Frequently Asked Questions - SOH

SOH (Svět Očima Hudby – "World Through the Eyes of Music") is a Czech company with more than 25 years of tradition. It develops control systems for stage lighting, runs wholesale and retail of stage and laser equipment and rents sound and lighting equipment for cultural events. It owns international patent protection for the LTCA system for controlling stage lighting through music.

Our brick-and-mortar shop and showroom is located at
Antala Staška 242/14, 140 00 Praha 4, Czech Republic. Right at the entrance to the establishment we have three customer parking spaces (the marked entrance is on the right side of the building).

Standard opening hours:
Monday – Friday: 10:00 – 18:00
Saturday: closed
Sunday: 15:00 – 18:00 (rentals only)

Contact:
E-shop: +420 272 272 500 / eshop@soh.cz
Rental: +420 272 272 501 / pronajem@soh.cz

Parking is free for SOH customers. Three dedicated parking spaces are available directly at the entrance to the establishment (Antala Staška 242/14, Praha 4); the marked entry is located to the right of the building.

The SOH establishment serves as an e-shop pickup point and personal collection is completely free – we charge no surcharge. You can pick up the goods after a prior order via the e-shop, but feel free to come even without an order – you can purchase directly on site. We look forward to your visit at Antala Staška 242/14, Praha 4.

Reaching SOH (Antala Staška 242/14, Praha 4) by Prague public transport is easy – the journey from the centre of Prague takes just 20–25 minutes. We recommend two main routes:

Take metro line C to Pankrác or Budějovická station and then a bus to the Ryšánka stop.

The SOH establishment is directly across the road from the Ryšánka bus stop.

We recommend verifying the current bus line numbers at idos.cz or in the PID Lítačka app.

Barrier-free access to the establishment is provided, so shopping and personal pickup of goods are comfortably manageable even for customers with reduced mobility or parents with a stroller. Parking is available directly at the establishment and, if needed, the staff will gladly help with moving around the store as well as with loading and unloading equipment.

Yes, we are a pet friendly shop and your dog is welcome here – feel free to bring your four-legged companion along, we are happy to see visitors of both the human and the animal kind. While you enjoy free coffee or water as you choose goods or rent equipment, your four-legged friend will surely appreciate a bowl of fresh water. A toilet and parking directly at the establishment are of course available too, so visiting SOH with a dog is completely fine.

Yes, we are happy to advise you on choosing suitable equipment. You can contact us by phone at +420 272 272 500 (Mon–Fri 10:00–18:00) or by e-mail at eshop@soh.cz.

If you need a personal consultation, visit our showroom at
Antala Staška 242/14, 140 00 Praha 4, Czech Republic.

We will help you choose lighting, sound equipment, DMX control, LED strips and a complete solution for your event or installation.

Yes, goods can be tried before purchase at our establishment at Antala Staška 242/14, Praha 4. Just call us in advance on +420 272 272 500 or write to eshop@soh.cz and we will gladly prepare the specific item including a demonstration and answer any questions you may have.

At SOH we carefully check and verify light output and state real performance values.

Directly at our SOH establishment in Prague we provide free warranty service for two years from the purchase of the equipment.

Rental of lighting, laser and sound equipment is available for corporate events, concerts, festivals and other productions. Both gear for smaller events and complete setups for large-scale projection can be arranged. Transport, installation and on-site operation can be arranged as needed. The full offer and an enquiry form can be found at soh.cz/en/rental.

Equipment rental: tel. +420 272 272 501, e-mail pronajem@soh.cz
E-shop and sales: tel. +420 272 272 500, e-mail eshop@soh.cz
Address: Antala Staška 242/14, 140 00 Praha 4, Czech Republic
Web: www.soh.cz

Yes, the website www.soh.cz is available in several language versions: Czech, English, Slovak, German, French, Spanish and Russian.

The full version of the terms of business is available at:
General terms of business – full version

The privacy policy is available at:
Privacy policy

At eshop.soh.cz you can find a wide range of stage and laser equipment: moving heads, LED reflectors and effects, lasers, fog machines, DMX controllers and consoles, cables, connectors, hooks, brackets, stands and other accessories. We offer both retail and wholesale sales.

The price of goods is the same in the e-shop and at the SOH establishment – buying on site costs nothing extra and the e-shop price also applies in the shop. Goods we have in stock can be bought immediately on site, or collected after a prior order.

Personal collection at the establishment is completely free, with no surcharge. Payment is possible in cash, by card or by QR code.

You can place an order through your customer account (after registration) or by filling out the order form without registration. You select the goods, quantity, payment method and delivery. Before sending, you can review the order. After sending, you will receive an automatic confirmation by e-mail. The purchase contract is concluded only after the seller accepts the order.

A forgotten password to your customer account can easily be restored – just get in touch by e-mail at eshop@soh.cz or by phone at +420 272 272 500. A lost password is resolved just as quickly, as are situations where an order cannot be completed or runs into trouble. Orders can also be handled by phone or e-mail.

We offer the following payment methods to settle your order:

• Bank transfer to our bank account (Fio banka) – we are happy to send you a proforma invoice on request
• Cashless payment by credit card
• Cash on delivery upon receipt of goods
• Cash or card or QR code payment when picking up in person at the establishment

Yes, goods can be reserved, typically for one week. Simply contact us by e-mail at eshop@soh.cz or by phone at +420 272 272 500 and arrange a specific item and pickup date at our establishment at Antala Staška 242/14, Praha 4.

Goods that we have in stock are ready for immediate dispatch – we usually ship by the following working day after receiving the order. If you need more precise information about the dispatch time of a specific item or a larger order, please contact us by e-mail at eshop@soh.cz or by phone at
+420 272 272 500.

We deliver goods:

• To the address specified by the buyer in the order
• Through a parcel pickup point
• Personal collection at the establishment (free) at
  Antala Staška 242/14, Praha 4

Delivery costs are stated in the order. Cost information applies to delivery within the Czech Republic and Slovakia.

A damaged parcel is best resolved by contacting SOH as soon as possible. When SOH arranges the transport, SOH is responsible for the goods until they are received – even if the damage was caused by the carrier. The claim with the carrier is then handled by SOH and the customer arranges everything directly with the e-shop.

To make the resolution smooth, it is recommended to:

• In case of visible damage to the packaging, preferably do not accept the parcel, or accept it with a written reservation (a note for the courier or on the delivery slip) and photograph the packaging before opening it.
• If the damage is discovered only after unpacking, keep the goods and all packaging material in the condition in which they were received and photograph everything.
• As soon as possible, ideally within a few working days, contact SOH (eshop@soh.cz, +420 272 272 500) and provide the order or tracking number together with the photographs.

Packaging material should be kept until the claim is settled. The same procedure applies if something is missing from the parcel – in that case too, it is enough to contact SOH.

We provide a standard warranty of 24 to 36 months on all products for both retail and corporate customers.

Yes, we provide service of stage and sound equipment. Contact us by phone at 272 272 500 or by e-mail at servis@soh.cz.

DMX Music Visualization is software developed by SOH that uses the internationally patented LTCA technology to control stage lighting directly with an audio signal. The program analyses audio input and automatically generates a dynamic light show that corresponds with the music. It uses the standard DMX512 protocol to control lights.

Any sound card input can be used as the audio source – a signal from the DJ mix, sound played on the computer (Spotify, Tidal, YouTube) or a microphone. A good line-level signal is recommended for a stable reaction of the lights; with streaming services it is advisable to set a sufficient playback volume without distortion.

The software runs independently alongside any DJ software (rekordbox, Serato, Traktor, Virtual DJ). Audio from the DJ application can be fed in physically (output into the sound card input) or through a virtual audio interface (VB-Cable, Voicemeeter). MIDI synchronization of tempo and beats is available for advanced scenarios.

Music Visualization is a computer program that listens to the music and controls the lights by itself in real time. It continuously breaks the sound down into individual properties – bass level, beat hits, volume – and converts them into commands in the DMX512 protocol. The fixtures thus receive the same commands as from a lighting operator at a console, only automatically and continuously.

What is needed:

• a computer with Windows and the software installed (an older machine is sufficient)
• a USB-DMX converter (e.g. the USB-DMX PIPE from the SOH range) connecting the computer to the fixtures; an Art-Net converter for network control
• DMX-controllable fixtures connected one after another, each with its own DMX address
• DMX cables in the required lengths (3-pin and 5-pin can both be used)
• an audio source – a signal from the DJ mix, sound played on the computer or a microphone

During the initial setup the fixtures in use are loaded into the program from the device library or imported from a manual, and musical attributes are assigned to their functions. The configuration is saved and on the next start the light show runs on its own without an operator.

LTCA (Light Technology Controlled by Audio) is an internationally patented technology developed by SOH for direct central control of a lighting setup purely by an audio signal. The system can fully autonomously and without an operator control dozens of light effects so that the light show corresponds with the music. Unlike a human operator, it reacts in real time to changes in music and enables a non-stop dynamic light scene.

• Fully autonomous operation without an operator
• Central control – individual light effects complement each other
• The light show corresponds with the music and contains its artistic elements
• Significantly better utilization of stage lighting
• Allows individual control of dozens of light effects
• Non-stop live and dynamic creation of the light scene
• Quick reaction to unpredictable changes in the music
• Long-term reliable and trouble-free operation

The Music Visualization system is deployed in a number of clubs and at live events. References include the Radost FX club in Prague, the entertainment park at AVION in Brno, the Zlatý strom club, Music Club Kotnov, concerts of the band Arakain and others. Sample videos can be found on our YouTube channel.

Yes! On the Music Visualization download page you will find a demo version that allows you to control the first 24 DMX channels for free. It is not intended for commercial use. An MSI installer and a ZIP archive for Microsoft Windows are available.

The current version is DMX Music Visualization 4.0 (2026). Main new features:

• AI integration – scenes, chases and entire projects can be created via the built-in AI chat (Google Gemini model or another via API)
• Fixture import via AI – add a new fixture by photographing its manual, uploading a PDF or importing from Avolites .d4, GDTF and Daslight formats; the program analyses the DMX channels itself
• 3D visualization – linking with the GDTF Stage Studio database (over 8,500 fixtures) and generating a 3D scene, flyer or diagram with one click
• WASAPI (shared and exclusive mode) for more accurate FFT analysis of music

The software also supports Art-Net (up to 3072 channels / 6 universes), MIDI input and output, DJ Buttons and Fixtures Editor.

The DMX Music Visualization software runs even on older computers. Minimum hardware requirements:

• 1 GHz CPU or higher
• Windows 7 or higher (Windows 10 or 11 recommended)
• USB port 1.1, 2.0, 3.0 and compatible
• Internet connection (to download the distribution), USB optional

Music is analysed from any sound-card input or output (microphone input, line input, WASAPI).

It depends on the licence. The free version controls the first 24 DMX channels (non-commercial). Paid licences progressively expand the channel count up to 3072 DMX channels (6 universes) via Art-Net. For licence details, contact us at 272 272 500.

