Category: Reviews

The Obsidian NX1-16 is the compact Onyx console that replaced the original NX1. It keeps a small footprint, doubles the included universe count to 16, pairs 10 motorized faders with a Full HD touchscreen, and runs the same Onyx software as the rest of the range. This review is an analysis based on Obsidian’s published specifications and user feedback, not a hands-on test.

Obsidian and Onyx in a nutshell

Obsidian Control Systems is part of the Elation family, and Onyx is its lighting control platform. The current console line includes the NX1-16, NX2 and NX4, plus the NX W wing. The original NX1 (8 universes) and the NX Touch are now legacy products: fine on the used market if the price is right, but not what you should buy new. For a broader look at the software, read our Obsidian Onyx review.

NX1-16 specifications

• Licence: Onyx licence for 16 universes included
• Screen: 10.1-inch Full HD multitouch, plus support for one external touch display over HDMI
• Playbacks: 10 motorized 60 mm playback faders and 10 customizable playback or multi-function keys
• DMX: 4 DMX/RDM universes in/out on 5-pin locking XLR
• Network: 2 Gigabit RJ45 ports for Art-Net, sACN and Onyx X-Net
• USB: 2 x USB 3.2 and 2 x USB 2.0
• Size and weight: 636 x 298.5 x 71 mm (25 x 11.75 x 2.8 in), 8.1 kg (17.8 lb)

Pricing varies by dealer; treat it as price on request and compare quotes.

What changed from the NX1

The name says it: 16 universes instead of the NX1’s 8. That is the difference that matters most for LED-heavy rigs, where pixel bars and multi-cell fixtures eat addresses quickly. The 10 motorized faders are also a real asset on a console this size, for operators who switch pages during a show and want the physical faders to follow.

Understanding Onyx licensing

Onyx licensing is where many buyers get confused, so it’s worth being precise:

• Free licence: the Onyx software runs for free, but outputs Universe 1 only, over Art-Net or sACN.
• Paid licences: Essential, Premier and Elite tiers raise the ceiling, up to 128 universes.
• Consoles: the NX1-16 ships with a 16-universe licence built in, so you don’t need to buy one separately to use its full capacity.

This is different from ChamSys’s approach. MagicQ PC/Mac without any ChamSys hardware already outputs 64 universes of Art-Net or sACN, with some remote and automation features locked. If you plan to run mainly from a laptop, that difference is significant; see our Onyx vs ChamSys comparison for the full picture.

NX1-16 vs ChamSys QuickQ and MQ50

In the compact console market, the NX1-16’s natural competitors come from ChamSys: the QuickQ+ range for simplicity and the MagicQ MQ50 for full MagicQ programming.

	Obsidian NX1-16	ChamSys QuickQ 30+	ChamSys MQ50
Universes	16 (licence included)	6	8
Main screen	10.1″ Full HD touch	11.6″	10.1″
Playback faders	10 motorized	See ChamSys specs	10, non-motorized
DMX ports	4 (DMX/RDM)	See ChamSys specs	4
Software	Onyx	QuickQ (shows open in MagicQ)	MagicQ
Thomann UK, 09/2026	Price on request	about £3,499	about £4,799

Versus QuickQ

The QuickQ range is built for ease of use: volunteers, schools, small venues. The QuickQ 30+ gives you 6 universes and an 11.6-inch screen, and a show built on it can later be loaded into MagicQ. The NX1-16 is a more “pro” tool: a full programming console with motorized faders and more than twice the universe count. If your operators change every week and need to get a show running quickly, a QuickQ is easier to hand over. If you have a regular programmer and a growing LED rig, the NX1-16 gives you more room. Our ChamSys QuickQ review goes deeper on that range. Note that the original QuickQ 10/20/30 (non-plus) are superseded by the “+” versions.

Versus the MagicQ MQ50

The MQ50 is the entry point into full MagicQ, with 8 universes, 10 non-motorized playbacks, a 10.1-inch screen and 4 DMX outputs. On paper the NX1-16 offers more universes and motorized faders. The MQ50’s advantage is the MagicQ ecosystem: the same software scales up to the MQ70, MQ250M and MQ500M+ Stadium, and MagicQ PC is powerful even without hardware. The Onyx ecosystem scales too, to NX2 and NX4, so the decision often comes down to which software your team already knows.

Who should buy the NX1-16?

• Small and mid-size venues, clubs and houses of worship with LED-heavy rigs up to 16 universes
• Production companies that want a compact, 8 kg desk for corporate and event work
• Existing Onyx users moving up from the free licence or replacing a legacy NX1

If you need more than 16 universes, look at the larger NX consoles or a networked Onyx system. And if you are still weighing your first console, our guide to the best lighting console for beginners puts compact consoles like this one in a wider context.

Verdict

The Obsidian NX1-16 is a sensible, well-specified compact console: 16 universes included, 10 motorized faders, a Full HD touchscreen, four DMX/RDM ports and Gigabit networking in an 8.1 kg frame. It is a clear upgrade over the discontinued NX1 and a strong rival to ChamSys’s compact desks. Its main trade-off is licensing: free Onyx software gives you only one universe, while free MagicQ gives you 64, so factor that in if much of your work will happen on a laptop.

