Our reviews combine bench time with what owners and operators report after months of shows: forum threads, user groups and rental-house feedback distilled into what works, what frustrates and what it really costs. Every review ends with a Le Faisceau rating on five axes. We cover the rider standards (grandMA3, ETC Eos, Hog 4), the value leaders (ChamSys MagicQ, Obsidian Onyx, Avolites) and the entry level (QuickQ, ColorSource, Zero 88 FLX, Chauvet Obey), plus head-to-head comparisons such as grandMA2 vs grandMA3, ETC vs grandMA and Onyx vs ChamSys.
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 ETC Nomad is free to learn on. If your world is plotted, cue-stack productions, Eos is the reference.
High End Hog: the concert busker
The Hog (Hog 4, Road Hog, Full Boar) 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 (Nomad, Hog 4 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 are free to start with PC software), and remember grandMA is the third name in this conversation for the biggest tours. See our pro DMX controller guide.
Le Faisceau Rating — ETC vs Hog
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
Console
Capacity
Workflow
Ecosyst.
Value
Reliab.
Overall /5
Eos Gio @5 🏆 Best choice
4.7
4.7
4.6
3.8
4.9
4.5 ★★★★½
Hog 4
4.7
4.6
4.3
3.7
4.5
4.4 ★★★★½
🏆 Best choice : Eos Gio @5 — highest overall rating (4.5/5).
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 — ETC Nomad and Hog 4 PC both let you learn on a computer (full DMX output needs hardware/widgets).
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.
Le Faisceau Rating — Avolites vs grandMA
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
💰 Best value : Avolites Diamond 9-330 — best value-for-money axis (3.6/5).
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 DMX output up to a number of universes, 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.
Le Faisceau Rating — Onyx vs ChamSys
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
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 ETC Nomad is free to learn on.
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 (Nomad and 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.
Le Faisceau Rating — ETC vs grandMA
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
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.
Le Faisceau Rating — grandMA2 vs grandMA3
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
Console
Capacity
Workflow
Ecosyst.
Value
Reliab.
Overall /5
grandMA2 full-size 💰 Best value
4.6
4.7
4.6
4.0
4.7
4.5 ★★★★½
grandMA3 full-size
5.0
4.8
4.9
3.2
4.8
4.5 ★★★★½
💰 Best value : grandMA2 full-size — best value-for-money axis (4.0/5).
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.
Le Faisceau Rating — Chauvet DJ Obey 70
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
Console
Capacity
Workflow
Ecosyst.
Value
Reliab.
Overall /5
Chauvet DJ Obey 70
2.4
3.4
3.0
4.6
3.8
3.4 ★★★½☆
Overall rating: 3.4/5 ★★★½☆ — weighted synthesis of our five evaluation axes.
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.
The ETC ColorSource console is ETC’s affordable way in — the brand’s quality and support at a price schools and small theatres can actually reach, without the depth (or the cost) of the Eos family. It is a deliberately simpler tool, and understanding that is the key to being happy with it. Here is an honest owner-level look at where it shines and where it stops, 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). See also our ETC Eos review and theatre lighting console guide. The framing stays honest throughout: this is what owners report, not a first-hand bench review.
What owners love
1. Simple and friendly
ColorSource is built to be approachable, and owners consistently say so. Fader-per-fixture style control, straightforward color picking and basic cues are the sort of thing newcomers and volunteers grasp quickly. For schools, community theatres and houses of worship — where the operator is often untrained and turnover is high — that gentle learning curve is the single biggest selling point.
2. ETC build and support
It carries ETC’s reputation for solid hardware and excellent support and documentation. Owners describe that as a real reassurance for institutions: when something goes wrong, there is a serious company and a well-documented product behind the desk, which is not something every budget console can claim.
3. Handles color and simple moving lights
Within its class, ColorSource manages LED color and basic moving-light control well. Owners running modest rigs of LED washes and a few movers report it does what they need without fuss, which is exactly the brief for the venues it targets.