A DMX address and a DMX channel are closely related but mean different things. The DMX address is the fixture's starting position within a DMX universe (1–512). A DMX channel is a specific unit in the signal carrying a value of 0–255 for one fixture function (e.g. dimmer, red colour, Pan movement, gobo, etc.).

Each fixture occupies as many channels in the universe as its active mode requires. If a fixture has 8 channels and is set to DMX address 1, it occupies channels 1 to 8. Another fixture in the same mode would therefore start at address 9. If addresses overlap, both fixtures respond to the same channels at once.

The fixture's channel count is usually listed in its manual and can often be switched in the menu (for example an 8/13/16ch mode on moving heads). When planning a lighting rig, it is advisable to first add up the channels of all fixtures and then lay out the DMX addresses so they do not overlap and fit within the 512 channels of one universe.

A musical attribute (symptom) is the basic building block of the Music Visualization system. It is the result of music analysis that the program converts into light effects.

The program continuously analyses the music and extracts characteristics from it – bass strength, beat occurrence, loudness or dominant frequencies. Each such characteristic is one attribute, which outputs a value (0–255) directly controlling DMX channels.

The program offers more than 50 attributes, for example: Beat Detection, Bass/Mid/High Level Output, BPM III (tempo and synchronization), Strobo Enabler (beat onset), Average Volume.

Each attribute can be assigned a DMX channel, scene or chase. The number of active attributes depends on the licence – Free version max. 6, full versions unlimited.

The DMX Music Visualization software is designed for Microsoft Windows. It is available as an MSI installer or a ZIP archive. USB Interface drivers are included in the installation package.

Yes, installation and setup of the program directly for your installed equipment can be discussed by phone at +420 272 272 500. Since SOH does its own development, there is no problem adapting the system to your specific wishes and requirements.

The upgrade can be done electronically via the Internet without the need to send the USB-DMX converter to SOH.

1. Select the licence upgrade version you want and add it to the shopping cart.
2. Choose the delivery method "Personal collection Praha 4 / Internet".
3. Choose an online payment method (credit card, bank transfer, PayPal etc.).
4. Submit the order.

After receiving your order, we will send you an e-mail with a link to generate the ID code of your converter. Send us this ID code by e-mail. After registering the ID code, we will send you an e-mail with a link to download the Music Visualization software. After downloading and starting it, the program will automatically recognise and activate your licence.

DMX512 is the most widely used communication protocol for controlling stage lighting in professional and semi-professional environments. It allows control of up to 512 channels in one "universe" – for example setting colour, intensity, movement and effects of individual lights. SOH offers DMX controllers, USB interfaces and software for working with this protocol.

Both cable types use the same connectors (3-pin or 5-pin XLR), but they differ in their internal construction. An audio XLR cable has an impedance of around 75 Ω and is designed for transmitting analogue audio. A DMX cable has an impedance of 110 Ω and is optimised for reliable transmission of the digital DMX512 control signal.

DMX cables also have superior shielding – a conductive layer (most often a braid or foil) surrounding the inner conductors that protects the transmitted signal from electromagnetic interference from surrounding devices. With the digital DMX signal, quality shielding is more important than with analogue audio, because even minor interference can cause data errors and consequent flickering or unpredictable behaviour of lights.

A regular audio XLR cable on a short distance in a DMX line may work, but on longer runs there is a risk of signal dropouts and unreliable control. For trouble-free operation of stage lighting, we therefore recommend always using cables designed specifically for DMX.

3-pin DMX connector has contacts for ground, data – and data +. It is the most widely used and fully sufficient for most installations.

5-pin DMX connector adds a second data pair (pins 4 and 5), which allows two independent DMX universes to be carried in one cable. It corresponds to the official DMX512-A standard.

In practice: 3-pin is cheaper and more common, 5-pin is required in professional environments (theatres, large productions) and when strictly following the standard. Simple passive adapters between the two types exist (connecting pins 1–3, pins 4–5 remain unconnected). It is essential to always use DMX cables (110 Ω), not audio XLR cables.

A DMX terminator is a passive element (120 Ω resistor) that plugs into the last device in the DMX chain. It prevents signal reflections at the end of the cable, which can cause flickering of fixtures, incorrect channel values or control dropouts. It is recommended to always use one, especially on longer runs or with more devices in the line.

The DMX512 standard allows a maximum of 32 devices per line (one "universe"). This limit comes from the electrical specification of the RS-485 interface, on which DMX512 is built – each connected device represents one load (unit load) and the receiver can reliably drive exactly 32 loads.

If you need to connect more than 32 lights, use a DMX splitter. The splitter electrically regenerates the signal and divides it into several separate outputs – each can handle another 32 devices.

Exceeding the limit causes a drop in signal level, which can cause flickering of lights, random value changes or loss of communication. The last device on each DMX line should also be terminated with a DMX terminator (120 Ω resistor) to prevent signal reflections and ensure stable transmission.

A DMX splitter receives one incoming DMX signal and divides it into several separate, electrically isolated outputs. At the same time, it amplifies and regenerates the signal.

When to use: when controlling more than approx. 32 devices on one chain, on long cable runs (over 300 m), when splitting the signal in multiple directions, and to protect the control desk from back-feed interference.

Basic splitters offer electrical (galvanic) isolation; more advanced models offer optical isolation via an optocoupler – this provides the highest protection and is ideal for demanding installations. For smaller applications, a 2-channel model is sufficient; for larger installations we recommend 4–8 channel variants. Terminate each output chain with a DMX terminator.

A DIP switch (from Dual Inline Package) is a set of small switches arranged in a row that are used to set various parameters of stage lighting – most often the DMX address, operating mode or sensitivity. Each switch has two positions (ON/OFF) and a combination of their settings selects the desired value in binary code.

In DMX lighting, a DIP switch is typically used to assign a DMX address to a device: individual switches correspond to bits of a binary number, whose sum gives the resulting address (1–512). For easy setup, use the calculator below.

DIP switches are mostly found in older and basic types of stage lighting. The current trend is to set the DMX address, operating mode and other parameters directly via an integrated display on the device, which is much more intuitive and eliminates the possibility of error when manually combining switches.

A DMX universe is a group of up to 512 DMX channels transmitted over one cable or one logical line. Each fixture, strobe or effect occupies a certain number of channels – as soon as their sum exceeds 512, a second universe is needed.

Example: 10 moving heads with 20 channels each = 200 channels (fits in one universe). If you add another 20 heads with 20 channels each, you need a total of 600 channels – that is already two universes.

The standard DMX output of one controller port always serves exactly one universe (512 channels). Multiple universes can be obtained by:

• more physical DMX outputs on the controller or interface,
• ArtNet or sACN network – both protocols carry any number of universes over a regular Ethernet network (ArtNet theoretically supports up to 32,768 universes, sACN is similarly scalable).

Small installations (approximately up to 25 devices of average channel demand) usually manage with one universe. Larger stages, architectural lighting or installations with many RGB/RGBW fixtures move to ArtNet/sACN and DMX node devices (Ethernet – DMX converters).

Art-Net is a network protocol that transmits DMX512 data over a standard computer network (Ethernet / Wi-Fi). Instead of running long DMX cables, just connect a computer with control software to the network and send the signal over Ethernet.

For the signal to reach the lights, you need an Art-Net→DMX converter – a compact device that converts the network Art-Net signal back to classic DMX512. The converter connects to the network, receives data from the software (e.g. DMX Music Visualization, FreeStyler, Madrix) and distributes it on its outputs to individual DMX lines.

Main advantages over a direct USB→DMX connection: an Ethernet cable can run up to 100 m and can be branched via a switch; one converter can serve up to 6 DMX universes (up to 3,072 channels); place the converter directly with the lights on stage and control it from anywhere on the network, possibly via its built-in web server. Some models also support the sACN (E1.31) protocol.

The Art-Net→DMX converter range can be found in the category Art-Net→DMX.

sACN (Streaming ACN, E1.31 standard) is a network protocol for transmitting DMX512 data over Ethernet, similarly to Art-Net. It is an official ESTA standard used mainly in professional installations, at large concerts, in theatres and in permanent architectural installations.

Main differences from Art-Net: sACN sends data as multicast (each universe has its own network address), so switches route the signal only where it is actually used – the network is not unnecessarily loaded. The protocol also supports prioritisation and backup (multiple controllers can transmit on the same universe and the receiver switches to backup when the primary source fails). Most modern consoles and converters handle both protocols simultaneously.

When to choose sACN over Art-Net: in large installations with dozens of universes, where a backup control system is required, or when the hardware in use requires it (some professional consoles and media servers prefer sACN). For small and medium installations, Art-Net is fully sufficient and more widespread in practice.

Wireless DMX transmitters and receivers transmit the DMX 512 control signal between the console and stage lighting without the need to lay cables. The transmitter plugs into the DMX output of the console, the receiver into the controlled light – data is then transmitted by radio in the 2.4 GHz band over distances up to 400 metres. The device automatically determines its role (transmitter/receiver) according to whether it detects a DMX signal at the input. Any number of receivers can be connected to one transmitter, and up to 6 independent transmitters can operate simultaneously in one space. The setup is Plug & Play – just plug in, pair with one button and the system works. All wireless DMX models from the SOH range are mutually compatible.

A USB-DMX interface (e.g. our DMX PIPE) is a small converter between a computer and DMX devices. All control runs via PC software (FreeStyler, DMXControl, SOH Music Visualization etc.) – the interface itself has no faders or buttons.

A DMX console is a standalone hardware device with physical faders and buttons that works without a computer.

What to choose:

• USB-DMX interface – for lower price, advanced features in software (timeline, 3D visualisation, sync with music), control of intelligent lights and many channels. Requires a laptop or PC.
• DMX console – for reliability without dependence on a PC, tactile fader control in real time and permanent installations in clubs or rehearsal rooms.

In practice, both solutions are often combined – a console for live control + an interface with a laptop for pre-programmed scenes.

The life of a discharge lamp is typically in the range of 750–1500 operating hours depending on the lamp type (5R, 7R, 17R, MSD, Sirius HRI etc.). The exact value is given by the lamp manufacturer in the datasheet – real life depends mainly on the number of on/off cycles, power quality and cooling.