Frequently asked questions

Is the Obsidian NX1-16 the successor of the NX1?

Yes. The original NX1 with 8 universes is discontinued, and the NX1-16 replaces it with a 16-universe Onyx licence included.

How many universes does the free Onyx licence give?

The free Onyx licence outputs Universe 1 only, over Art-Net or sACN. Paid Essential, Premier and Elite licences go up to 128 universes.

What are the main specs of the NX1-16?

It has 10 motorized 60 mm playback faders, a 10.1 inch Full HD multitouch screen, 4 DMX/RDM ports, 2 Gigabit Ethernet ports and weighs 8.1 kg.

Is the NX1-16 better than a ChamSys QuickQ 30+?

It offers more universes (16 versus 6) and motorized faders, so it suits a regular programmer with a growing rig. The QuickQ is simpler for volunteer or rotating operators.

Sources — Obsidian Control Systems – NX1-16, Obsidian Control Systems – Onyx, ChamSys – QuickQ consoles, ChamSys – MagicQ software licensing.

The Diamond 9 is Avolites’ flagship console family, and it comes in two sizes: the D9-215 and the D9-330. Both run Titan, both share the same hardware language, and both are built for large shows. The question most buyers face is simple: do you need the big one? This review is an analysis based on Avolites’ published specifications and user feedback, not a hands-on test.

Avolites in 2026: a quick context

Avolites was founded in London in 1976, went through a management buyout in 1991 and is based in Park Royal. In June 2023 the company was acquired outright by Robe. The Diamond 9 range launched in 2021, before that acquisition, and it remains at the top of the catalog, above the newer Diamond 7 (launched 2024), Arena, Tiger Touch II, Sapphire Touch and the compact D3 series.

Note that there is no “Diamond 9-110” or “D9-260”: the family is the D9-215 and the D9-330, nothing else.

D9-215 vs D9-330: the specs side by side

	D9-215	D9-330
Motorized faders	15 + 2 Penny & Giles, touch-sensitive	30 + 2 Penny & Giles, touch-sensitive
Playback encoders	40 optical, touch-sensitive, push	70 optical, touch-sensitive, push
Main touchscreens	2 x 15.6″ (1920 x 1080)	3 x 15.6″
Preview touchscreens	3 x 4.3″	3 x 4.3″
External touchscreens	2 x HDMI 1920 x 1080	2 x HDMI 1920 x 1080
Width	995 mm (39.2″)	1,380 mm (54.3″)
Weight (console)	54 kg / 120 lb	68 kg / 150 lb
Weight in flight case	88.5 kg / 195 lb	105.5 kg / 233 lb
Price	On request	On request

Both desks have a full backlit QWERTY keyboard in a drawer, a T-bar with a color status screen, RGB level indicators next to every fader and encoder, and support for Titan Net Processors to expand DMX capacity. Both are “Synergy-ready”, meaning they integrate with Avolites Ai media servers for video control.

What the Diamond 9 does well

Playbacks everywhere

Avolites has always been the busker’s brand, and the D9 takes that to an extreme. The D9-330 puts 30 motorized faders and 70 playback encoders under your hands; the D9-215 still gives you 15 faders and 40 encoders. For operators who run shows live, reacting to the band, that density of physical playbacks is the whole point of the console. If you want to understand why this matters, our comparison of Avolites vs grandMA explains the busking-versus-programming divide.

Titan continuity

Titan is the same software across the Avolites range, from Titan Mobile to Tiger Touch II to the D9. The current online manual documents Titan version 19.0. That means a show built on an Arena or a Tiger Touch II can move up to a D9, and an operator trained on a smaller Avolites is productive on a D9 on day one. Our broader Avolites review covers Titan’s strengths and quirks.

Video integration

With Synergy and the Ai media server line, a D9 can control video content from the lighting desk. The three 4.3-inch preview screens are designed for media previews or workspaces, which makes the console a strong fit for shows where lighting and video are run from one position.

Which one should you buy?

Choose the D9-215 if…

• You want the D9 workflow but your FOH position is tight: at 995 mm wide it is almost 40 cm narrower than the 330.
• 15 motorized faders plus 40 encoders covers your show, possibly with extra pages.
• Freight weight matters: the cased D9-215 is 17 kg lighter than the cased D9-330.

Choose the D9-330 if…

• You busk large festival or arena shows and want as many physical playbacks as possible.
• You need a third main touchscreen on the desk itself.
• The console is a flagship statement for rental stock or a large permanent venue.

D9 vs Diamond 7

The Diamond 7, launched in 2024, is a current product, not an older generation. The D7-330 offers 30 motorized faders and three 14-inch screens at 24.5 kg, well under half the D9-330’s 68 kg. If you like the 330 layout but need a much lighter frame, the D7 is the logical alternative. The D9 remains the choice when you want the largest screens, the encoder count and the full premium build. For a wider view of the market, see our guide to professional DMX lighting controllers.