4. A path toward Eos
For organizations already in the ETC world, ColorSource fits the ecosystem neatly and eases a later step up to Eos. Owners see it as a sensible on-ramp: you stay within a family you trust, and the eventual move to a deeper desk is less of a leap.
What owners flag
1. Not an Eos — different platform
The single most important thing owners stress: ColorSource is not the command-line, cue-based Eos workflow. It is a separate, simpler console. Programmers who sit down expecting Eos depth will find it limited, and much of the disappointment reported online comes from that mismatched expectation rather than any fault in the desk.
2. Limited for complex shows
Big moving-light rigs, deep effects and large cue stacks are beyond its comfort zone — that is squarely Eos territory. Owners who push it toward ambitious productions hit its ceiling, and the community advice is to recognize where that ceiling sits before you buy.
3. You may outgrow it
As productions get more ambitious, theatres often move up to an Eos-family desk such as the Element or Ion. Owners frame this less as a flaw and more as a natural graduation — ColorSource does its job, and then a growing program moves on.
Who it’s for
ColorSource is ideal for schools, community theatres, houses of worship and small venues that want ETC reliability and simplicity at a low price. If you need cue-based theatre depth, go straight to the Eos family; if you are in live music, look at the ChamSys QuickQ or Obsidian Onyx.
My honest take
Reading across owner sentiment, ColorSource does exactly what it sets out to do: ETC quality, simply and affordably. The one piece of advice that matters most is to go in clear that it is not Eos — it is a friendlier, shallower console, and judged on that basis it is excellent. For small institutions it is a smart, dependable pick; for cue-heavy theatre, the honest synthesis is to save up for an Eos desk instead. See our best console under $1,000.
Le Faisceau Rating — ETC ColorSource 20 and 40
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
💰 Best value : ETC ColorSource 20 — best value-for-money axis (4.6/5).
FAQ
Is the ETC ColorSource the same as Eos?
No — ColorSource is a separate, simpler console. It does not use the Eos command-line, cue-based workflow, and expecting it to is the most common source of frustration.
Is ColorSource good for a school or church?
Yes — it is a top pick for schools, community theatres and worship venues: ETC reliability and support, easy to learn, and affordable.
Can ColorSource run moving lights?
It handles LED color and basic moving lights well for its class, but big moving-light rigs are Eos territory rather than something to ask of this desk.
ColorSource or Eos?
ColorSource for simple, affordable control; Eos for cue-based theatre depth and complex shows. Match the desk to the ambition of your productions.
The ChamSys QuickQ range is the company’s “easy mode” — a friendlier, touchscreen-led way into ChamSys for people who do not need the full depth of MagicQ. Crucially, it is a genuine small console rather than a basic controller, and owners say it punches well above its price. Here is an honest owner-level look, framed as a synthesis of 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, Blue Room). See also our ChamSys MagicQ review and best console for beginners. Throughout, the framing is honest: this is what owners consistently report, not first-hand bench testing.
What owners love
1. Genuinely easy to learn
This is the whole point of QuickQ, and owners confirm it delivers. A clean, touchscreen-driven workflow lets newcomers pick it up fast, while hardware faders and encoders keep the hands-on feel that live operators want. Owners coming up from basic controllers describe it as a big step up that somehow still feels approachable — capability without intimidation.
2. Real moving-light control
Unlike a cheap controller, QuickQ handles moving heads, color and effects properly. It has a real fixture library and a built-in effects engine, so pan/tilt, gobos and multi-parameter fixtures are managed the way a proper console should manage them. For owners whose rigs are growing beyond simple pars, that is the feature that justifies the step up.
3. ChamSys reliability and support
QuickQ carries the ChamSys reputation for solid, gig-ready hardware and an active community. Owners point to that heritage as reassurance — you are buying into an established platform with real support behind it, not a throwaway box.