Factors that shorten lamp life:

• Frequent switching on and off (each start wears the lamp more than an hour of operation)
• Switching off the head without cool-down – the fan must run for several minutes after switch-off, otherwise the bulb may crack
• Operation in dusty environments, clogged cooling filters
• Mechanical shocks during transport with the lamp switched on or hot
• Undervoltage in the mains or unstable power supply

Signs of approaching end of life:

• Drop in luminosity – the beam is visibly weaker, the colour shifts to yellow or pink
• Unstable burning – the lamp flickers, changes intensity or makes audible crackling
• Long or repeated start – the lamp takes several attempts to ignite, or extinguishes itself after switch-on
• Dark spots or blackening inside the bulb (visible when replacing)
• Error message on the display – some models track operating hours and warn of upcoming replacement themselves

Practical recommendations:

• Monitor the operating hour counter in the head's service menu (typically under "Lamp Hours" or "Fixture Hours")
• Prophylactically replace the lamp at around 80% of stated life – a cracked lamp can damage the head's reflector and optics
• When replacing, always use the same type and power as specified by the head's manufacturer – an inappropriate lamp can cause overheating or damage to the igniter
• Do not touch the glass bulb with bare hands (fingerprints bake in and reduce life) – use a clean cloth or gloves

A ballast (also "ballaster") is the electronic power supply for the discharge lamp in a moving head. Beam lamps (5R, 7R, 10R, 17R etc.) are not powered directly from the mains – they need a special voltage and current waveform: the ballast provides high-voltage ignition of the lamp (typically thousands of volts) and then stabilises operating conditions throughout the burn time.

The ballast and the lamp form a mutually tuned system. Each lamp manufacturer optimises its electrical parameters for cooperation with a specific type of electronics, and the ballast gradually adapts to the characteristics of the given lamp. After replacing only the lamp with a new one, the old ballast may deliver slightly different parameters than the new lamp requires – the result is shorter lamp life, unstable ignition, or even damage to both components.

For this reason, we recommend replacing the lamp and ballast always as a set. In our e-shop we offer lamps separately or in a set including the ballast – the sets are designed precisely for complete replacement.

Moving heads are divided by the character of their light beam into three basic types – Wash, Spot and Beam. They differ in the width and hardness of the beam and in what they are suited for.

Beam – the narrowest and sharpest beam (typically 2°–5°) with minimal spread and a long throw. In the air it creates a visible "column" of light, which makes it ideal for aerial effects in combination with fog or haze. Its zoom is limited and it usually offers no gobo – its strength is a clean, intense beam.

Spot – a focused cone (approx. 30°–48°) with a sharply defined edge. Thanks to motorised zoom and focus it can project gobo patterns, logos and textures. A universal type for lighting people, objects and the scene; common in theatres and on stages.

Wash – the widest, soft cone (approx. 5°–42°) without sharp edges, intended to flood the scene evenly with colour. It has the largest zoom range but projects no gobo – instead of patterns it handles even colour lighting using RGBW mixing.

In short: Beam is a narrow beam into the space, Spot projects and draws, Wash floods with colour. Many modern heads combine several modes in a single fixture (for example Spot/Beam or 3in1 BSW).

Moving heads offer different functions depending on the model and price category. Here is an overview of the most common:

Beam – mode of a narrow, sharply defined beam (typically 2°–5°) with great reach. Ideal for beam effects in combination with fog.

CMY & CTO – subtractive colour mixing with Cyan, Magenta and Yellow filters for blending virtually any shade. CTO (Color Temperature Orange) smoothly changes the white temperature from cool to warm. A feature of higher professional heads.

Colour wheel – a disc with colour filters (typically 9–14 colours + white). Allows selection of individual colours, split colours and smooth rainbow transitions.

Dimmer – smooth dimming 0–100%. Advanced models offer up to 32-bit dimming for exceptionally smooth transitions.

Focus – linear motorised focusing of the beam, allows focusing the gobo projection at various distances.

Frost – a filter softening the edges of the beam. A sharp Beam turns into softer, diffused light.

Gobo (fixed) – a rotating disc with cut-out patterns (circles, stars, lines etc.) projected into the beam. Some heads have a wheel with 11 or more patterns.

Gobo shake – function of rapid back-and-forth swing of the gobo, creating a nervous dynamic effect.

IP65 (waterproof version) – heads with protection against water and dust, also designed for outdoor use.

Macro (Macro speed) – a channel with ready-made pre-programmed sequences (combinations of colours, gobos, prism and movement). The additional Macro speed channel sets how fast they run.

Pan – horizontal rotation of the head around the vertical axis. The range is typically 540° or 630°. Basic control uses one 8-bit DMX channel (256 steps); an additional Pan Fine channel adds a second byte and refines the movement to 16-bit resolution (65 536 steps).

Prism – an optical element splitting the beam into several copies (typically 8 or 16 sides). Some heads have two independent prisms with overlap option.

Rainbow (rainbow effect) – smooth cycling of colours on the colour wheel with adjustable speed and direction.

RGB LED ring (ribbon) – a decorative circular strip of RGB LED diodes around the lens, creating a coloured "halo" effect. Allows pixel control of individual segments independently of the main beam.

RGBW mixing – on LED heads, colours are mixed additively directly from Red, Green, Blue and White diodes without mechanical colour wheels.

Rotating gobo – gobo plates that additionally rotate around their axis, creating a dynamic moving pattern. They are often replaceable. The direction and speed of rotation can be controlled.

Rotating prism – a prism that rotates smoothly and creates a rotating effect of split beams.

Spot – mode of a focused light spot (about 30°–48°) with the option of projecting gobo patterns.

Strobe – rapid flashes with adjustable frequency (typically 0.5–25 Hz), including random and pulse modes.

Tilt – vertical tilting of the head around the horizontal axis. The range is typically 270°. An additional Tilt Fine channel provides 16-bit resolution for smoother movement, especially during slow moves and long fades.

Unlimited rotation – continuous rotation around the horizontal or vertical axis for spectacular spinning movements.

Wash – mode of soft, even area light (about 5°–42°) without sharp edges, for lighting the whole scene.

Zoom – motorised change of beam width. For example on BSW heads from about 2.6° up to 48°, on LED wash heads about 4.5°–45° or 8°–60°.

3in1 BSW (Beam + Spot + Wash) – combination of all three modes in one head. Our range includes BSW models with both discharge lamps and LED sources.

A gobo (abbreviation from "GOes Before Optics") is a template inserted into a profile reflector that enables projecting patterns, shapes, logos or texts onto a surface. It is used in theatre, concert and architectural lighting and for branding projections on facades, floors or walls.

Metal gobo – produced by laser cutting from stainless steel sheet. Suitable for simple motifs (patterns, texts, logos). The motif must contain bridges that hold the floating elements of the template together (for example the centre of the letter O).

Glass gobo – made of heat-resistant borosilicate glass. Allows projection of full-colour photographs, gradients and complex motifs without the need for bridges. They are more expensive but provide higher image quality.

A gobo can be static in the reflector (still image – typical for logo projections) or rotating (a motorised holder rotates the gobo and creates a moving effect, e.g. clouds, waves or falling snow). Many intelligent moving-head fixtures have a built-in rotating gobo wheel with several replaceable positions.

Replacing a gobo is easy – the template slides into the holder and is inserted into the reflector. Custom gobos with your own motif can be made to order from supplied graphics, ideally in a vector format (SVG, AI or EPS).

Moving heads come in three basic types:

Beam – a narrow, sharply defined beam with minimal spread. Ideal for aerial effects in combination with fog or haze. Extremely high luminosity even at lower wattages.

Spot – a focused cone of light with the option of projecting gobos, sharpness adjustment and zoom. A universal choice for lighting people, objects and aerial effects. Typical use in theatres, on stages and at event productions.

Wash – a wide cone of soft light for area lighting (colour wash of the stage, audience lighting, architecture). The widest zoom range, often in RGBW or RGBWA+UV LED technology.

Indicative power classes:

Small club or bar (up to approx. 150 people) – LED source 60–150 W. Compact dimensions make mounting on simpler structures easier.

Medium hall or club (150–600 people) – models 200–350 W (LED) or equivalent discharge sources.

Large hall, concert venue or exterior (600+ people) – moving heads from 400 W upwards. For outdoor use, count on higher required power and check the IP rating (IP20 for sheltered exteriors, IP65 without cover).

Tip: Many modern moving heads combine the properties of multiple types – for example Spot/Beam or Beam/Wash.

Regular maintenance keeps the light output of a moving head clean and extends its lifespan. The optics and cooling need the most attention.

• Optics (lenses, mirrors): clean only once cooled down, using a soft microfibre cloth or a dedicated optical cleaner. Never clean hot glass or scrape off dirt while dry.
• Gobos and colour filters: check for burn marks or dust; clean glass gobos gently to avoid scratching the coating.
• Cooling: remove dust from the fans and cooling vents regularly (e.g. with compressed air). Built-up dust impairs heat dissipation and shortens the life of the LED source or discharge lamp.

Before longer storage, it is advisable to engage the tilt/pan lock, let the fixture cool down, and store it in a dry, dust-free environment, ideally in a transport case.

LED Wall Bar is a fixture in an elongated bar shape (typically around one metre long) fitted with a row of LED diodes along its whole length. It creates a continuous strip of light and a single unit can replace several separate reflectors.

The diodes are usually divided into individually controllable segments, so only parts of the bar can be lit and colour gradients or running effects created. Multi-colour 4in1 LED diodes are common, giving an even hue without colour fringing.

The main use is washing walls and surfaces (wall wash), uplighting and decorative effects. The bar can be hung on a structure or truss, stood on the floor or mounted on a wall; it usually offers automatic and music modes, Master/Slave linking and DMX512 control, with pass-through power and DMX for daisy-chaining several units. Waterproof IP-rated variants are also available for outdoor use.

A Fresnel reflector is a type of stage fixture equipped with a Fresnel lens – a special stepped lens that produces a soft, even cone of light with smoothly diffused edges. The Fresnel lens was originally developed for lighthouses, where it allowed the light beam to be significantly amplified and directed while keeping low weight and thickness.

Thanks to the soft edges of the beam, light from multiple Fresnel reflectors can be easily blended and layered without visible boundaries – that is why they are the standard choice in theatres, television studios and during film shoots for key and fill lighting of people and scenes. By changing the distance of the light source from the lens (zoom), the beam width is smoothly regulated from a narrow spot to a wide flood.

Modern LED Fresnel reflectors replace classic halogen and discharge sources with an economical COB LED diode with long life, lower power consumption and minimal heating.

A profile spot is a stage fixture with a sharply defined beam edge. Its optics project the edge of the beam precisely, so a specific area, performer or prop can be lit without unwanted spill into the surroundings.

Inside there are built-in shutters that crop and shape the beam into the required form – for example a rectangle or a narrow strip. A template can be inserted into the gobo slot to project patterns, logos or texture. Profile lights are therefore widely used in theatre and wherever precise, well-defined lighting is needed.

The beam angle can be changed in two ways – continuously by zoom, or by changing the lens. Some profile lights allow the lenses to be swapped, so a narrower or wider beam can be chosen according to the distance and the size of the lit area.

Unlike a Fresnel reflector with its soft, gradually blurred edge, a profile light gives a sharp, clearly defined edge. Modern designs replace halogen sources with an economical LED (often COB) diode.