Things to keep in mind

• Weight: 54 to 68 kg for the console alone. These are not fly-in desks.
• Riders: Avolites is well known in live music, but check what your touring rider or venue specifies before committing.
• Pricing: Avolites flagships are sold through dealers on quote; get a written quote including case and spares.
• Screens: both models accept two additional HDMI touchscreens, so budget for them if you like a wide programming view.
• Stepping down: if a D9 is more console than you need, the Tiger Touch II and Arena run the same Titan software in far smaller frames; see our lighting desk guide for how the classes compare.

Verdict

The Diamond 9 is Avolites at full scale: Penny & Giles motorized faders, dozens of playback encoders, 15.6-inch touchscreens and Titan throughout. The D9-215 is the more practical buy for most productions, offering the same software and feel in a narrower, lighter frame. The D9-330 is for operators who want every playback within reach and have the space and budget to match. If weight is the deciding factor, look at the Diamond 7 before settling.

Frequently asked questions

What is the difference between the D9-215 and the D9-330?

The D9-330 has 30+2 motorized Penny and Giles faders, 70 playback encoders and three 15.6 inch touchscreens at 68 kg. The D9-215 has 15+2 faders, 40 encoders and two 15.6 inch touchscreens at 54 kg.

What software does the Diamond 9 run?

It runs Titan, the same software used across the Avolites range. The current online Titan manual documents version 19.0.

Who owns Avolites?

Robe acquired Avolites outright in June 2023. Avolites was founded in London in 1976 and is based in Park Royal.

Is the Diamond 7 an older version of the Diamond 9?

No. The Diamond 7 launched in 2024 and is a current, lighter range; the D7-330 has 30 motorized faders and three 14 inch screens at 24.5 kg.

Sources — Avolites – D9-330, Avolites – D9-215, Avolites – D7-330, Avolites – Titan manual, Wikipedia – Avolites.

The grandMA3 compact and the grandMA3 compact XT are the two entry points into MA Lighting’s console hardware. They share the same software, the same 8,192 parameters and the same I/O, so the choice comes down to surface size, screens, weight and budget. Here’s how to decide, based on MA Lighting’s published specifications and Thomann’s September 2026 prices.

What the two consoles have in common

Before looking at differences, it helps to see how much is identical:

• Parameters: 8,192 control parameters as standard on both (the compact drops to 4,096 when run in grandMA2 Mode2), and both scale to 250,000 parameters per session with grandMA3 processing units.
• DMX and network: 6 DMX outputs, 1 DMX input and 3 etherCON ports.
• Master section: 2 backlit motorized 100 mm A/B faders and 16 assignable x-keys.
• External display: one DisplayPort 1.2 for one external multitouch screen.
• Connectivity: MIDI in/out and linear timecode, plus 5 USB ports.
• Software: the same grandMA3 software, so show files move freely between the two and up to a light or full-size.

In other words, the compact XT does not give you more output. It gives you more hands-on control and more screen.

grandMA3 compact vs compact XT: the differences

	grandMA3 compact	grandMA3 compact XT
Motorized 60 mm faders	10 (+2 A/B)	15 (+2 A/B)
Playbacks	40	60
Rotary encoders	29 + 5 dual encoders	39 + 5 dual encoders
Internal touchscreens	1 foldable	2 foldable
Parameters (standard)	8,192	8,192
Width (folded)	661 mm (26″)	845 mm (33″)
Weight	16 kg / 36 lb	20 kg / 45 lb
Thomann France, 09/2026	about €25,590	about €34,390

Prices are Thomann France street prices including VAT, checked in September 2026. US dealer pricing is quoted separately, so ask your MA dealer for a quote.

Faders and playbacks

This is the biggest practical difference. Fifteen motorized faders versus ten, and 60 playbacks versus 40, changes how much of your show you can reach without paging. For a theater running a single main cue list with a few submasters, ten faders are plenty. For a band show where you busk color, intensity, effects and specials in parallel, the extra five faders and 20 playbacks of the XT are felt immediately.

Screens

The compact has one internal foldable touchscreen; the XT has two. Both accept one external multitouch screen. On the compact you will almost certainly add that external monitor on day one, because grandMA3 is a screen-hungry workflow: one screen for the fixture sheet or layout, another for the programmer, encoders and command line. The XT gets you there without extra hardware on the desk.

Size and weight

At 16 kg and 661 mm wide, the compact fits in smaller control booths and lighter flight cases. The XT, at 20 kg and 845 mm wide, is still manageable but noticeably bigger. For fly-in dates and cramped FOH positions, the compact has a real advantage.

Is 8,192 parameters enough?

For many shows, yes. But remember that both consoles have the same limit, so buying the XT will not help if you run out of parameters. The answer then is a grandMA3 processing unit, which scales the session up to 250,000 parameters, or stepping up to a grandMA3 light (16,384) or full-size (20,480). Our guide on how many DMX universes you need helps you estimate your rig before choosing.

Resale and upgrade path

Because both consoles run the same grandMA3 software as the light and full-size, your show files and your programming habits carry over whichever you choose. That makes the decision less risky than it looks: if you start on a compact and later move to a bigger desk, nothing is lost but the hardware difference. It also means a compact can live on as a backup or pre-programming desk next to a larger console. For how grandMA3 fits among other brands, our grandMA lighting console overview gives the wider context.