4. A clear upgrade path
The skills and concepts you build on QuickQ transfer toward MagicQ if you later want the deeper platform. Owners like that they are not learning a dead-end interface: time invested now pays off if the shows get bigger and MagicQ becomes the goal.
What owners flag
1. Less depth than MagicQ
The trade-off for simplicity is real: QuickQ deliberately hides much of MagicQ’s deep busking power. Heavy programmers will eventually hit its ceiling, and owners with ambitious, complex shows say so plainly. For its target user that ceiling is high enough; for a power user it is a genuine limit.
2. Fixed window layout
The streamlined UI that makes QuickQ beginner-friendly is also less flexible than MagicQ’s freeform windows. Owners who like to customize their screen real estate find the fixed layout constraining, even as newcomers appreciate not having to design their own workspace.
3. You may outgrow it
For big, complex shows, serious operators often move up to MagicQ. That said, many owners note that QuickQ is all they ever actually need — whether you outgrow it depends entirely on where your work is heading.
Who it’s for
QuickQ is ideal for small-to-mid venues, schools, houses of worship and mobile ops who want a real console — moving lights, effects, reliability — without MagicQ’s learning curve. If you want maximum depth or run large festival rigs, look at MagicQ; if theatre cue-stacks are your world, see the Zero 88 FLX.
My honest take
Pulling it together, QuickQ is one of the easiest ways to get a real, capable console at an accessible price. You give up some of MagicQ’s deep power in exchange for a much gentler learning curve — a trade most of its target users happily make. The editorial synthesis: it is a standout pick for anyone stepping up from a basic controller who wants moving-light and effects capability without the steep ramp. See our best console under $1,000.
Le Faisceau Rating — ChamSys QuickQ range
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
Yes — it is designed to be easy, with a touchscreen workflow, while still handling moving lights and effects like a real console rather than a basic controller.
QuickQ or MagicQ?
QuickQ for easy learning and small-to-mid shows; MagicQ for maximum depth, busking power and large rigs. Skills transfer upward, so QuickQ is a safe place to start.
Can QuickQ run moving heads?
Yes — it has a real fixture library and effects engine, so moving heads, gobos and multi-parameter fixtures are handled properly, unlike on basic controllers.
Who is QuickQ best for?
Small and mid venues, schools, worship and mobile operators who want a real console without the steep curve of a full professional platform.
The Zero 88 FLX — along with the compact FLX S24 and FLX S48 — has quietly become a fixture in schools, community theatres and small venues, and the reason comes up again and again in operator discussions: it is genuinely easy to learn, easy on the budget, and comfortable handling both cue-based theatre and live busking. That combination is rare at this price point, and it is why the desk keeps getting recommended to first-time buyers. What follows is an honest round-up of what operators actually report, not a hands-on lab test.
Where these takes come from
A synthesis of recurring opinions across English-speaking communities (r/lightingdesign, ControlBooth) and FLX operators in education and small venues. The framing throughout is deliberate: this is a distillation of community sentiment and the patterns that show up in threads and support forums, not a claim of first-hand bench testing.
What operators love
Genuinely easy to learn
This is the headline everywhere. The FLX is described as one of the most approachable serious consoles around, with a clean logic that new users grasp quickly. Operators repeatedly point out how well that suits environments where the person at the desk changes constantly — schools where students rotate through, volunteer-run community theatres, and houses of worship where the “LD” is whoever showed up. A console that a nervous first-timer can drive after a short handover has real institutional value, and the FLX earns that reputation.
Dual workflow: theatre and busking
The FLX handles cue-based theatre and playback/busking modes, and operators single this out as its defining strength. A multi-use venue that stages a scripted play one week and hosts a live band the next does not want two desks or two skill sets. Being able to run tracking cue stacks for a show and then busk faders and playbacks for an event, on the same familiar surface, is exactly what small mixed-use rooms need.