A blinder is a powerful stage fixture used to briefly dazzle the audience with light. It is usually fitted with powerful COB diodes combining warm and cold white and can be complemented by pixel LED frames (e.g. 2-eyes, 4-eyes) that can be controlled separately for colour effects. It is controlled mainly via DMX and is used above all at concerts and in clubs. When the individual pixels are arranged in a regular grid, this is referred to as a matrix – each point can be controlled separately, so the fixture can render running patterns or simple graphics. The same arrangement can also be found on standalone effect panels.

COB (Chip on Board) is a technology in which a large number of LED chips are soldered directly onto a common substrate and sealed in transparent resin. This creates one compact emitting surface instead of many separate points.

Compared to classic SMD diodes (Surface Mounted Device), where each chip emits as a separate point, COB produces homogeneous, even light without visible shadows or colour spots. This is key in stage lighting – the reflector must light an actor or surface with one clean light without unwanted artefacts.

Other advantages of COB are higher luminosity on a small area, simpler optics (one lens instead of a lens array) and better heat dissipation. Thanks to this, COB-based reflectors can be more powerful and at the same time more compact.

SMD chips remain suitable where a visible pixel effect or large emitting surface with individually controlled points is desired – for example in blinder reflectors or LED matrices.

The designations 3in1, 4in1, 5in1 or 6in1 indicate how many colour chips are combined in one LED diode. Instead of separate single-colour diodes next to each other, the colours are integrated directly in one package – the result is more even colour mixing without colour shadows.

3in1 – RGB: Red, Green, Blue.

4in1 – RGBW or RGBA: RGB plus either White for purer white light, or Amber for natural warm tones. Amber is a warm orange-yellow colour reminiscent of a sunset – when mixed with other colours it enables natural warm white light without a cold tinge, which is why it is widely used in theatre and stage lighting.

5in1 – RGBWA: Red, green, blue, white and amber all together. The widest colour-mixing options.

6in1 – RGBWAU: The previous five plus ultraviolet (UV), suitable for fluorescent effects.

Music mode (also referred to as Sound Active or sound mode) is a function in which a light reacts to music – it changes colours, intensity or movement according to the rhythm and volume of the surrounding sound. The device picks up sound with a built-in microphone and triggers changes based on the level of bass and beat.

It is useful when no DMX controller or operator is available – just switch the light on and it starts dancing to the rhythm on its own. The microphone sensitivity can be adjusted on some lights so that the device responds only to music, not to surrounding noise. For precise, programmed shows, however, control via DMX is recommended, because music mode is automatic and less predictable.

Macro is a DMX channel on which the manufacturer has stored ready-made, pre-programmed sequences – typically combinations of colours, gobos, prism, strobe and movement. A single channel triggers a whole effect that would otherwise have to be built from several channels. Each value range corresponds to one macro; the lowest values are usually reserved for off.

Macro speed is an additional channel that sets how fast the selected macro runs – from slow smooth transitions to rapid changes. Without it, the macro runs at a fixed speed set by the manufacturer.

While a macro is running it takes over the functions it uses, and manual values on those channels are ignored. On simpler LED fixtures the same principle is often called colour macro, i.e. ready-made colour combinations and transitions. For a precisely timed show it is better to control the individual functions separately; a macro is more suitable where there is no time or operator for programming.

A strobe is a lighting effect that emits very short, intense bursts of light in rapid succession. The flash rate (flash frequency) is given in Hz and is usually adjustable – from slow pulsing to a dense storm of flashes. In a light show it builds tension, accents intros and choruses, or creates a slow-motion effect on the dance floor.

By light source, strobes are either discharge or LED types.

Discharge strobe uses a xenon discharge tube that produces an extremely bright, sharp, cold-white flash. The best-known example is the Atomic 3000 W. It reaches the highest peak intensity, which makes it popular on large stages and at concerts. The tube is a consumable with a limited lifespan and is replaced once worn; the flash is always white.

LED strobe uses an array of LEDs. It offers lower power draw, less heat and a much longer life with no light source to replace. Many models add a colour (RGB) flash, segmentation, constant light and silent operation. The peak intensity of a single flash is lower than a discharge tube, which is not an issue in small and mid-size spaces.

In short: a discharge strobe delivers the most powerful white flash for big events, while an LED strobe favours colour, low power draw and maintenance-free operation.

The strobe dimmer controls the intensity of each flash via a DMX channel in the range 0–255.

Linear dimming changes brightness in direct proportion to the DMX value – a value of 128 corresponds to approximately 50% brightness. It is the most common type and is found on most strobes including mid-range models. Suitable for most common applications where smooth transitions are not a special concern.

Logarithmic dimming adjusts the curve to natural eye perception – the brightness change then appears smooth across the whole range without the first half appearing too dark and the second too steep. This type is found in professional devices for stage and film production.

Dimming resolution indicates the number of regulation steps. A standard 8-bit DMX channel offers 256 steps. More powerful devices allow 16-bit control (65,536 steps) using a pair of channels, where the second channel provides fine tuning. Greater resolution removes visible "steps" during slow fade-in or fade-out.

Pass-through power supply means that the light has two power connectors on the body – input (IN) and output (OUT). The power cable enters the first light through IN and continues from OUT directly to the next light in the row. The lights are thus "daisy-chained" and there is no need to run a separate power cable to each unit.

The main advantage is significant cable savings and time during setup – especially when rigging lights on a truss or structure. Instead of several separate feeds, a single supply cable to a group of lights is sufficient.

Professional stage lights use PowerCon connectors (Neutrik), which lock by turning and cannot accidentally come loose – ideal for stages and live events. More affordable lights use pass-through EURO connectors (IEC C13/C14). The principle is the same for both.

When connecting, always watch the total power consumption of all daisy-chained lights – the sum must not exceed the permitted load of the cable and fuse (typically 10–16 A).

IP (Ingress Protection) rating indicates how well a fixture is protected against ingress of solid particles and water. It is marked with two digits – the first indicates resistance to dust, the second to water.

The most common ratings are:

For outdoor events and permanent outdoor installations, a minimum of IP65 is recommended.

An LED screen (also LED display) is made in two basic versions – indoor and outdoor. LED screens of these two types differ mainly in brightness, IP rating and resistance:

Indoor screens are not designed for outdoor use – rain or dew will damage them. If the screen may come into contact with the elements, the outdoor version is always recommended.

The refresh rate is how many times per second a LED screen redraws the whole image – in hertz (Hz). Common panels run at 1,920 Hz, higher-grade ones at 3,840 Hz or more.

The difference is usually invisible to the naked eye, but a camera captures a low rate as flicker or dark bands scrolling across the image. The higher the refresh rate, the cleaner and smoother the recording, with no distracting moiré.

Choosing the refresh rate

The refresh rate is set on the sending card or video processor; the panels themselves must also support it.

An LED screen (also LED display) is built from modular panels of standard dimensions 500×500 mm or 1000×500 mm. LED screens are assembled from these panels, which are mechanically joined using integrated quick lock latches, so assembly is fast and requires no special tools. The setup can be created in almost any size – for example a 2×2 m screen built from 500×500 mm panels needs 16 panels. Complete sets in predefined dimensions are also available (e.g. 3.5×2 m, 4.5×2.5 m, 3×4 m, 5.5×3 m) including all accessories.

Connections between panels are made using the supplied power and data cables. Panel corners are protected by folding protective elements against mechanical damage.

Several structural solutions are offered for screen placement:

For storage and transport of panels, transport flight cases are used, which protect panels during transport and simplify logistics. They are available in variants for 500×500 mm and 1000×500 mm panels.

Specific hangbars, metal stands, truss systems and flight cases are available in the LED accessories section.

A hangbar is a suspension bar used to hang an LED screen from a support structure, typically a truss. It attaches to the top row of panels and spreads the weight of the whole assembly evenly, so the screen hangs stable and straight.

To the panels, a hangbar is most often connected using quick lock latches – quick-release fasteners built into the panel frame that let the bar be fitted in seconds without tools. The bar is then fixed to the truss with tube clamps (half-couplers) that clip onto the load-bearing tube and are secured with a screw. Available lengths are 0.5 m and 1 m, which can be combined according to the screen width.

An LED screen (also LED display) consists, in addition to the panels themselves, of further components needed for operation. LED screens are a modular system – each panel already has a receiver card and an internal power supply integrated from the factory. To build a working screen you need to add:

Configuration of the setup (resolution, brightness, gamma, colour calibration) is done in the free software supplied by the manufacturer. From the sender card, the signal travels to the panels through a regular network cable (Ethernet/RJ45).

For safe transport and storage, a transport flight case is used – a rugged case with internal dividers shaped exactly to the panel size. The panels are thus protected against shocks, dust and mechanical damage.

Flight cases are available for common panel sizes (500×500 mm, 1000×500 mm) and in various capacities – for example 5in1 or 6in1 versions depending on the panel count. The dividers keep individual panels separated, so they do not rub against each other and the sensitive LED surface stays protected. Any free dividers in the case can also hold accessories such as cabling, hangbar bars or a controller / processor.

The four-digit number on an LED strip gives the physical size of the SMD chip in tenths of a millimetre (length × width). For example 5050 = 5.0 × 5.0 mm, 2835 = 2.8 × 3.5 mm, 5630 = 5.6 × 3.0 mm. As a rule, a larger chip has more room for its light-emitting area, so it gives higher brightness, but also higher power draw and heat.

Most common types:

3528 / 2835 – small single-chip diodes, mostly single-colour (white or colour). 2835 is a newer, more efficient version of 3528 with better heat dissipation and higher output. The most common choice for decorative and interior lighting.

5050 – a larger package, usually with three diodes in one chip. Used mainly on RGB and RGBW strips, where colours are mixed in a single point. In single-colour form it is noticeably brighter than 2835.

5630 / 5730 – powerful single-colour chips with high brightness. Because of the higher thermal load, an aluminium profile is recommended.

So the number does not indicate quality or colour, only the size and type of chip. When choosing, it is best to watch mainly brightness (lm/m), power (W/m) and diode density (LEDs/m), not just the chip designation.

LED strips in white come in several shades that differ in colour temperature (in Kelvins).

Warm white (approx. 3000 K) – yellowish light reminiscent of an incandescent bulb. Ideal for living spaces and restaurants.

Daylight white (approx. 4000–4500 K) – neutral light close to daylight. Suitable for kitchens, bathrooms and offices.

Cool white (approx. 6000–6500 K) – bright bluish light with high luminosity. Suitable for industrial spaces, garages and shop windows.

CCT (Correlated Colour Temperature) – tunable white (3000–6000 K) – so-called dual-colour (2in1) strips with two chips at each position (warm and cool). A controller smoothly adjusts the ratio of their brightness, so any shade from warm to cool white can be set.

A CCT LED strip is a strip with an adjustable white colour temperature. Each position carries two chips, warm and cool, and a controller smoothly changes the ratio of their brightness – the shade can be shifted from warm to cool white, typically between 2700–6500 K.

It is wired with three conductors (common pole, warm white, cool white) and controlled by a CCT controller, which sets the colour temperature as well as the brightness. An ordinary single-channel dimmer changes the brightness only.

