturity cuts both ways: the hardware is proven and well understood, but you’re buying into a platform whose newest rivals have moved on, so factor in how long you plan to keep the desk and whether the shows you chase still call for it. For an operator already fluent in the Hog way, the calculus is easy — the workflow is the value, and staying on a familiar platform is worth a great deal. For someone starting fresh, weigh that comfort against the broader rider ubiquity of grandMA before committing, and remember that free Hog 4PC lets you test the waters at no cost first.

Where Hog fits

Hog has a solid following in live events and touring, particularly in the US. Since ETC acquired High End Systems in 2017, the line has continued under that umbrella — now sold under the ETC name, with a new-generation family (Tour Hog, Stage Hog, Flex Hog, Gig Hog) supporting 64 universes and the free Hog PC software. In Europe the installed base is smaller than MA, Avolites or ChamSys — worth weighing for operator availability and support, because a platform is only as convenient as the pool of people who can step in and run it. If you already work in the Hog world, or you’re entering a US concert scene where it’s well represented, it remains a strong choice; if you need the broadest rider ubiquity, that crown now sits with grandMA.

FAQ

Is the Hog 4 still current?

The Hog 4 family is still widely used, but ETC has since launched a new generation of Hog consoles (Tour Hog, Stage Hog, Flex Hog and Gig Hog) running Hog OS, alongside the free Hog PC software. If you are buying new, look at the current family; a used Hog 4 desk remains an affordable way into the platform.

Can I learn Hog on a computer?

Yes — Hog 4PC is free and runs the full software on a PC, so you can learn the workflow and pre-program shows without tying up a hardware desk. See our control software guide.

Hog or grandMA for touring?

Hog for its fast busking workflow and loyal US concert following; grandMA for the widest rider-standard ubiquity on the largest tours. The right answer depends on the scene you work in and who you’ll need to hand the desk to.

Photo credit: Photo: High End Systems / ETC (etcconnect.com)

MA Lighting is the German manufacturer behind the grandMA series — one of the most influential names in professional lighting control, found on major tours, festivals, broadcast productions and theatre rigs worldwide. Few companies have shaped how large shows are programmed as much as this one. This is the brand overview; for the consoles themselves, see our grandMA console guide. For the wider landscape of professional control, see our professional buyer’s guide.

The company and the standard

Based in Germany, MA Lighting built its reputation on the grandMA platform, which became a de facto control standard for large-scale live production. When a rider specifies “MA,” this is the ecosystem it means — and that single line on a contract tells you a great deal about how deeply the platform has embedded itself in the touring world. A rider standard is self-reinforcing: because the biggest shows call for it, rental houses stock it, operators train on it, and the next production specifies it too. The result is a platform you encounter again and again as you move up through festival and concert work, which is why understanding the maker behind the desk is worth the time even before you touch the hardware.

The product line

• grandMA3 — the current generation, with an integrated 3D visualizer and native GDTF support built into the workflow.
• grandMA2 — the previous generation, still widely used on tours and strong on the second-hand market.

The two generations coexist in the field far more than is usual in this industry: a huge installed base of grandMA2 desks is still working nightly, while grandMA3 represents where the platform is heading. For anyone weighing a purchase, that overlap is important, and the full detail on models, forms and where each fits lives in our grandMA console guide.

The ecosystem

Part of MA’s strength sits around the console rather than inside it. The MA University training program is certified worldwide and blends e-learning with hands-on classes, which keeps a steady stream of trained operators entering the market — exactly the pool a rider standard depends on. The onPC software lets you program offline on a laptop and keep a ready backup, so a designer can build a whole show before ever reaching the venue. And the open GDTF fixture standard, which MA co-created with Robe and Vectorworks, aims to make fixture data portable across tools and platforms instead of locked inside one manufacturer’s library. Taken together, the training, the software and the open data standard are as much the product as the desk. (Sources : MA Lighting.)

Why the ecosystem matters when you choose

When you commit to a control platform, you’re not just buying hardware — you’re buying into a labor market, a training path and a supply of rental gear. MA scores well on all three: operators are findable, courses are structured and recognized, and inventory is easy to rent or sub-hire almost anywhere large productions happen. That reduces risk on a big show, because a failed desk can be swapped and a sick operator replaced without rewriting the whole approach. It’s the same logic that makes an industry standard hard to displace, and it’s the reason the MA name carries weight far beyond the specifications of any single model. For a buyer, that means the smart question isn’t only “how good is this desk?” but “how easy will it be to staff, rent and support in the market I actually work in?” — and on that measure MA is hard to beat.

FAQ

Is “MA Lighting” the same as “grandMA”?

MA Lighting is the company; grandMA is its console line. People often use the names interchangeably, but strictly the desk is a grandMA and the maker is MA Lighting.

Where do I start to learn MA?

The MA University and the onPC software. Structured courses plus free offline practice on a laptop are the standard route in, and they let you build real skills before you sit at a hardware desk. See our control software guide.

Why is MA specified on so many riders?

Because it’s a self-reinforcing standard: the biggest shows use it, so rental stock, trained operators and shared knowledge all cluster around it, which makes it the safe specification for the next production too.