Affordable
Value comes up constantly. The FLX represents strong bang for the buck, and the more compact FLX S range pushes it within reach of genuinely tight budgets — the kind schools and volunteer groups actually work with. For many buyers it is the first “real” console they can justify.
Good support and ZerOS software
The FLX runs Zero 88’s ZerOS software and is backed by Zero 88, part of the ETC group. Operators report solid documentation, steady updates and dependable support behind the platform — reassurance that matters most to the institutions that buy it.
What operators flag
1. Aimed at small-to-mid shows
The most consistent caveat: the FLX is not built for the largest productions. Channel count, effects depth and fixture handling are less extensive than on flagship desks. For its target rooms that is a non-issue, but buyers eyeing large moving-light rigs should be clear-eyed about it.
2. Limited pro touring presence
You will not see the FLX on big tours the way you see grandMA or Hog. It is, by community consensus, an education and small-venue staple rather than a rider-standard touring desk — worth knowing if career ubiquity is part of your calculation.
3. Effects engine is modest
The effects engine is described as fine for most school and community work, but power users running complex moving-light shows will want more. It is a sensible trade for simplicity, not a hidden flaw — just match it to your material.
Who it’s really for
The FLX is ideal for schools, community and small theatres, and multi-use small venues that need an affordable, easy console for both cue and live work. It hits a sweet spot that flagship desks overshoot and basic controllers cannot reach. For bigger theatre, see our ETC Eos review and theatre console guide.
My honest take
Reading across the community, the Zero 88 FLX lands as an excellent value entry point — easy to learn, affordable, and flexible across theatre and live in a way few desks manage at this price. The editorial synthesis here is simple: buy it for small-to-mid work rather than big-show power, and it is one of the best choices going for education and community venues. Go in expecting a flagship and you will feel the ceiling; go in expecting an approachable, dependable all-rounder and it consistently delivers.
Le Faisceau Rating — Zero 88 FLX S24 and S48
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
Console
Capacity
Workflow
Ecosyst.
Value
Reliab.
Overall /5
Zero 88 FLX S24 💰 Best value
3.6
4.4
4.3
4.6
4.5
4.2 ★★★★☆
Zero 88 FLX S48 🏆 Best choice
3.9
4.5
4.3
4.5
4.5
4.3 ★★★★½
🏆 Best choice : Zero 88 FLX S48 — highest overall rating (4.3/5).
💰 Best value : Zero 88 FLX S24 — best value-for-money axis (4.6/5).
FAQ
Is the Zero 88 FLX good for beginners?
Yes — it is repeatedly described as one of the easiest consoles to learn, which is exactly why schools and community theatres gravitate to it. New operators tend to be productive quickly.
Can it do both theatre and live shows?
Yes — it offers cue-based theatre and playback/busking workflows on the same surface, which is what makes it such a good fit for multi-use venues juggling scripted shows and live events.
FLX or ETC Eos?
FLX for affordable, easy small-to-mid theatre and education; Eos for the bigger theatre standard, deeper programming and larger productions. Both sit in the ETC group, but they target different scales.
What’s the difference between FLX and FLX S?
The FLX S (S24/S48) is the more compact, budget-friendly range; the full FLX is the larger model with more faders and features. Skills carry across the family, so starting on an S is not a dead end.
Photo credit: Photo: Zero 88 / Vari-Lite (zero88.com)
Obsidian Control Systems’ Onyx platform — the NX-series consoles paired with the free Onyx software descended from Martin’s M-Series and M-PC — is one of the great value stories in lighting control. Free, genuinely capable software plus affordable hardware make it a real alternative to ChamSys for budget and live work, and that pairing is what keeps operators recommending it. Here is an honest round-up of what operators actually report, framed as community synthesis rather than a hands-on test.
Where these takes come from
A synthesis of recurring opinions across English-speaking communities (r/lightingdesign, ControlBooth) and Onyx operators. See also our DMX software guide. The consistent framing here is “what operators report,” not a first-hand bench review.