CCT strips are available as 2835 (120 LEDs/m) and COB with a density of 608 LEDs/m and a colour rendering index above 90 CRI, powered by 12 V. They suit flats, offices and restaurants – a warmer shade for the evening, a cooler one for work. The range can be found in the CCT LED strips category.

A grow plant LED strip is a strip for plants fitted with red and blue diodes. The wavelengths of 650–660 nm (red) and 450–460 nm (blue) match what plants use during photosynthesis, which is why the strip glows a characteristic purple.

The blue part supports leaf growth and compact habit, the red one flowering and fruit setting. Depending on the diode ratio, variants of 3:1, 4:1 and 5:1 (red to blue) are available, as well as a separate red or blue strip for fine-tuning the spectrum.

Typical uses:

• raising seedlings, herbs and leafy vegetables on a windowsill or in growing racks
• greenhouses, polytunnels and grow boxes with little daylight
• winter supplementary lighting for house plants in darker corners
• aquariums and terrariums with live plants
• green walls, display cases and decorative planting indoors
• plant tissue culture and horticultural or industrial seedlings

The strips have 60 SMD5050 diodes per metre, an output of 14.4 W/m, 12 V power and an IP65 rating, so they withstand damp; they can be cut in segments of 3 diodes. For a longer service life it is advisable to stick them into an aluminium profile that carries the heat away. The range can be found in the Grow plant category.

Luminous output of an LED strip is expressed in lumens (lm) per metre and indicates how much light the strip actually emits. The value lm/W (lumens per watt) then expresses efficiency – how much light the strip produces from 1 watt of input power. The higher the lm/W, the more energy-efficient the strip.

Typical values for white strips range from about 80 lm/W for common types up to over 160 lm/W for high-quality efficient strips. When comparing strips, look at lumens per metre, not just at wattage – a strip with higher power input does not necessarily emit more light if its efficiency is lower. For coloured (RGB) strips the luminous output is generally lower than for white strips at the same power input, because coloured LED chips have a lower light output.

The Colour Rendering Index (CRI, sometimes labelled Ra) indicates how faithfully a light source reproduces the colours of objects compared with a reference source – sunlight or incandescent light. The value is given on a 0–100 scale; the higher the number, the more natural the appearance of colours.

CRI < 80 – cheaper LED sources with less faithful colour rendering. Skin tones and coloured materials may appear unnatural or „washed out“.

CRI ≥ 80 – the standard for ordinary lighting of homes, offices and commercial spaces. Colours appear natural, and most people will not notice any difference compared with daylight.

CRI ≥ 90 – higher quality colour rendering. Recommended where faithful colour perception matters – clothing shops, cosmetic and hairdressing salons, galleries, restaurants, photographic and video studios.

On LED strips, the CRI value is usually given in the product's technical specification. For general lighting CRI ≥ 80 is sufficient, while for representative spaces and more demanding applications it is worth choosing strips with CRI ≥ 90 – a higher colour rendering index significantly contributes to the quality of lighting and the fidelity of colours.

LED strips can easily be adapted to the desired length – both shortened and extended.

Shortening (cutting)
Every LED strip has marked cutting points at regular intervals (usually marked with scissors or a dashed line). Cut the strip only at these places – cutting elsewhere can damage the circuit and part of the strip will stop working.

Extending (joining)
You have two options for joining two segments:

Connectors (couplers) – quick, solder-free solution. Insert the ends of the strips into the connector of the appropriate width and type (single-colour, RGB, RGBW, digital). Make sure of correct polarity and channel assignment.

Soldering – a more reliable and durable joint, suitable for permanent installations. Solder onto the contact pads with appropriate temperature (about 300–350 °C).

What to watch out for
Do not exceed the maximum recommended length for series connection (power from one end) – exceeding it causes voltage drop and LEDs at the far end will glow more weakly. For longer runs, power from both ends or in parallel from multiple sources. Always join strips of the same type, voltage (12 V / 24 V / 5 V) and technology.

An aluminium profile (often also called an Alu profile) is not technically mandatory for an LED strip, but it is recommended to use one during installation. An LED strip can be stuck directly to a surface with double-sided tape, but without a profile the LEDs dissipate heat less effectively, which shortens their lifetime and reduces light output.

Main reasons to use a profile:

– Heat dissipation. Aluminium acts as a passive heat sink and prevents overheating of LED chips. An overheated strip loses brightness, changes colour tone and ages prematurely. For higher-power strips (above approx. 14 W/m), a profile is practically essential.

– LED lifetime. Operating temperature is the main factor affecting lifetime. A strip in a profile lasts even tens of percent longer than a strip stuck directly to wood, plasterboard or plastic.

– Light diffusion. The profile is fitted with a cover (opal, milky or clear). An opal cover diffuses the light into a continuous light line and hides the individual LED dots ("dotting").

– Aesthetics and protection. The profile mechanically protects the strip from damage and dust and creates a clean, professional-looking installation.

Profiles are made as wall-mounted, recessed (milled into furniture or plasterboard), corner and walk-on versions. Without a profile the LED strip works, but it is a compromise suitable rather for short sections with low power consumption or temporary installations.

LED strips are made in various IP ratings (Ingress Protection), which indicate the strip's resistance to ingress of dust and water. The designation consists of two digits – the first indicates protection against dust, the second against water.

IP20 – no protection, only for dry interiors. Better heat dissipation and lower price.

IP65 – silicone coating on the top side, resistant to splashing water. Suitable for bathrooms, kitchens or under canopies. Cannot be submerged.

IP67 – completely enclosed in silicone, resistant to short-term immersion (up to 1 m / max. 30 minutes). For outdoor installations exposed to rain or occasional flooding.

IP68 – hermetically sealed, resistant to permanent immersion. For pools, fountains and ponds.

Tip: Higher protection means thicker silicone, which slightly reduces heat dissipation and light output – for indoor use therefore choose IP20 if conditions allow. With higher-rated strips use matching waterproof connectors, otherwise the higher protection rating loses its meaning.

A bathroom is a damp environment, so the selection of an LED strip and power supply is subject to stricter rules than in a regular living room. The key is the right combination of IP rating, safe low voltage and suitable location of the power supply.

IP rating by location:

IP20 (unprotected strip) – does not belong in a bathroom. Moisture and condensation shorten lifetime and there is a risk of short circuit.

IP65 (silicone coating) – the minimum for a bathroom. Suitable for backlighting mirrors, suspended ceilings, shelves and generally where there is no direct water spray.

IP67 (silicone tube) – resistant to temporary immersion. Recommended for shower enclosures, around bathtubs and floor strips near drains.

IP68 – fully waterproof, suitable even for pools and saunas. Usually not needed for a regular bathroom.

Power supply:

Choose a 12 V or 24 V SELV power supply with CE certification and overload and short-circuit protection. Place the power supply outside wet zones – ideally in the suspended ceiling, technical cabinet or adjacent room.

Power reserve of at least 20% – if the strip has a power consumption of 60 W, choose a power supply of at least 75 W. Power longer strips from both sides or divide them into shorter sections so that there is no brightness drop at the end.

Safety and installation:

Connection to the 230 V mains must be carried out by a person with electrical qualifications according to applicable regulations. An aluminium profile extends the strip's lifetime through heat dissipation and protects the silicone coating from degradation by moisture. Protect joints and connectors with heat-shrink tubing or silicone. The dimmer belongs outside the bathroom or in a zone out of reach of water.

Practical recommendations:

Mirror or ceiling backlight: IP65, 24 V, neutral white (4000 K) or CCT strip for adjustable temperature. Shower enclosure, around bathtub: IP67, 12 V or 24 V, in an aluminium profile with cover. Floor lighting: IP67, low-profile strip, power supply outside the bathroom.

LED strips require a constant voltage (CV) power supply – choose the correct output voltage (12 V or 24 V DC) matching your strip.

Power calculation
Multiply the strip length (m) by the power per metre (W/m) and add a 15–20% reserve. Example: 5 m × 14.4 W/m = 72 W → choose a power supply of at least 85–90 W.

Power supply IP rating
Choose according to environment: IP20 for dry interiors, IP65 for outdoor installations, IP67/IP68 for recessed or submerged applications. The power supply IP rating should match at least the IP rating of the LED strip itself.

Dimming
If you want to dim the strips, the power supply must support the appropriate protocol: TRIAC (regular wall dimmers), 0–10 V (commercial installations) or PWM (precise regulation, often combined with DMX).

Parallel (two-sided) power feed
For strips longer than approx. 5 m, voltage drop occurs – the far end glows more weakly and the colour may shift. The solution is to power the strip from both sides, or run a power cable to each 5m section separately. Never extend a strip by serially joining additional rolls one after another – always run the power cable in parallel directly from the source.

Cable cross-section
On longer runs (over approx. 5 m from source to strip), use thicker cable – minimum 1.5 mm², for high-power installations or lengths over 10 m even 2.5 mm². Cable that is too thin causes further voltage drop and heats up.

Practical calculator for cable cross-section and power supply:

LED strips can be dimmed in various ways – the dimming method depends on the type of strip:

Single-colour strips are dimmed using a PWM dimmer, available as a wall-mounted controller, remote-controlled unit or DMX module. The dimmer power must match the power consumption of the strip.

RGB / RGBW strips require an RGB(W) controller, which besides dimming also allows colour mixing. Control can be via remote, mobile app or DMX signal.

For professional installations (stages, clubs, architectural deployment), control via a DMX decoder is ideal, converting the DMX signal to PWM output and allowing precise control from a console or software.

LED strips are controlled by different controllers according to type – the choice depends on how you want to use them.

RF controllers – the simplest option with a 2.4 GHz remote. The signal passes through walls, no network needed. Suitable for basic control of single-colour, CCT and RGB/RGBW strips.

Wi-Fi controllers – control from a phone over the home network, time schedules, smart home integration (Tuya, Smart Life) and voice control (Google Assistant, Alexa). The disadvantage is dependence on working Wi-Fi.

DMX controllers – a professional solution for stage and architectural deployment. For LED strips, a DMX decoder is used to convert the DMX signal to PWM output.

How to decide: home → RF, phone and automation → Wi-Fi, professional installation → DMX decoder.

DALI (Digital Addressable Lighting Interface) is a digital communication protocol designed specifically for controlling lighting in buildings – typically in offices, shops, hotels or industrial spaces. Unlike DMX512, which comes from the world of stage lighting, DALI is designed for permanent installations with emphasis on reliability, energy savings and easy management.

A DALI dimmer receives commands from a main DALI controller via a two-wire bus. Each device has its own address (0–63) and can be controlled individually or as part of a group. Brightness is regulated logarithmically (0–100%), which corresponds to the natural perception of light by the human eye and ensures smooth dimming across the whole range.