Which one should you buy?

Choose the grandMA3 compact if…

• You mainly run programmed cue lists (theater, corporate, installations).
• Space and weight matter: small booths, fly-in gigs, tight cases.
• You want the grandMA3 platform at the lowest console price, and you are happy to add an external monitor.

Choose the grandMA3 compact XT if…

• You busk or run live music, where extra faders and playbacks save you constant paging.
• You want two built-in screens and a self-contained desk.
• You want something close to a grandMA3 light surface (it shares the 15+2 fader layout) without the light’s size.

Alternatives worth considering

The free grandMA3 onPC software, paired with a command wing on your own computer or with the command wing XT and its built-in computer, is another route into the platform, with 4,096 parameters and a much lower price. Our grandMA3 onPC guide explains what you need to output DMX. For used grandMA2 consoles, remember they are discontinued; our grandMA2 vs grandMA3 article explains the transition. And for the big picture, see our grandMA3 review.

Verdict

The grandMA3 compact and compact XT are the same console brain in two bodies. Pick the compact if you run cue-based shows, need to save space and weight, or want the lowest entry price into grandMA3 hardware. Pick the compact XT if you busk, want 15 faders and 60 playbacks, and prefer two built-in screens. Either way, the parameter count is identical, so plan your rig size before assuming the more expensive desk will do more.

Frequently asked questions

Does the grandMA3 compact XT have more parameters than the compact?

No. Both have 8,192 parameters as standard and both scale to 250,000 parameters per session with grandMA3 processing units.

How many faders do the grandMA3 compact and compact XT have?

The compact has 10 motorized 60 mm faders plus 2 A/B faders, while the compact XT has 15 plus 2 A/B. Playbacks go from 40 on the compact to 60 on the XT.

How much do they weigh?

According to MA Lighting, the compact weighs 16 kg and the compact XT 20 kg.

How much do the grandMA3 compact and compact XT cost?

In September 2026 Thomann France listed the compact at about 25,590 euros and the compact XT at about 34,390 euros, VAT included. US pricing is available from MA dealers on request.

Sources — MA Lighting – grandMA3 compact, MA Lighting – grandMA3 compact XT, MA Lighting – grandMA3 light.

The MagicQ MQ250M Stadium sits in the middle of ChamSys’s current lineup: far more capable than the compact MQ70, far lighter and cheaper than the flagship MQ500M+ Stadium. This review is an analysis based on ChamSys’s published specifications and user feedback, aimed at helping you decide whether it’s the right desk for your work.

ChamSys MQ250M at a glance

ChamSys has belonged to Chauvet since March 2017, but MagicQ remains its own ecosystem, with one operating system running across the QuickQ range, the MQ50, MQ70, MQ250M and MQ500M+. The MQ250M is part of the Stadium family; there is no “MQ250M Compact” model, despite what some listings suggest.

• Universes: 64 direct from the console, with a 128-universe upgrade option
• Outputs: 4 direct DMX outputs, 4 network ports for Art-Net, sACN and Pathport
• Surface: 10 fully motorized fader playbacks, 10 encoder playbacks, dual 100 mm manual crossfaders, 8 attribute encoders
• Screens: 15-inch HD multitouch main display plus a dedicated 5-inch encoder display, and one DisplayPort for an external monitor
• Extras: built-in media server, MIDI and timecode I/O, Wi-Fi for the remote app, built-in UPS
• Weight: 13 kg (28.7 lb) without case

Who the MQ250M is for

At 13 kg, the MQ250M stays portable, yet it offers enough output for most concert and festival rigs. Sixty-four universes covers a large moving-light rig with room to spare, and the 128-universe option leaves headroom for pixel-heavy LED designs. If you’re unsure how many you need, our guide on how many DMX universes you need walks through the math.

Typical users include:

• Touring LDs who want a full MagicQ surface without a 30 kg-plus desk
• Production companies building rental stock around a single operating system
• Venues and houses of worship that outgrew a QuickQ or MQ50
• Operators who busk: 20 playbacks, dedicated crossfaders and a physical encoder screen make live playback fast

The built-in UPS is worth pointing out. On a festival stage with questionable power, a desk that keeps running through a brief dropout is a real asset.

MQ250M vs MQ70 vs MQ500M+

The obvious comparisons are the step down and the step up in the same family.

	MQ70	MQ250M Stadium	MQ500M+ Stadium
Direct universes	24 (expandable to 48)	64 (expandable to 128)	400
Playbacks	10	10 motorized + 10 encoder	15 motorized faders
Built-in screens	10.1″	15″ + 5″	2 x 15″ touch
Weight	7 kg	13 kg	32 kg
Thomann France (09/2026)	about €8,999	about €19,379	about €35,099

Prices are Thomann France street prices including VAT, checked in September 2026; US dealer pricing differs, so ask for a quote.