What operators love
Free, capable software
The headline everywhere: Onyx is free and genuinely full-featured, with free DMX output up to a number of universes before you pay for anything. Like ChamSys, that makes it a superb way to learn the platform and run real shows without a software bill. Operators repeatedly frame it as removing the biggest barrier to entry — you can sit down with the whole environment at home and only spend money when you need more output.
Good for live and busking
Operators rate Onyx highly for fast, live operation. The workflow is described as approachable and quick to busk once you know it, which is why it shows up on budget and mid-level live gigs where hands-on, on-the-fly control matters more than deep pre-programming.
Affordable NX hardware
The NX1 and NX2 consoles and the NX wings bring real console control — physical faders, encoders and a proper surface — at prices operators consider accessible, backed by Elation/Obsidian. For anyone who has learned on the free software, stepping up to matching hardware is a natural, affordable move.
Solid fixture support
A good fixture library and regular updates keep the platform current, and operators note that new fixtures are generally well covered. Steady development is part of why the community trusts it for working shows rather than treating it as a hobby tool.
What operators flag
1. A smaller community than the big names
The most common caveat: the user base and the pool of online knowledge are smaller than grandMA, ETC or ChamSys. When you get stuck, there are fewer forum threads and YouTube tutorials to lean on, so you rely more on official resources. It is manageable, but it shapes the learning experience.
2. Less of a rider standard
For the biggest shows, grandMA and ETC remain the expected desks. Onyx is far more common on budget and mid-level gigs than on top-tier tours, so if rider ubiquity is part of your career plan, that is a genuine consideration.
3. Build of the cheapest units
At the entry level the hardware is described as functional rather than tour-tank rugged. It does the job, but operators temper expectations about the cheapest units surviving years of brutal touring the way flagship metal does.
4. A learning curve
Capable software means there is real depth to master. As with any serious platform, expect to put in time before you are fast — the free download lowers the cost of that learning, but it does not remove the effort.
Onyx vs ChamSys
This is the comparison operators reach for most, because the two free-software value champions go head-to-head. Both offer powerful, free software and affordable hardware, so the decision rarely comes down to raw capability. Instead it usually turns on UI preference, how each handles fixtures, and which community you click with. The common advice is to try both, since the software is free, and let your own workflow instincts decide. See our ChamSys MagicQ review.
My honest take
Pulling the threads together, Onyx reads as a strong free-software value pick — capable, live-friendly and backed by affordable NX hardware. The trade-off, by consensus, is a smaller community and less top-tier ubiquity than the big three. For budget and live work it is well worth a serious look alongside ChamSys, and the fact that the software costs nothing to evaluate makes there little reason not to. See our pro DMX controller guide.
Le Faisceau Rating — Obsidian Onyx consoles
Rated with our Le Faisceau rating method (capacity 25% · programming and workflow 30% · ecosystem and networking 15% · value for money 20% · reliability and support 10%). Specs and prices sourced from manufacturer sites and specialist dealers.
💰 Best value : Obsidian NX1 — best value-for-money axis (4.6/5).
FAQ
Is Onyx software really free?
Yes — Onyx is free and full-featured, with free DMX output up to a number of universes, which makes it a genuine option for learning and for running budget shows without a software cost.
Onyx or ChamSys MagicQ?
Both are free-software value leaders, so choose by UI preference, fixture handling and community fit. Because both are free to download, the practical advice is to try each and see which workflow suits you.
Is the NX hardware good?
The NX consoles offer solid value and real console control; the caveat operators raise is that the cheapest units are functional rather than heavy-touring rugged.
Is Onyx widely used?
It has a growing base, but a smaller community and less rider ubiquity than grandMA, ETC or ChamSys — something to weigh if you want maximum online support or top-tier gig portability.
Photo credit: Photo: Obsidian Control Systems (obsidiancontrol.com)
