Hello, and welcome to episode 180 7 of the Mod Scenes podcast. My name is Steven. I’m your host, and I am one of the awesome stage designers at magazines. I have the pleasure of helping our clients design super great stage backdrops for their stage designs. Uh, one of the many projects we’ve worked on is actually a TMS voice project. Uh, so in addition to our incredible modular backdrops that are the highest rated and most reviewed in all of north America, including the United States, um, we also provide TMX voice. Our DNX voice are incredible. They’ve been seen all around the country by many of our clients. Uh, we’ve used them for events, such as the Chick-fil-A conference. A couple of years ago. We’ve used them at Willow Creek church gateway church celebration church. Uh, we’ve used them for product launches and product displays. Um, we are actually in the process of setting a giant set of them up for the Olympic swim trials.
Uh, they’ve been used for, uh, bits all over the country. Um, so I would love to be able to, uh, talk to you a little bit about our incredible immense points. They are motors that are controlled by DMX from any standard lighting console for the stage backdrops. So typically we’ll use a granted day to renovate three, a plug for an Ava lights console, any pro lighting console. We’ll be able to run these fixtures. Uh, we’ve used a Vista as well. So the way that it works, you hit your motor on a trust. Uh, that motor will then, uh, there’s a, there’s a Kevlar coated cable inside of that motor that is adjusted. So it’ll move up and down based on 18 minutes value coming in the back, uh, our units have power con in and through, and that’s in a group well three and by then, uh, we’re working on an offense dates do in terms do art net direct, uh, and also have the option for, uh, for true one cactus as well.
Uh, we can actually upgrade fixtures through one right now. Uh, if that’s a need, uh, with our, with our products, with our DMX voice, they’ll hang on the trust. So you’ll clip, clip your plant onto address, tighten it down. That’s you will, there’s a small sit tight the bottom and you’ll connective time and there is tension on the lift line. Then you’ll click on there’s a little, uh, carabiner it’ll clip onto your motor line. So that’s your lift line then from that carabiner you’ll clip onto and one of our luminaires. So we have quite a few different luminaires. Um, my favorite is our pixel luminaires. Uh, so we have a frosted console luminaire, which is 24 individual nodes. So 24 individual RGB sets of led. So with that 24 7 24 LEDs, we can light up individual lights on there, so you can get full, you can get low res video on these, um, on these pixels, which is the possible, uh, so you can light the top red, the bottom green.
You can like, uh, there’s lots of different ways you can light it up. You can be all solid, like a S like a, like one fixture. Um, we also have a clear version of that console tube. So instead of the Milky white frosted look, it’s about, uh, about four inches across five into the cross. You can do a one inch across, uh, clear pixel two, which shows the, uh, which shows the, the nodes a little bit more clearly. Um, in addition to that, we have our standard RGB tubes. So they were, again, a five inch frosted, uh, prostitute with just a red, green and blue diode, uh, red, green, blue diodes, I should say. So it’s a full strip of those. Um, and the reason why you would use those supposed to are, uh, as opposed to the pixels is you just want something that’s a little easier to control.
Um, because typically when you’re using DMX voice, you’re going to use a lot of human voice, so, or demons, which you’re going to be using. Let’s say, you know, and minimum probably 2040 units, which is a typically a lot more than just two or three. So pretty quickly your GL accounts can go pretty high. So we want to, so if you want something a little simpler using the RGB tubes, uh, lowers your DMX count from, um, you know, from 83 channels, perfect. You’re down to nine channels per picture, so you can get a lot more and universe obviously. Um, so in addition to our two products, we also have led cubes. So we have, uh, two different sizes, uh, and two different styles. So I’ve got an eight inch square cube. That’s again, a Milky white frosted cube. Uh, and then we’ve got a 14 inch square, which the 14 inch square is a lightweight fire rated Coroplast.