The fundamental difference from DMX512 lies in two-way communication. DMX512 is a one-way protocol – the controller sends data and devices only listen, without any feedback. DALI, on the contrary, allows devices to report their status or notify of a fault. DMX512 works with a line of up to 512 channels and is suitable for fast synchronous control of many lights at once, typically on stage or at concerts. The DALI bus can hold up to 64 independently addressable devices, is more resistant to interference and integrates more easily into smart building systems.

A digital LED strip consists of pixels – a pixel is the smallest independently controllable light point on the strip. Each pixel has its own address and can independently shine in a different colour and brightness from the others – that is why these strips are called "addressable".

How many LED diodes make up one pixel depends on the strip voltage:

5 V strips (e.g. WS2812B) – 1 LED = 1 pixel. The control chip is integrated directly in each diode, so each can be controlled individually.

12 V strips (e.g. WS2811) – 3 LEDs = 1 pixel. Three diodes are connected in series and controlled by one common chip – they always change colour together.

24 V strips (e.g. WS2811) – 6 LEDs = 1 pixel. Six diodes form one addressable section controlled by one chip.

The more pixels per metre, the finer and smoother the light effects (running light, rainbow, music visualisation etc.). The pixel count is also an important parameter of controllers – e.g. SP611E can drive up to 600 pixels, SP608E up to 4800 pixels.

The complete range of digital LED strips 5 V, 12 V and 24 V can be found at: eshop.soh.cz/en/led-pasky-digital

An LED strip cannot be divided at an arbitrary point – the smallest independent section is always a whole group of diodes. On digital strips this is one pixel, on standard strips the shortest cuttable segment between the marked cutting points. Its length follows from the strip voltage and the diode density per metre.

How many diodes form one section: 5 V = 1 diode, 12 V = 3 diodes, 24 V = 6 diodes.

Calculation for any other density: section length (cm) = 100 ÷ diodes per metre × diodes per section. For example 126 LED/m at 24 V: 100 ÷ 126 × 6 = 4.8 cm.

When planning the length, round the value up to a whole multiple of the section – the strip may only be cut at the marked points. On COB strips the individual diodes are not visible, so the cuttable section is stated directly by the manufacturer (typically 2.5–5 cm). On dual-chip CCT and RGBW strips, the number of positions is counted rather than the total number of chips.

A digital (addressable) LED strip uses a driver chip (IC) that determines how individual pixels are controlled. While on ordinary strips the number (2835, 5050) marks the size of the light-emitting chip, on digital strips it is the type of driver circuit.

Most common types:

WS2811 – an external IC controls a group of diodes (usually 3 diodes = 1 pixel at 12 V, 6 at 24 V). Suited to longer runs at higher voltage.

WS2812 / WS2812B – the IC is built into each diode (5 V), 1 LED = 1 pixel. The most widespread RGB chip for fine effects.

WS2815 – a 12 V RGB version with a backup data line: if one diode fails, the signal carries on (with WS2812B the section after a dead diode goes dark).

SK6812 – similar to WS2812B, also available in RGBW (an added dedicated white diode) for cleaner white.

TM1814 – four-channel RGBW circuits, typically for 24 V installations.

Other widely used chips include UCS1903 and GS8208 (WS2811 equivalents), WS2813 (5 V with a backup data line), or APA102 / SK9822 (two-wire control with a clock line for a higher refresh rate).

Besides the colour model (RGB / RGBW), chips also differ in signal type – single-wire control (most types) versus two-wire with a clock (e.g. APA102), which offers a higher refresh rate for fast effects and on-camera capture. The chip type must always match the controller used.

A digital LED strip can be controlled via Art-Net – a network protocol transmitting DMX512 data over an Ethernet cable. Control software on a computer sends Art-Net data over the network, an Art-Net→SPI converter converts them to the SPI signal for digital LED strips (WS2811, WS2812B, SK6812, TM1814 etc.) and the strips respond in real time.

Advantages: uses a standard computer network, one cable carries many DMX universes at once, easy scaling using multiple converters, configuration via a web server and high refresh rate (up to 50 fps).

You need: control software with Art-Net support (e.g. Music Visualization, JINX!, MadMapper), an Art-Net→SPI converter, digital LED strips, an Ethernet cable and a power supply with sufficient capacity.

LED Flex Neon (also neon flex, neon strip or silicone tube) is an LED strip embedded in a soft silicone tube that evenly diffuses the light into a continuous glowing line – without visible dots of individual diodes. The resulting effect resembles classic glass neon, but with a fraction of the energy consumption and without the risk of breakage.

How it differs from a classic LED strip

• Light appearance – a classic strip glows as a row of dots; Flex Neon creates a full glowing line. This neon effect is ideal for light signs and lettering.
• IP rating – the silicone tube provides IP67 (resistance to dust and rain), suitable for outdoor installations: facades, light signs, architectural lighting.
• Power feed length from one end – thanks to solid wires inside the tube, the RGB version can be powered up to 10–15 m from one point (a classic strip is usually limited to 5 m).
• Mechanical resistance – the silicone tube protects the strip from impacts and moisture.
• Cuttability – like a classic strip, Flex Neon can be cut in segments, usually every 3 diodes (5 cm).

The SOH range offers Flex Neon (also Flexi Neon) in single-colour (cool/warm white, CCT), RGB, RGBW and digital (addressable WS2811/WS2812 chips) versions, 12 V or 24 V power supply.

Top view vs. side view – lighting direction

The lighting direction determines from which side light exits the tube and fundamentally affects the resulting appearance of the installation.

• Top view (light from the flat side) – light exits through the wider flat wall of the tube. Viewed from the front it appears as a solid glowing line. It bends sideways (in the plane of the diffuser) – that is, left and right. The most common choice for signs, logos and letters mounted on a wall.
• Side view (light from the side edge) – light exits through the narrow side wall. Viewed from the front you see a thin glowing line. It bends up and down. Suitable for installations visible from the side: underlit staircases, shelf lighting, architectural elements.

Simple rule: top view bends left/right, side view bends up/down. First determine the angle from which the installation will be seen – and only then choose the type. The round tube (diameter 20 mm) is an exception – it bends in all directions (360°) and is suitable for spatial installations.

Minimum bend radii

The smallest safe bend depends mainly on the tube cross-section. The thinner the tube, the smaller the radius it can handle:

The values shown are minimum recommended radii for permanent or repeatedly stressed installation. A one-time bend during assembly is usually possible to a slightly smaller radius, but long-term functionality is not guaranteed.

How to shape Flex Neon – practical procedure

1. Plan the shape in advance – sketch the curves on paper or directly on the mounting base and measure their radii.
2. Bend slowly and evenly, without sudden kinks. For larger cross-sections, brief heating with a heat gun (about 60 °C) makes shaping easier.
3. Fix the resulting shape with cable ties, clamps or mounting profiles so that the tube does not return to its original position.
4. Check that no curve exceeds the minimum radius – over-bending causes permanent deformation of the tube or damage to the strip's PCB inside.

LED modules are small, self-contained light segments – a tiny PCB usually carrying 3 SMD LEDs, typically resin-potted, wired together into a chain of any length. Unlike a continuous LED strip, a module is a rigid point of light that can be placed exactly where needed – even across an area a strip cannot cover.

Main use – illuminated advertising

The most common use of modules is making illuminated signs and light boxes: backlighting 3D plastic letters, light advertising, lightboxes, totems and backlit logos. Modules are stuck with their adhesive backing inside a letter or box and light the whole surface evenly. They closely complement LED Flex Neon: neon flex draws the continuous glowing outline (contours, lines, decorative strokes), while modules fill and backlight the surface inside. Together they form the basis of modern illuminated advertising.

Two types in the SOH range

By control method we offer two module lines:

• Standard LED modules (LED modules) – the equivalent of a classic LED strip. The whole run glows in one colour (an RGB run switches colour all at once). Controlled like a normal strip: switch, dimmer or RGB controller.
• Digital (addressable) LED modules (Digital modules) – each module is an independent pixel controlled separately. They allow animations, chasing light, transitions and pixel mapping. Driven by a digital (SPI) controller.

Chip and diode types

• SMD 5050 – a versatile 5×5 mm chip; on RGB it holds three colours (R+G+B) in one package. The most common choice for colour and RGB modules.
• SMD 2835 and 5630 – high-efficiency white chips (high lm/W), typically for white modules.
• COB – densely packed chips under a shared phosphor, a continuous light with no visible dots.
• Branded Samsung chips (2835, 5630) with a lens/optics – higher output, longer life and up to a 3-year warranty.
• WS2811 / WS2812B (digital) – WS2811 is an external driver IC controlling a module as one pixel; on the WS2812B the IC is built into each diode.

Design and construction

• Potted (waterproof) – PCB in resin, rating IP65 to IP68, suitable for outdoor signs, facades and damp environments.
• With optics / lens – widen the beam angle, so fewer pieces are needed to light a surface.
• Flat vs. lensed – flat for thin boxes, lensed for deeper letters.
• Milky (diffused) cover on digital modules – softens and evenly spreads each pixel's light.

Colours and white temperatures

• RGB (and RGBW) – full colour, colour mixing; digital versions add independent control of each point.
• White – warm around 3000 K, daylight / natural around 4000 K, cool around 6000 K, and on some chips up to 8700 K.

Power and control

Standard modules run on DC, usually 12 V, digital ones on 5 V or 12 V. You always need a power supply of the matching voltage and rating, and on longer runs it is worth allowing for voltage drop (feed from both ends). Digital modules also require a digital (SPI) controller, while standard ones work with an ordinary dimmer or RGB controller.

How to choose: for a sign that should glow in one colour or recolour as a whole, choose standard modules; if the advertising should "come alive" with animation or chasing light, choose digital modules. For the outline and contour, ideally add LED Flex Neon.

When selecting a fog machine, its power input (W) is key – the higher, the more fog the machine produces. Indicative recommendations:

Small spaces (rehearsal rooms, small bars, home parties up to approx. 50 m²):
Compact fog machine 400–900 W. Lightweight, easily portable, fully sufficient for smaller rooms.

Medium spaces (clubs, smaller halls, stages 50–200 m²):
Fog machine 1,000–1,500 W. Faster filling of the space and shorter heating time between cycles.

Large spaces (concert halls, outdoor events, theatres over 200 m²):
Professional fog machine 1,500 W and more, possibly a combination of multiple machines. For outdoor use, count on higher fluid consumption due to wind.

Heat-up and continuous operation: During heavy fogging a standard fog machine gradually cools – the heat exchanger loses temperature, output briefly drops and the machine needs a short reheat pause (usually a few minutes). For uninterrupted fog, a continuous-heating ("non-stop" / continuous-output) machine keeps the output going without forced pauses.

Tip: For a fine haze highlighting light beams (lasers, moving heads), consider a hazer instead of a fog machine – more in the question "What is the difference between a fog machine and a hazer?"

Not sure of your choice? Write to us at eshop@soh.cz or call +420 272 272 500.

CFT/min (Cubic Feet per Minute) indicates the volume of fog or haze the device produces in one minute, measured in cubic feet. The higher the value, the more fog the machine delivers into the space in the same time.

