On the work surface of a computer control board you will see many keys and faders, organized in groups in different areas across the board.

These keys and faders operate the board functions.		Most board operations involve the combined use of keys and faders.

A channel number can be designated by pressing a key, whereas intensity values may be set either by keystroke or by a special circular analogue fader known as a wheel. Most keys and faders can be used for more than one dedicated function.		For example, the function of setting the intensity level is operated by routines beginning at the numeric keyboard located in the editing area. However, this same keyboard is also used for operating most of the other functions of the board. Dedicated faders control the rate of the crossfade.

The ergonomic design of a control board must take into account the methods and working conditions which prevail in theatre and provide the board operator with a work surface where all the function keys and control appurtenances he or she will need can be easily discerned and conveniently operated. The spatial organization of the working surface is in keeping with operating routines and work procedures of lighting designers and operators. The board operator will spend entire days in the rehearsal period seated at the control board, and comfort contributes to his or her efficiency. Board design must take into account operators with broad finger, or operators who bang on keys as if they were hammers. Some operators need room to rest their hands during rehearsal or room to take notes on paper, and so on.

A control board should suit the needs of the specific venue. A discotheque board would be totally different from a theatre board or that of a television studio.		Ideally, a control board should create a familiar and comfortable environment for the board operator.
		HOG ExpansionWing
A modulator III by Pulsar.

In order to demonstrate the essential structure of all computerized control boards, we will present a typical board, Ovation by Compulite.

		Editor - the area of the board where editing is done - the creation of  lighting states and light changes, primarily at the design stage  of production. The keyboard (generally located near the monitor) also serves most of the other functions of the board.
		Playback - this area serves to perform the prerecorded light cue, either in a fixed sequence or in any other sequence determined by the board operator.
		Controllers - enable control of small or large groups of control channels in addition to whatever else the board is doing at that time. This is primarily by means of analogue faders. The keyboard in the editing area assigns control of those groups of light to the faders in the controller area.
		Effects -This area is for control of special effects such as: splitting fade time into many separate parts, chasers, sound to light, etc.

Menu - This function allows complex routines to be operated by a small number of keys. After editing, one key press can initiate a series of routines and apply a large number of functions.

Display - The main display is usually by a monitor (CRT) which is physically separate from the control board. Secondary display is by means of LEDs, illuminated buttons and little LCD (liquid crystal display) areas. Display is usually digital but occasionally information is presented graphically.

The main display is located so that it will not obstruct the operator's view of the stage. The monitor presents a dynamic display of the actual lighting in real time, or any other information stored in the board's memory. The dynamic display shows the lighting state on-stage and its contents, the timing between one state and the next, special effects, etc. Display of stored information allows the operator to check any other lighting state in the memory, channel-to-dimmer assignment, and more.

 Most modern computer control boards have the following operating features:

• Flexible assignment of control channels to dimmers (soft patch), so that any channel may control any one dimmer or group of dimmers.
• Choosing a specific control channel and sending intensity values to a dimmer.
• Assignment of timing the crossfade between in lighting states.
• Recreating a manual action by a computerized one, by instructing the computer to learn the timing of the change from one state to another as manually performed by the operator.
• Creation of specific dimming curves for each control channel, for example: linear, logarithmic, S-curve or any other curve.
• Simple sequential operation or complex concurrent operation of lighting changes.
• Advanced programming of complex dynamic structures of light changes such as chasers and special effects, and their operation during the performance either automatically or manually.
• Setting the order of lighting cues.
• Clear alpha-numeric and visual display of lighting cues and of all the information stored in the computer memory during lighting rehearsals and adjustments.
• Storage of all information pertaining to the running of the lighting of the shows on diskettes.
• Printout capability which allows printing tracking sheets, patch information, lighting  cues and so on.
• Back-up of the main computer by a secondary computer or manual board.
• Portable Designer's Box which allows the performance of basic control functions from anywhere in the theatre.