Um, and it’s has a really defined lines around the corners. So it kind of glows around the edges, which is really cool. Um, and then obviously the rest of the cube lights up as well. Uh, so that’s a really cool product especially their stage backdrops. That’s already hard and fix our cubes. So our RGD cubes, in addition to that, we have multiple different sizes of RGB warts. So we’ve got our small orbs or smaller, or I should say those are an eight inch circumference. They are again, RGB orbs. So you have your goal, color mixing, you can get any color you want. Um, and then we have our larger boards, which are 12 inches. So it’s 12 it’s works. Uh, it doesn’t sound like a much of a difference as far as like the size, but it’s actually quite a big difference when you look at the two, uh, the two different sizes of circles, uh, spheres, I should say.
Uh, so the, uh, the RGB 12 inch Forbes, obviously a little bit larger, um, but one of the cool things you can do with that, she can mix both sizes by mixing yeah. Both sizes when you have really, really a really cool contrast between them and the stage backdrops. You have a really cool feel. Um, you got bigger ones who class, the smaller ones when you’re preparing your different Heights, uh, it can feel super great. So that’s, uh, that’s another cool thing. Uh, it’s available with our DMX points. Um, one of the new, uh, one of the new features that we’re working on with the DMX voice is the ability to set a specific trim line. So right now we set up our termites in the console. So if you want to limit to, let’s say 12 feet, you could send that up to the commensal, but we’re working to set up a new, um, a new system where you’ll be able to end loader set a hard limit.
So let’s say, let’s say you want the Fisher not to go past 13 below it’s match trend. So we’ll set, and we can go to the fixture and type it in on the keypad, go to 13, and then it won’t move below that 13 foot mark program. What you mentioned gates. Um, as I mentioned earlier, we’re also building in a car net. So in the near future, you’ll be able to clean our data directly into the units, um, which will be incredible for, especially our pixel units. So our pixel units, um, even if it’s six units, six pixel units to a universe. So as you can see it very quickly, you start to have tons and tons of it, evil, um, kind of eaten up by this, uh, by this, uh, are totally capable and tons and tons of, uh, uh, network, uh, like values.
So like our attributes are, um, so more as channels. Um, those are getting eaten up really quickly by all these units with our net. We’ll be able to use a switch in the, in the rig and run artnet to each of the fixtures, um, as opposed to having to go through and run a DMX and lots of hard DMX everywhere. Um, also another feature we’re working on it’s already yet. So all of our, you voice are already with clients. You can go through, you can actually make changes with, uh, with RDM on these switches, which is super exciting. So you can actually remotely, uh, remotely troubleshoot, remotely make changes within the menu structure. Uh, so you can get all the units up and then be able to set a, uh, set of trim line. For example, let’s say we want that 13 foot, uh, trim.
We can actually just go bring everything in, fly into the air, and then with artnet say, okay, we want all these 13 blue, uh, which is awesome. So, uh, let’s see, what else. Um, the other thing about our voices, they pack into a relatively small space, uh, 12, uh, 12 of RDMS voice into a, uh, 36 inch by 24 inch by 20 or by 30 inch case. So, um, you could set about 200 of these voice and their Lumineers and cable into a, uh, like a standard sprinter type van, uh, which is pretty incredible. 200 is a huge amount of fish.
So yeah. Um, so, uh, I hope this has been a really informative podcast about the Mod Scenes, uh, DMX voice they’re super incredible, super fast stage backdrops. Um, and soon we’ll be doing another podcast specifically about RJ mix voice at the Olympic swim trials, which I’m super excited about. So look forward to that. And again, if there’s any way we can serve you, please don’t hesitate to reach out to us. You can reach us at mod magazines at 5 3 0 7 2 3 6 4 2 1. And again, whether it’s TMX voice or state draft drops or your church stage background background, I would love to help you. Uh, don’t hesitate to call us or shoot us an email, and you can shoot me an email on firstname.lastname@example.org. Thank you again for allowing us to serve you and have a great day. See you next time for your stage backdrops.