Versus the MQ70

The MQ70 is a very capable compact desk: 24 universes (48 with an upgrade), a single 10.1-inch screen, four DMX ports and Wi-Fi for MagicQ Remote, all in 7 kg. What it lacks is the dedicated encoder screen, the bigger main display, the encoder playbacks and the MQ250M’s output headroom. If you mostly run pre-programmed shows in one venue, the MQ70 is enough. If you busk, change pages constantly, or need more than 48 universes, the MQ250M earns its price difference. Our ChamSys MagicQ review covers the software that all these desks share.

Versus the MQ500M+

The MQ500M+ Stadium replaced the MQ500M as ChamSys’s flagship. It jumps to 400 direct universes, 15 motorized faders, two 15-inch touchscreens and an integrated four-port network switch. It also weighs 32 kg and costs about 80% more at Thomann France. It makes sense for large tours and TV studios; for most mid-size productions the MQ250M delivers the same programming experience with fewer faders. The original MQ500M is now legacy and should only be considered on the used market.

The free MagicQ PC advantage

One of ChamSys’s strongest arguments is that MagicQ PC/Mac is free and, even without ChamSys hardware, runs full programming and playback with 64 universes of Art-Net or sACN output. Some remote and automation features are locked in that mode, but you can build your entire show at home, then load the file on an MQ250M at the venue. Shows from QuickQ consoles also load into MagicQ, which gives smaller venues a clear upgrade path.

That free-software model is also why ChamSys is often compared to Obsidian Onyx; see Onyx vs ChamSys for that match-up.

Things to consider

• Screen space: one 15-inch touch plus the 5-inch encoder display is fine for most shows, but many operators add an external monitor via the DisplayPort.
• Fader count: 10 motorized faders plus 10 encoder playbacks is generous, but if you want 15 physical faders you’ll need the MQ500M+ or a wing.
• Rider acceptance: ChamSys is common on riders, but on the largest international tours grandMA3 remains the default request. Our grandMA2 vs grandMA3 guide explains that ecosystem.

Verdict

The ChamSys MQ250M Stadium is the sweet spot in the MagicQ range: 64 universes out of the box, 128 as an option, motorized faders, dual screens, a UPS and a 13 kg footprint, for a little over half the price of the flagship. Choose the MQ70 if budget and weight come first, the MQ500M+ if you need hundreds of universes. For everyone in between, the MQ250M is the ChamSys to shortlist, and the free MagicQ PC lets you learn it before you spend a cent.

Frequently asked questions

How many universes does the ChamSys MQ250M have?

It outputs 64 universes directly from the console, with an upgrade option to 128 universes. It also has 4 direct DMX outputs and 4 network ports for Art-Net, sACN and Pathport.

Is there an MQ250M Compact?

No. The MQ250M belongs to ChamSys’s Stadium family, and no Compact version is listed on the ChamSys website.

What is the difference between the MQ250M and the MQ500M+?

The MQ500M+ Stadium is the flagship with 400 direct universes, 15 motorized faders and two 15 inch touchscreens at 32 kg. The MQ250M offers 64 universes, 10 motorized faders and a 15 inch plus 5 inch screen at 13 kg.

Can I program an MQ250M show on a laptop?

Yes. MagicQ PC and Mac are free, and without ChamSys hardware they allow full programming and playback with 64 universes of Art-Net or sACN output, with some remote features locked.

Sources — ChamSys – MagicQ MQ250M Stadium Console, ChamSys – MagicQ MQ500M+ Stadium Console, ChamSys – MagicQ MQ70 Compact Console, ChamSys – MagicQ PC manual, Thomann France – ChamSys MagicQ MQ250M.

ETC or High End Hog? Two flagship platforms, two very different worlds. ETC Eos owns theatre; the Hog has long been a concert and touring favourite. Here’s an honest head-to-head of what operators report — useful now that both brands live under one roof (ETC acquired High End in 2017).

Where this comparison comes from

A synthesis of recurring opinions across English-speaking communities (r/lightingdesign, ControlBooth) and operators who’ve run both. See our ETC Eos review and High End Hog 4 review.

ETC Eos: the theatre standard

Eos is built around a command-line, cue-based workflow ideal for scripted theatre, opera and education. It dominates US theatre, support and training are excellent, and the Eos software is free to download for offline learning (live output needs a paid ETCnomad USB key). If your world is plotted, cue-stack productions, Eos is the reference.

High End Hog: the concert busker

The Hog (the Hog 4-era Road Hog and Full Boar, now succeeded by the Tour Hog, Stage Hog and Flex Hog running Hog OS) grew up in concert and live touring — fast busking, a strong effects engine and a workflow operators describe as quick and musical. It has a loyal following in live music, especially in the US, though it’s less common than grandMA on the very biggest riders.

Where each one wins

Choose ETC Eos if…

• You work in theatre, opera, education or cue-heavy productions.
• You want the US theatre standard and its job market.
• You prefer a precise command-line, cue-stack workflow.

Choose the Hog if…

• You busk concerts and live music and want a fast, musical workflow.
• You like its effects engine and hands-on programming feel.
• You’re in a scene where Hogs are already on the riders.

