Every layer of the console, explained.

Programming

Command line and graphical console programming

Two ways in. One source of truth.

Work the way you already think. There is a full graphical console here - patch tables, programmer, cue and fixture inspectors, an effect editor, fader banks - and a real command line beside it, not a scripting afterthought bolted on at the end. Console-style syntax, autocomplete, usage hints and did-you-mean suggestions on every command. Type and the GUI moves; click and the command line agrees.

Quick Access is the first thing you meet in the programmer: a tile for every palette, preset, SFX and target that is valid for whatever you have selected right now. Click one to put it on, click again to take it off, right-click to send it to a fader and apply it at a percentage.

Select with ranges and groups (FIXTURE 1 THRU 8, GROUP 2 + 3) and fan values across the selection, with wings and blocks so a bar reads symmetrically about its centre or a twelve-lamp bar fans in six steps. BLIND lets you build the next look without touching the stage, and HIGHLIGHT and SOLO find the fixture you actually meant.

The command line in the manual →

GROUP 1 + 3INTENSITY 75 ; RED 100 ; GREEN 30PALETTE 4 AMOUNT 50STORE CUE 12.5 "Bridge" FADE 3.0cue 12.5 inserted between 12 and 13

Cues & tracking

Tracking cue lists with cue parts, follows and blocks

Cue stacks that work like a real desk.

Cues store deltas and values track forward until a later cue restates them, so editing cue 1 ripples through the ballad exactly the way you expect, and a BLOCK stops tracking wherever you want a hard restate. Decimal numbering (STORE CUE 12.5) drops a cue between two others without disturbing anything after it, and when you genuinely do want to renumber, cues, palettes, presets, SFX and master frequencies all renumber without breaking a single cross-reference.

Cue parts split one cue into sections with their own fade, delay and release timing, and UPDATE CUE merges or replaces, per part, along with labels and timing. Follow, delay and jump cues let the stack run itself, whether that is a half-second follow inside a scene change or a loop that keeps a foyer alive all evening. Premove quietly pre-positions dark fixtures ahead of their move cue, with configurable lookahead and fade and a per-part opt-out for the times you want the move seen.

Cues and tracking in the manual →

STORE CUE 1 "Wash up" FADE 2STORE CUE 2 "Add spots"UPDATE CUE 1change tracks through cue 2 automaticallySTORE CUE 10 "Clean slate" BLOCKcue 10 restates - tracking stops here

Effects engine

Lighting effects engine with waveforms, chases and BPM sync

Effects that update live and lock to the beat.

Build waveform effects - sine, sawtooth, square, pulse, random and more - on any attribute you like, from pan and tilt through intensity, colour, zoom, iris and gobo. Or build step chases with colours, gobos and per-step intensities. Spread, wings, blocks and phase decide how the effect travels across the rig.

Templates are reusable and fixture-agnostic: apply one in the programmer, record it into cues and presets, or ride it on a fader. Edit the template and every running instance changes with it, live, without restarting and without breaking phase, so you can dial an effect in while it is on stage in front of you. Link applications to a shared master frequency and the whole show retempos on one command, which is how you deal with a band that plays it faster than the rehearsal: UPDATE FREQUENCY 1 BPM 128.

Effects (SFX) in the manual →

ADD SFX 1 pan SIZE 60 WAVEFORM SINE SPREAD 1 WINGS 2APPLY SFX 1 AMOUNT 70 FREQUENCY 1UPDATE SFX 1 SIZE 90running instances updated · phase continuousUPDATE FREQUENCY 1 BPM 140every linked effect re-locked to 140 BPM

Visualiser & XYZ

3D lighting visualiser and XYZ position targets

Program the show before you get to the venue.

The built-in hardware-accelerated 3D visualiser renders beams, colour, gobos, haze, shadows and reflections over GDTF-accurate fixture models, with procedural people and truss for scale, so you can build a stack at the kitchen table and walk into the room with the show already on its feet. It keeps up while you work, too: the pass that used to make the desk sluggish with the 3D window open now takes under 2 ms on a 496-fixture rig. Give it its own machine over Art-Net if you would rather have it on a second screen.

Blind used to mean blind everywhere, including the one place it was safe to look. Now the visualiser can merge your blind edit into the live scene so you see it in context, or show it on its own with everything you are not holding darkened, while Art-Net, sACN and USB keep sending the real look to the rig.

Calibrate a mover against four known stage points and LMX solves its true hanging position and orientation. After that you aim at named places, “Vocal spot” or “Drum kit”, instead of raw pan and tilt, and cues can hold a live target reference: move the target or re-rig the fixture and every cue re-solves itself. The Target window edits positions while the show runs, which is how you drive a follow spot from the desk.

The 3D visualiser in the manual →

TARGET CREATE 12 NAME "Centre stage" POS 0 5 0CALIBRATEAIM FIXTURE 1 AT TARGET "Centre stage"TARGET CAPTURE "Centre stage" SELECTEDSTORE CUE 20 "Centre special"cue 20 re-solves if the target moves

Phone remote

Remote control from your phone, tablet or laptop

Take the desk into the room with you.

LMX serves a page to anything on the same network with a browser, so the show goes where you do: out into the auditorium to see what the audience sees, up on stage to set a mark, or into the wings on a tech day. No app to install and nothing to pair - turn it on in Configuration, scan the QR code the desk puts on screen, and the phone is on the desk.

Three tabs, each doing the job a phone is actually for. Playback is the whole cue list with every cue on it, so you can take a rehearsal from a point by tapping one, with GO, STOP, the grand master, and a blackout you hold for a second rather than tap, because a stray touch in the dark should not put the show out. Faders is the page the desk is showing, a strip each, with page chips and a FLASH that is held rather than latched. Targets does the whole focus job from the floor: pick a target, capture fixtures to it, highlight them to see which lantern you are holding, then drag it across a plan of your own stage with the beams following, and keep the move or drop it.

It reads the desk rather than approximating it. Green is the live cue and amber is the one GO would fire next, the faders are the console's own faders, and the plan is the Target Editor's, rotated the way you set it at the desk. Pinch to zoom into a crowded bar. It cannot record over your show - the remote is allowed to run and focus, not to store - and a target you moved and walked away from is put back where the show holds it.

The phone remote in the manual →

CONFIG REMOTE ON[LMX Remote] http://192.168.1.24:8765or scan the QR code in Configuration > RemoteTARGET MOVE 3 POS 7 5.5 1.6target 3 moving live - SAVE to keep itTARGET SAVE 3

From patch to show

Generate groups, palettes and presets from your patch

Patch the rig. Get a show back.

Every other desk hands you a patch and an empty show, then wishes you luck. LMX reads the rig you have just patched and builds the starting point for you: groups, palettes, presets, targets, SFX and position looks, all of it at once or only the parts you ask for. On a 496-fixture rig that is 138 groups, 54 palettes, 10 targets, 11 effects and 36 position looks you did not spend your get-in building.

It works out where each light actually hangs, so you get a group per bar, per boom and per side run, plus roles, fixture types and odd/even splits, each ordered along the bar. Fan across one and the move sweeps the room instead of jumping about in patch order. The position looks are stored as a centre plus a fan intent, exactly like one you built by hand, so they stay editable rather than baking into numbers.

Nothing happens behind your back. A preview lists everything that would be built and tells you why anything was skipped, and any name you have already used is left alone, so you can patch the extra six movers that turned up on the truck and generate again to fill in the gaps.

Generate from Rig in the manual →

GENERATE496 fixtures read from the patch138 groups · 54 palettes · 10 targets11 SFX · 36 position looksexisting names left untouchedor tick what you want in File > Generate from Rig