This parameter is useful for comparing the output of individual fog machines and hazers. As a guide: compact fog machines for small spaces reach about 3,000–5,000 CFT/min, mid-power models 5,000–10,000 CFT/min and professional machines for large halls and outdoor use 10,000 CFT/min and more.

A fog machine can be triggered in several ways, depending on how precisely you want to control the fog:

• Button on the unit – the simplest manual trigger; fog runs while the button is held. Good for a quick effect with no extra gear.
• Remote control (wired or wireless) – usually included; lets you trigger the fog from a distance, and better models also set the interval and output.
• Timer / interval – the machine releases fog automatically at set intervals. Ideal for continuous haze with no operator.
• DMX – integrates the fog machine into a light show and controls it from a console together with the other effects. The best choice when the fog should react to specific moments of the program.

For a home party a button or remote is usually enough; for unattended operation use the timer; for sync with a light show use DMX.

We offer fluids from the Czech brand Smartfluids on a water base, health-safe, without colourants or fragrances – thanks to this they do not clog nozzles or the heat exchanger. They differ in fog density and dispersion time:

Standard Medium – medium density, longer dispersion. The most universal choice for clubs and smaller events where you want to highlight light and laser effects without overly shrouding the scene.

Standard Heavy – high density, long dispersion. A dense white cloud that stays in the space significantly longer. Suitable for large halls and outdoor events.

Fast Fog (CO2 effect) – dense fog with very fast dispersion (about 20 seconds). Simulates a CO2 geyser effect – a massive column of fog that disappears quickly. Developed for vertical (geyser) fog machines, but also works in classic ones. Ideal for concerts and DJ stages without the need for heavy and expensive CO2 cylinders.

How long does a fill last? Consumption depends mainly on the machine's output and the fogging intensity. With short bursts a fill can last across several events, while continuous fogging at full output uses it up much faster. A light, continuous haze is therefore more economical than a solid, dense curtain.

In fog machines you must use only special fog fluids designed for this type of device. They are produced on the basis of a mixture of water and propylene glycol or ethylene glycol and, when heated in the heat exchanger, create safe, even fog.

Using other liquids (water, oils, perfumes, home-made mixtures etc.) can damage the heat exchanger and pump, create health-hazardous fumes and means the device warranty is voided.

Always use the fluid recommended by the fog machine manufacturer. If you are unsure of your choice, we are happy to advise.

Low fog (ground fog) is an effect where the fog stays close to the floor instead of rising – but an ordinary fog machine will not create it; the fog has to be cooled, or a dedicated machine used. The principle is cooling: cold fog is denser than the surrounding air, so it sinks to the ground, whereas the warm fog from an ordinary fogger rises to the ceiling.

A low-fog machine passes the fog through a cooling chamber (ice, dry ice or a built-in cooling circuit); the chilled fog leaves low and hugs the floor. Suitable for a repeatable, reliable ground effect.

Dry ice (solid CO2) dropped into hot water creates a dense cloud at ground level – a striking but short-lived effect that is more demanding to operate. Pressurised CO2 effect machines are covered in a separate question.

For a lasting effect a low-fog machine is recommended; for a one-off cloud dry ice is enough.

The fluid used is a pressurised cylinder of liquid CO2. These are standard CO2 cylinders designed for CO2 jets, CO2 guns, confetti shooters and cryogenic effects. CO2 cylinders can be obtained from suppliers of technical gases or beer tap equipment sellers, where the same cylinders are used for beer dispensing. The cylinders can be either purchased or rented and continuously refilled.

Regular cleaning of a fog machine extends its lifetime and maintains consistent output – deposits from the fluid are the main cause of clogged nozzles and damage to the pump or heating element.

How often to clean:

After about 40 hours of operation or at least once every 2–3 months with normal use. Before longer storage (end of season, storage over 2 weeks) – residual fluid in the heating element crystallises and forms deposits. Hazers (with oil-based fluid) have longer service intervals, usually once a year according to the manufacturer's manual.

Cleaning procedure:

1. Empty the tank and fill it with distilled water (or with the manufacturer's service concentrate).
2. Heat up the fog machine and run short bursts of fog until the tank is empty.
3. Let the last burst run until no more fog comes out of the nozzle – no fluid must remain in the heating element.
4. After cooling, wipe the nozzle with a soft cloth.

What not to use:

Tap water – limescale will clog the heating element. Alcohol, vinegar or cleaning agents – they damage seals and the pump. Foreign brand fluids – always use the fluid recommended by the fog machine manufacturer.

Yes, a fog machine can trigger a fire alarm – one of the most common problems at events in hotels, clubs and halls with electronic fire alarm systems. The risk depends on the type of detector.

Detector types:

• Optical (photoelectric) – the most common type in current installations. Glycol fog and hazer haze scatter light in the same way as smoke – they react very sensitively to stage fog and will almost certainly trigger an alarm.
• Ionisation – less responsive to glycol fog, but not reliably so. They are practically no longer installed in the Czech Republic today.
• Aspirating (VESDA etc.) – the most sensitive type, they react even to very thin haze.
• Heat – they react only to temperature, they do not react to fog.

Recommended procedure:

1. Contact the venue manager in advance and find out the type of installed detectors.
2. Arrange temporary disconnection of the fire alarm system in the given zone – performed only by the manager or service technician, never by yourselves.
3. Provide a backup fire watch for the duration of the disconnection.
4. Choose the right type of machine – a hazer produces a finer haze and is less problematic for detectors than a classic fogger.
5. Do not aim the machine output at the ceiling, where the detectors are.

Who is responsible for using a fog machine? Responsibility for deploying a fog machine at an event lies always with the person who uses the machine – the organiser, technician or venue lessee. As a seller, we unfortunately cannot influence in what environment and under what conditions the machine will be used. Arrangements with the venue manager regarding the use of a fog machine are always the responsibility of the user. We recommend not leaving the agreement with the venue to the last minute.

Warming up and cooling down the laser is determined by the thermal sensitivity of laser diodes. Before a show, it is recommended to switch the laser on a few minutes in advance so that the diodes reach their operating temperature and emit stable output power and colour. During operation, avoid long static beams on a single spot, alternate patterns and colours, and after longer blocks insert a short pause when the laser runs without emission – the diodes and optics can then partially cool down. After the event has ended, let the unit run for a while longer with active cooling and switch it off only after it has cooled – disconnecting it from the mains while still hot shortens the diode lifespan.

kpps (kilo-points per second) indicates how many points per second the galvanometer scanner inside the laser is able to display. The scanner is a fast-moving small mirror that deflects the laser beam – the higher the kpps value, the smoother and more detailed the projection of patterns, figures and animations.

Indicative kpps values:

Up to 15 kpps – entry-level show lasers, suitable for simple beam effects and basic patterns. Complex graphic patterns may flicker.

15–20 kpps – mid-class lasers for clubs and smaller events. Smooth projection of most patterns.

25–30 kpps and more – professional lasers for large events and graphic projections. Smooth display of complex animations, text and detailed graphics.

The kpps value is always quoted at the ILDA standard angle (8°).

A galvo scanner (galvanometer scanner) is the heart of every show laser – it is the system of two small precise mirrors driven by fast galvanometric motors that deflect the laser beam in the X and Y axes. It is thanks to the galvo scanner that the laser can "draw" lines, shapes and complex animations in the air at very high speed.

The performance of the galvo scanner is indicated in kpps and determines how detailed and smooth the projected patterns will be. The mirrors are extremely sensitive to mechanical damage and dust contamination – even a small fingerprint or dust particle reduces the reflection efficiency and degrades projection quality.

Maintenance: never touch the mirrors directly with your hands. For dust removal, use compressed air or a soft brush. Heavier contamination can be cleaned with isopropyl alcohol (IPA) on a microfibre cloth, never with regular wipes that could scratch the surface.

Show lasers usually offer several control modes that allow them to be deployed both for simple performances and for fully professional events:

Auto mode – the laser plays pre-programmed effects automatically without any external control. Simply switch on and the laser plays the built-in patterns. Suitable for clubs and discos where there is no operator.

Sound Active mode – the laser reacts to music via a built-in microphone. Effects change in time with the rhythm and dynamics of the music. Suitable for small events and parties.

DMX mode – the laser is controlled via the DMX512 protocol from an external console or PC. The operator can control individual functions (colour, pattern, speed, position, scanner movement) – the standard for professional deployment.

ILDA mode – full-fledged control of laser graphics from a computer with specialised software. Allows projection of custom animations, texts, logos and complex graphic patterns. Used for laser shows, light shows and graphic projections.

Most professional lasers combine all these modes – the user chooses the one that suits the given event.

TTL (Transistor-Transistor Logic) is a basic way of digital control where the laser diode has only two states – ON or OFF. There is no smooth output regulation, only switching on and off. Cheaper lasers with TTL control therefore offer only fixed colours (red, green, blue and their combinations).

PWM (Pulse Width Modulation) is a method of regulating the average diode output by rapid switching on and off with variable pulse duration. At high switching frequency, the eye perceives the result as smoothly variable brightness. PWM modulation thus enables smooth dimming and mixing of intermediate colour shades even with TTL diodes.

For show lasers, PWM modulation in the kpps range is usually used – the higher the kpps value of the laser, the faster the switching and the finer the resulting modulation.

The way show laser colours are controlled determines how many shades the laser can display.

TTL control – each laser diode has only two states (on / off). With an RGB laser, this means 7 fixed colours: red, green, blue, yellow (R+G), magenta (R+B), cyan (G+B) and white (R+G+B). Cheaper lasers and entry-level models for clubs and discos.

Analog control – the output of each diode can be set smoothly across the full range. From the basic RGB combination, virtually any colour shade can be mixed – pastel pinks, oranges, turquoise, salmon, including smooth colour transitions. The standard in professional lasers for graphic projections and laser shows.

For laser graphics, animations, photo projections and demanding shows, analog control is essential – only it enables realistic rendering of complex colour palettes.

A laser DAC (Digital-to-Analog Converter) is a hardware interface between a computer and a projector. It converts data from laser control software into the analog ILDA signal that the projector itself understands.

When choosing, three things are usually ideal as a starting point: the software that will be used, the interface between the DAC and the computer (USB, Ethernet) and the transfer rate in kpps. Some DACs are tied to specific software (e.g. Pangolin QS, Beyond etc.), others work with multiple programs. The input side of the laser is always a standard ILDA connector, so the connection to the projector is the same for all DACs.

ILDA (International Laser Display Association) is the standard interface for connecting show lasers to control hardware. It uses a 25-pin DB-25 connector and analogue signals to control the position of the X and Y galvo scanner mirrors, beam intensity and individual laser colours.

The ILDA interface allows precise control of laser graphics – projection of complex animations, text, logos and detailed patterns. Unlike DMX, which has limited resolution, the analogue ILDA signal offers virtually unlimited precision and smoothness of movement.