The honest difference

It’s the classic theatre vs concert split: Eos for plotted, cue-based shows; Hog for live, busked music. Both are deep, pro platforms with free learning software (the offline Eos software and Hog PC). On the very biggest touring riders you’ll more often meet grandMA than a Hog — see our ETC vs grandMA and Avolites vs grandMA comparisons.

My honest take

There’s no winner here, just sectors: theatre leans ETC Eos, live concert busking leans Hog. Pick by the shows you want to do, learn it deeply (both have free PC/Mac software to start with), and remember grandMA is the third name in this conversation for the biggest tours. See our pro DMX controller guide.

FAQ

ETC or Hog for theatre?

ETC Eos — it’s the theatre standard, built for cue-based work and dominant in US theatre and education.

ETC or Hog for concerts?

The Hog is a strong concert busking desk; for the very biggest touring riders, grandMA is more commonly specified.

Are ETC and High End the same company now?

Yes — ETC acquired High End Systems in 2017, so both the Eos and Hog platforms sit under ETC.

Can I learn both for free?

Yes — the Eos software and Hog PC are both free to download and learn on a computer; live output needs hardware, and a paid ETCnomad USB key unlocks both.

Photo credit: Photos: Masonvanmeurs (ETC Ion, CC BY-SA 4.0, Wikimedia Commons) & High End Systems / ETC

Avolites or grandMA? Both are flagship live-event consoles you’ll find on big stages, festivals and TV — but they come from different traditions and reward different operators. Here’s an honest head-to-head of what programmers report.

Where this comparison comes from

A synthesis of recurring opinions across English-speaking communities (r/lightingdesign, ControlBooth, Blue Room) and operators who run both. See our Avolites review and grandMA3 review.

Avolites: the busking specialist

Avolites (Titan software, Diamond and Tiger Touch consoles) has deep roots in live busking — fast, on-the-fly programming for bands, clubs and touring. Operators praise its quick, intuitive workflow and its strength when you’re building a show live rather than pre-plotting every cue. It has a strong following in the UK and live-music scenes.

grandMA: the global rider standard

grandMA (grandMA3, plus the still-ubiquitous grandMA2) is the most widely specified desk on big tours, festivals and TV. Its effects engine, networking and sheer ubiquity make it the expected platform on large productions worldwide — and grandMA3 onPC is free to learn.

Where each one wins

Choose Avolites if…

• You busk shows live and want a fast, intuitive workflow.
• You work in clubs, live music and UK/European live events.
• You want power-for-money without the grandMA learning curve.

Choose grandMA if…

• You want the global rider standard on the biggest tours and festivals.
• You need its deep effects engine and networking.
• You’re building a touring career and want the most in-demand skill.

The honest difference

The practical gap is ubiquity vs workflow: grandMA is what you’ll be handed on the biggest gigs (so learning it opens doors), while many operators simply prefer Avolites’ fast busking feel. Both are deep, capable, pro platforms — the right call depends on the shows you want to do and the desks you’ll actually meet.

My honest take

If your goal is big-tour and festival work, learn grandMA — it’s the rider standard. If you live in club and live-music busking and love a quick workflow, Avolites is a brilliant tool that many prefer day to day. Plenty of working ops know both. See our pro DMX controller guide and ETC vs grandMA.

FAQ

Avolites or grandMA for touring?

grandMA — it’s the global rider standard on big tours and festivals, so the skill is the most in-demand.

Avolites or grandMA for busking live?

Both busk well; many operators find Avolites’ Titan workflow faster and more intuitive for building shows live.

Which is easier to learn?

Many find Avolites quicker to get going; grandMA has a steeper curve but huge payoff in industry demand. Both are free to try (Titan PC Suite, grandMA3 onPC).

Which has more job opportunities?

grandMA appears on the most riders globally; Avolites is strong in UK/European live music. Sector decides.

Image: Avolites Tiger Touch II by SheffGruff, CC BY-SA 3.0, via Wikimedia Commons.

If you want serious lighting control without a flagship budget, two names dominate the value conversation: ChamSys MagicQ and Obsidian Onyx. Both offer powerful, genuinely free software plus affordable hardware. So which should you learn? Here’s an honest head-to-head of what operators report.

Where this comparison comes from

A synthesis of recurring opinions across English-speaking communities (r/lightingdesign, ControlBooth) and operators who’ve used both. See our ChamSys MagicQ review and Obsidian Onyx review.

What they share

Both are the free-software value champions: full-featured software you can download and learn for free, free network output (up to 64 universes of Art-Net/sACN on MagicQ PC, one universe on Onyx’s free licence), affordable consoles (ChamSys MQ; Obsidian NX), and capable live/busking workflows. Either one lets you learn lighting control at home for nothing.

Where ChamSys MagicQ leads

• Bigger community and more online tutorials/knowledge.
• Very deep, busking-focused feature set that rivals far pricier desks.
• A broader hardware range, from compact MQ consoles to Stadium.

Where Obsidian Onyx leads

• A workflow many find approachable coming in fresh.
• Backing from Elation/Obsidian and tidy NX hardware.
• A clean, modern feel some prefer to MagicQ’s denser UI.

