Remote Control

By "remote control", we mean that an effect is run, either manually or under some sort of automation, from a distant location - perhaps a central control station. This is the opposite of local control. [We use these terms largely for convenience, so we can divide a large number of topics into smaller subsets. In fact, there are plenty of subjects that cross over the line, germane to both local and remote control.]

Professional show designers have been through all of this before, so the answers are out there. The question is - what do you really need and how much are you willing to pay for it?

First, consider your requirements:

Remote power, too?

Then you have plenty of choices:

Extension cords from a central location
Low-voltage props, powered from a central location
Low-voltage control from a central location
X-10
MIDI
Analog Multiplex
DMX
Radio Control

Remote power, too?

In order to operate, an animated scare needs both a source of power, and a control signal telling it when to do its thing. These requirements are not unique to electronic and pneumatic props: a simple jack-in-the-box is powered by a spring, and controlled by a cam.

A primary question that you must consider is whether the control signal is separate from the power source, or is included in it.

Consider a pneumatic pop-up figure. The power comes in the form of compressed air, delivered through a hose from the compressor. The control is provided by an electrical signal which opens a solenoid valve at the prop, allowing the compressed air to push the figure up. Clearly the power and control are separate.

Consider a scene where the audience watches an "electrocution", and at the end, the viewers are "shocked" by the sound and vibration from an electric sander bolted under their bench. When you are ready to trigger the "shock", you flip on the power strip that the sander is plugged in to. Clearly the power and the triggering signal are one in the same.

These scenarios could be switched around, providing tradeoffs that must be analyzed by the show designer.

The pneumatic pop-up could be simply placed on the end of a long hose, with a manual valve at the compressor. This would put it in the scenario of combined power and control. It might also cause the prop to react slowly, because when you open the valve, the compressed air must flow through the entire length of hose, pressurizing it, before it gets to the prop.

The electric sander could be powered by 110 VAC, but turned on by a relay which uses a low-voltage control signal. The advantage is that the long run of control line is a low voltage, which is safer and cheaper to string than 110 VAC. But there is added cost of the relay.

Option - Extension cords from a central location

Very simple: At your central control point, you have a bank of switches and/or dimmers. From there, one extension cord snakes out to each controlled device. The drawback is that a room in your haunt that has three effects needs three extension cords, each one controlled by a different switch. In addition, you will be stringing a lot of 110 VAC around, and that stuff is dangerous.

[photo] This example is a V-8000 Switch Pack.

This unit fits in a standard 19" rack. The front has 8 rocker switches. The back has 8 grounded outlets, each one controlled by one of the rocker switches. The whole thing is protected by a 15 amp push button circuit breaker.

Flip a switch in the control center, and the prop is activated in the next room.

[photo] This is a gadget sold for "that December holiday."

It consists of a 9-foot extension cord with a cube tap on the end, and a foot switch in the middle. It's not suitable for covert sensing of a person, but it allows a human operator to actuate a prop without the use of hands.

Option - Low-voltage props, powered from a central location

Well, you could run all your props and lights off of a low voltage, such as 12VDC. It is similar to the bank of extension cards, one per prop, but the 12VDC is low enough to be significantly safer. This comes at a cost, though - 12VDC strobes will cost more; you will have to build or buy your props with 12VDC in mind; and I've never seen a 12VDC glycol fogger.

Option - Low-voltage control from a central location

This is a compromise. The idea is to send power into a room one way (perhaps a single extension cord with 110 VAC) and controlling information a different way, by a series of low-voltage signals.

[photo] This example is a PC-9000 Remote Controller.

This unit is built in two pieces: the control panel fits in a standard 19" rack, and features 8 rocker switches, each with a flash button. The remote power pack has 8 switched outlets and one unswitched for constant use items. A 25 ft. control cable goes between the control panel and remote power pack. The control cable carries the low-voltage switching signals.

Maximum load: 15 amps or 1,800 watts

Option - X-10

The X-10 system sends control signals over your normal house electrical wiring. X-10 signals can be used to turn things on and off, and dim and brighten lights. X-10 isn't really professional quality, but is inexpensive; you can start small and expand the system over time. We have extensive notes on haunting with X-10 and an intro to X-10.

Option - MIDI

MIDI started out as a way for electronic musical instruments to control each other; such as a keyboard controlling a synthesizer. SInce then, it has been expanded to control most anything, especially in the form of "MIDI show control". MIDI wouldn't be providing the power, which might be 110 VAC or 12 VDC.

Option - Analog Multiplex

This is an industrial-strength solution that is declining in popularity. That's because analog multiplex equipment is at least as expensive as DMX, and more finicky.

Option - DMX

DMX is an industrial-strength system used for the remote control of lighting and effects. It uses a differential digital signal to control up to 512 devices. Please visit our DMX section.

Option - Radio Control

A full-blown system with everything controlled by radio would be a big engineering feat. It would also be subject to interference and FCC regulation. But you might find one or two radio-controlled gadgets that help out, or are built into individual props, like the Sky Racer.

Thank you for visiting. Your comments are welcome.
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