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I wrote, compiled and produced (text, graphics, photos, index) this edition of the book in the fantastic but little known Adobe Framemaker software. Text and graphics are now about one GB. Focal Press came up with a new, larger size for this edition, and I’m very happy about that since it allows for much better use of graphics and, I hope, a more readable design. Preface xxxv INEVITABLE (UNPLANNED) OBSOLESCENCE As I wrote this book, live entertainment control technology continued to evolve. The only thing I can guarantee and accurately predict is that things will change, and the most important thing you can learn in the modern world is how to learn.
There are many examples of successful open standards that have expanded markets in our business: DMX512, MIDI, SMPTE, TCP/IP and Ethernet are just a few. For all these reasons, open standards form the core of this book. 3. Given the growth of open standards, there are now formal definitions of what may be called an “open” standard—check the authority having jurisdiction for more information. Chapter 1 • An Introduction 9 THE LIMITATIONS OF STANDARDS I have long been (and continue to be) a proponent of open standards.
This control structure allows for powerful and sophisticated systems, but also can be more complicated to design and troubleshoot, since contention issues—who gets control over the system at any given time—must be resolved by the system designers. An example of this is a show system where the sound and video systems are connected. In one part of the show, the sound controller sends out commands to the video system, telling it to sync up to the audio. Later, in a different scene of the show, the video system tells the audio system when to fire specific sound effects.