The honest differences

The biggest practical gap is community size: ChamSys has the larger user base and knowledge pool, which matters when you’re stuck. Beyond that, it comes down to UI preference, fixture handling and which hardware fits your budget. Since both are free, the best move is simply to try each.

My honest take

Both are outstanding value and a brilliant way to learn. ChamSys edges it on community and busking depth; Onyx appeals if you prefer its workflow and hardware. Download both, run a small rig in each, and pick the one that clicks. See our DMX software guide.

FAQ

Are ChamSys and Onyx both free?

Yes — both offer full-featured free software: MagicQ PC outputs up to 64 universes of Art-Net/sACN for free, while Onyx’s free licence unlocks one universe (more with paid licences or hardware). Ideal for learning.

Which has the bigger community?

ChamSys MagicQ has the larger user base and more online resources, which helps when troubleshooting.

Onyx or ChamSys for busking live?

Both are capable; ChamSys has a deep busking feature set, while many find Onyx more approachable. Try both — they’re free.

Which should a beginner choose?

Either. Download both, learn a small rig in each, and keep the one whose workflow you prefer.

Image: ChamSys PC-Wing by Titanic97, CC BY-SA 3.0, via Wikimedia Commons.

ETC or grandMA? It’s the great divide in professional lighting control. Both are flagship platforms, both are everywhere — but they’re built around different philosophies and different sectors. Here’s an honest head-to-head of what operators report, to help you pick the right one for your work.

Where this comparison comes from

A synthesis of recurring opinions across English-speaking communities (r/lightingdesign, ControlBooth) and operators who use both. See our ETC Eos review and grandMA3 review.

ETC Eos: the theatre standard

Eos is built around a command-line, cue-based workflow — ideal for scripted theatre. It dominates theatre and education, especially in the US, so learning it opens theatre careers. Support and training are excellent, and the Eos software is free to download for offline learning (live output needs a paid ETCnomad USB key).

grandMA: the touring and festival standard

grandMA is built for busking and large-scale live — concerts, festivals and TV. Its effects engine, networking and rider ubiquity make it the expected desk on big tours, and grandMA3 onPC is free to learn.

Where each one wins

Choose ETC Eos if…

• You work in theatre, opera, education or cue-heavy productions.
• You want the US theatre standard and its job market.
• You prefer a command-line, cue-stack workflow.

Choose grandMA if…

• You work in concerts, festivals, TV and touring.
• You busk shows live and lean on a deep effects engine.
• You want the rider standard on the biggest tours.

What they share

Both are deep, pro platforms with free software to learn (the offline Eos software and grandMA3 onPC), strong fixture support and large communities. Many working operators end up learning both, because the sector — not the brand — decides the tool.

My honest take

There’s no “better” here: theatre leans ETC, live/touring leans grandMA. Pick by the shows you want to do, learn it deeply (both are free to start), and add the other later if your career crosses sectors. See our pro DMX controller guide.

FAQ

ETC or grandMA for theatre?

ETC Eos — it’s the theatre standard, built for cue-based work, and dominant in US theatre and education.

ETC or grandMA for concerts and touring?

grandMA — it’s built for busking and is the rider standard on big tours and festivals.

Can I learn both for free?

Yes — the free Eos software and grandMA3 onPC both let you learn on a computer (DMX output needs a paid ETCnomad USB key on the ETC side, or MA hardware such as an onPC node, command wing or DMX key).

Which has more job opportunities?

It depends on sector: theatre/education favours ETC; concert/festival/TV favours grandMA.

Image: ETC Ion XE20 by Masonvanmeurs, CC BY-SA 4.0, via Wikimedia Commons.

Read also: ETC ColorSource Review: ETC Quality, Simply

For years the lighting world has wrestled with one transition: grandMA2 or grandMA3? The grandMA2 is the beloved, mature workhorse of the 2010s; the grandMA3 is MA Lighting’s powerful new platform — and the future. Here’s an honest head-to-head of what operators report.

Where this comparison comes from

A synthesis of recurring opinions across English-speaking communities (r/lightingdesign, ControlBooth, MA forums) and operators who run both. See also our grandMA3 review and grandMA guide.

grandMA2: the mature workhorse

The grandMA2 dominated big shows for a decade. Operators praise its stability, familiarity and huge installed base — it’s proven, predictable and known by a generation of programmers. The catch: the hardware is discontinued, so it’s a sunsetting (if still everywhere) platform.

grandMA3: the powerful future

The grandMA3 brings new hardware (more faders and encoders, better screens) and a more powerful software architecture. The well-known caveat: early grandMA3 software lagged grandMA2 on features and stability, so many operators ran it in “grandMA2 mode” for years. It has matured significantly and native MA3 is now the path forward.

The transition, honestly

1. MA2 mode eased the switch

grandMA3 hardware can run in grandMA2 mode, which let operators adopt the new desks while keeping the familiar workflow — a key reason the transition was gradual.

2. MA3 native has matured

The early-days bugs and missing features that fuelled scepticism have largely been addressed; native grandMA3 is now solid and capable.

3. MA2 is still everywhere

Despite being discontinued, grandMA2 remains widespread on the installed and rental base, so knowing it still has value.

Which should you learn or buy?

The community consensus:

• New buyers and learners: go grandMA3 (native mode) — it’s the future, and onPC is free to learn.
• Existing grandMA2 operators: transition to grandMA3 native at your pace; MA2 knowledge still pays off near-term.

My honest take

grandMA3 is the future and is now mature — learn it natively for career longevity. grandMA2 remains a reliable, ubiquitous workhorse on the existing base, so it’s far from dead. If you’re starting fresh, commit to MA3 native; the MA2-mode crutch is no longer necessary. See our pro DMX controller guide.

FAQ

grandMA2 or grandMA3 for a new buyer?

grandMA3 — it’s the future, the software has matured, and onPC is free to learn. MA2 hardware is discontinued.

Is grandMA3 better than grandMA2 now?

After years of maturing, native grandMA3 is powerful and solid. Early on it lagged MA2, which is why “MA2 mode” was widely used.

Is grandMA2 obsolete?

No — it’s discontinued but still widespread and reliable on the installed/rental base, so the skills remain valuable.

What is grandMA2 mode?

A mode on grandMA3 hardware that runs the grandMA2 software workflow, which eased the transition for existing operators.

Image: grandMA at front of house by Hullian111, CC BY-SA 4.0, via Wikimedia Commons.

The Chauvet DJ Obey series is where a lot of people take their first step into “real” DMX control. It is cheap, it is everywhere, and it does exactly one job well — but it also has a hard ceiling that owners run into sooner than they expect. Here is an honest owner-level look at what the Obey range delivers and where it frustrates, drawn from community opinion rather than a hands-on test.

Where these takes come from

A synthesis of recurring owner opinions across English-speaking communities (r/lightingdesign, ControlBooth, mobile-DJ forums). See also our budget DMX controller guide and what is a DMX controller primer. The framing stays honest throughout: this is what owners report, not first-hand bench testing.

What owners love

1. Cheap, simple, plug-and-play

The biggest draw is obvious: the Obey is inexpensive, needs no computer, and gets simple par-can and wash rigs lit in minutes. For a mobile DJ setting up in a hurry or a small bar with a fixed rig, owners say that is frequently all that is required. There is no software to install, no laptop to babysit — you plug in and go.

2. Reliable for static looks and chases

For scenes, manual fader control and basic chases, owners report the Obey is dependable night after night. Within the narrow lane it was designed for, it simply works, and that consistency is a big part of why it is so widely recommended as a first controller.

3. Hardware faders feel good for the money

Physical faders and bump buttons beat fiddling with a phone app for live, hands-on control of brightness and color. Owners appreciate the tactile immediacy — being able to grab a fader in the moment rather than tapping a touchscreen is a genuine advantage for live use at this price.

What owners flag

1. Painful with moving heads

The recurring warning: the Obey range is built for simple fixtures, and programming moving heads — pan, tilt, gobos and multiple parameters — is slow and awkward. Owners note that the bigger Obey units only partly help. If moving lights are central to your rig, this is the limitation that will define your experience with the desk.

2. Limited scenes and programming depth

Scene and chase storage is basic, and owners say you hit that ceiling quickly as the rig grows. What feels ample for a handful of pars becomes cramped the moment you add fixtures and want more looks to recall.

3. No real effects engine

There is no proper effects generator, so any movement has to be built manually — and owners are candid that this gets tedious fast. The kind of automated pan/tilt and color effects that make bigger consoles quick simply are not there.

4. You’ll outgrow it

The most common refrain of all: people buy an Obey, love it for six months, then wish they had gone straight to free software such as ChamSys or Onyx the moment they added moving lights. It is less a criticism of the desk than a warning about buying for where your rig is heading, not just where it is today.

Who it’s for

The Obey series is genuinely good for mobile DJs and small venues with a few simple fixtures who want no computer and instant control. If you have (or plan to add) moving heads, or you want real effects, look instead at free software plus a USB-DMX interface, or a beginner console like the Zero 88 FLX or Obsidian Onyx.

My honest take

The community synthesis is refreshingly consistent: the Chauvet Obey range does exactly what it promises — cheap, simple, no-computer control of simple fixtures. It is a fine first controller, provided you go in knowing you will outgrow it the day moving lights arrive. The editorial advice that comes up again and again is that if that day is coming soon, skip the Obey and start on free software instead, sparing yourself the six-month detour. See our best console for beginners.

FAQ

Is the Chauvet Obey good for beginners?

For simple, static fixtures and no computer, yes — it is cheap and easy. For moving heads or effects, owners generally agree free software is a better start.

Can the Obey control moving heads?

It can, but programming them is slow and awkward — the range is really built for simple par-style fixtures, and moving-light work exposes its limits fast.

Obey or free software?

If you want no computer and only simple looks, the Obey. The moment moving lights or effects matter, ChamSys or Onyx plus a USB-DMX interface wins by a clear margin.

Will I outgrow the Obey?

Most owners do, once the rig grows. Many say they wish they had gone straight to software or a beginner console from the start rather than replacing the Obey later.

Photo credit: Photo: Chauvet DJ (chauvetdj.com)