To control an ILDA laser, a DAC (Digital-to-Analog Converter) is needed – a converter from PC to ILDA signal. The most widely used DACs include Pangolin FB3/FB4, Phoenix USB Box and Helios DAC. The computer with specialised ILDA software (see below) communicates with the DAC, which converts the digital signal to analogue ILDA.

Show lasers with an ILDA interface can be daisy-chained – the signal is fed into the first laser via ILDA IN, then continues via ILDA OUT to the next laser, etc.

For controlling show lasers via the ILDA interface, there are several professional and semi-professional software solutions:

Pangolin QuickShow / BEYOND – the world standard in laser show software. QuickShow is intended for clubs and smaller events, BEYOND for professional show productions. Requires hardware FB3 or FB4 (Pangolin DAC).

Phoenix LIVE / Phoenix 3 LIVE – popular software with intuitive interface and rich library of effects. Phoenix LIVE is the basic version, Phoenix 3 LIVE the advanced version with extended functions. Owners of versions 1–3 get a free upgrade to version 4.

Laserworld Showeditor – software supplied with Laserworld lasers. It works with the USB Box or ShowNET interface (Ethernet) and offers complete tools for laser show creation.

iShow V3.0 – entry-level Chinese software supplied with cheaper show lasers. Includes basic effects and animations, suitable for beginners.

The choice of software depends on the type of DAC the laser is equipped with – the hardware and software must match.

The designation 3in1 laser means that instead of three separate diodes (red, green and blue) the laser uses a single compact module in which all three colour sources are combined into a shared optical assembly and exit from a single aperture. As a result, the individual colour beams overlap perfectly (a so-called collinear beam), so mixed colours and white are purer, the trace is thinner, and the entire module is significantly smaller and lighter than a conventional solution with a separate RGB module. This design also simplifies the overall maintenance of the laser.

For the higher-power models in our range the internal space is additionally divided into three separate chambers – one houses the optics and the laser module itself and is sealed against dust ingress, the second is dedicated to active cooling with fans that maintain optimal operating temperature, and the third is for the power electronics. This separated layout increases operational reliability and extends the lifespan of the laser module.

On eshop.soh.cz you will find 3in1 RGB lasers in a power range from a 1 W model up to the most powerful 20 W laser. All are equipped with ILDA and DMX interfaces.

An animation laser (sometimes also called a graphic or show laser) can use fast deflection galvo scanners to draw shapes, logos, animations and text in space. The key parameter is kpps (scanning speed) and support for the ILDA interface, through which the laser is connected to a computer running control software. In our range, animation lasers are typically 3in1 RGB modules with full-colour mixing and power output from single units to tens of watts.

A beam laser has a simpler design – it creates dramatic beam fans using a fixed diffraction grating, rotating mirrors or a small set of simple scanners. The result is fans, clouds or surface effects that stand out in a smoky space. Control is by sound, auto mode or via DMX512. In our range you will also find „ecoline“ lasers – affordable models for DJs, clubs, small events and home use, mostly with output ranging from tens of mW up to around 1 W.

How to choose? If you want to project logos, text or animations and have a computer with ILDA software available, choose an animation laser. If you only need an effective beam atmosphere in the space and pre-programmed modes are enough, a beam laser is a significantly more affordable choice.

A laser safety class describes how strongly the beam affects the eyes and sets the rules for safe operation accordingly. It is based on power, wavelength and the way the beam is emitted. With stage and effect lasers you will come across three higher classes:

Class 3R – it is best to avoid looking directly into the source, but a brief accidental exposure usually leaves no lasting effects. This covers weaker effect and beam lasers.

Class 3B – do not look directly into the beam or at its mirror reflection; a diffuse reflection from a matte surface is usually harmless. A key switch and interlock are used for this class.

Class 4 – the most powerful lasers, where care is needed with the direct beam as well as mirror and diffuse reflections. Most professional show lasers fall into this class. Operation is therefore secured with a key switch, an interlock, defined safety zones and a trained operator.

Aiming a show laser into spaces where people are located (the so-called audience scanning effect) is strictly regulated. Show lasers fall into safety classes 3R, 3B and 4 according to applicable regulations.

Basic rules:

The beam must not strike directly into people's eyes below the safe energy density limit. For most commonly used show lasers (especially class 3B and 4), beams aimed directly into people are dangerous and can cause permanent eye damage even in milliseconds.

Minimum installation height above audience: the show laser must be installed so that the beam passes at least 3 metres above the floor where audience members are located. This eliminates the risk of beams striking eyes when people raise their hands or stand on chairs/elevated surfaces.

Class 1M / 2M / 3R – with appropriate scanning speed and divergence, controlled deployment into audience spaces is possible.

Class 3B and 4 – deployment into spaces with audience requires safety measures (beam termination, output limitation, technical documentation) and the presence of a trained laser safety operator.

Always follow the manufacturer's instructions and applicable safety regulations. For larger events, we recommend consulting a specialist on laser safety.

Interlock and key switch are two basic safety elements that every show laser of class 3B and 4 must be equipped with according to applicable regulations.

Interlock is a circuit connector (most often a 3.5 mm jack or a special connector at the back of the device). When the interlock plug is plugged in, the laser is enabled; when removed, the laser is immediately shut off – the beam is interrupted. The interlock is used to connect external safety switches: emergency stop buttons (E-stop), door magnetic contacts (the laser switches off when the technical room door is opened) or motion sensors. Some lasers come without the interlock plug – in that case the connector must be bridged with a bypass jack, otherwise the laser will not turn on.

The key switch is a turn switch operated with a physical key. The laser turns on only when the key is inserted in the lock and turned to the ON position. The key is non-removable in the ON position – the operator therefore cannot leave it stuck in the unattended device. Removing the key from the OFF position prevents unauthorised launch by an untrained person.

Both elements are mandatory parts of class 3B and 4 lasers according to international safety standards. Their failure or bypassing is a serious safety violation and exposes the operator to legal risks.

A 3D truss model is available for free in the truss 3D model library – straight sections, corners, arcs, masts, bases, stands and T-bars. The models come in two profiles: T29 (square, 290 × 290 mm) and DECO (triangular, 210 × 183 mm), which matches the deco trusses in the e-shop range.

The models are available as .glb (metres, Y axis up, glTF 2.0) and .3ds (millimetres, Z axis up) – worth keeping in mind on import. They are used in Blender, in visualizers and in MVR scenes. These are simplified visualization models for planning and teaching; structural calculations and rigging always follow the manufacturer documentation.

A complete 3D scene with the structure and fixtures is generated by the MVR scene generator and the result is shown in the 3D Stage Visualizer, which renders the scene in real time from live DMX data (Art-Net/sACN).

A moving head is hung on a truss using an omega clamp, which is screwed onto the underside of the light and then snapped onto the truss tube. The clamp screw is tightened firmly but reasonably – a standard torque is enough to prevent the clamp from slipping on the truss. Always check that the truss is dimensioned for the weight of the light and that the structure itself is safely anchored.

The second important element is the safety wire – a steel wire with a loop and carabiner, which is threaded through the designated opening on the body of the light and clipped around the truss. It serves as a safeguard in case the omega clamp fails or the screw loosens. The wire must have a load capacity corresponding to at least ten times the weight of the light and must not be too long – in case of a fall, the light must not gain great speed before the wire catches it. In professional installations, the safety wire is mandatory under applicable regulations and is checked before each use (no broken strands, corrosion, deformed carabiner).

The total load of the truss is calculated as the sum of the weight of all suspended lights, cabling, interconnecting cables and clamps. A safety reserve (typically around 50 %) should be added, so the final load should not exceed roughly half of the truss load capacity stated by the manufacturer. It is also important to distribute the load evenly and to observe the maximum point load and the load per metre of truss or deco truss length.

A clamp (hook, bracket) is a metal fixture used to attach a light or other equipment to a truss, deco truss or pipe. The most common types are G-clamps (a universal G-shaped clamp tightened with a wing nut, suitable for most reflectors and moving heads), half-couplers (half-clamps for fixed mounting on a tube or truss with high load capacity, suitable for heavier equipment) and quick-release clamps (quick-release fixtures for frequent repositioning, ideal for mobile applications).

When choosing, it is advisable to consider the load capacity of the clamp and the diameter of the truss tube or profile. A safety wire is recommended as secondary securing. For deco truss with thinner profiles, choosing a clamp of the corresponding size is appropriate.

Storage and transport of lighting equipment (cases, optics protection, transport) significantly affects its service life – the most sensitive parts are optical elements (lenses, mirrors, gobos, laser diodes), moving mechanisms and electronics. For regular transport, flight cases with shaped foam, or padded covers, are recommended; for moving heads it is advisable to engage the tilt/pan lock before transport and to let the discharge lamp cool down. Foggers and hazers are transported with an empty tank and a flushed heating element.

Optics should be protected from dust and fingerprints, on lasers especially the output window. Equipment should be stored in a dry environment with a stable temperature; after transport from the cold it is advisable to let the device acclimatise before switching on, to prevent condensation inside.

A PA speaker (Public Address) is tuned for amplifying sound to an audience – it has higher output, a wider dispersion angle, and a frequency response adjusted so that the sound carries well into a large space. The emphasis is on maximum sound pressure level (SPL), endurance during long operation and intelligibility within a mix.

A studio monitor, by contrast, is designed for accurate and neutral listening at short distance, typically 1 to 2 metres in a control room. The frequency response is as linear as possible and the dispersion is narrower, so that as few reflections from the walls as possible reach the listening position. The aim is not to embellish the sound, but to honestly show the details of the recording – therefore monitors are suitable for mixing and mastering, while a PA speaker is more suitable for amplifying an event.

Speaker output is chosen according to the size of the space to be amplified and the number of listeners. It is given in RMS (Root Mean Square) – the average continuous output that the speaker withstands in long-term operation, as opposed to marketing values such as „peak“ or „PMPO“. As a rough guide, for a small space of up to 50 people a pair of 8" or 10" speakers around 300–500 W RMS is sufficient; for a medium space of up to 200 people a pair of 12" or 15" speakers with output of 700–1000 W RMS complemented by a subwoofer; and for large events with over 300 people, sets of 15" speakers from 1000 W RMS upwards with two subwoofers, or a line array.

More important than the output itself is the maximum sound pressure level (SPL) – it indicates how loud the speaker actually plays. Values around 125 dB are sufficient for ordinary events; professional speakers reach 130 dB and more. It is recommended to choose with some reserve – a speaker operated to half of its output sounds cleaner and lasts longer than an overloaded smaller unit.

A subwoofer is a speaker specialised in reproducing the lowest frequencies, typically in the range of about 30–120 Hz. It complements the main speakers (so-called satellites) where a common full-range box no longer has enough pressure in the bass – with electronic music, film effects or larger events. The human ear, moreover, cannot localise bass frequencies spatially, so usually one subwoofer in the centre of the stage is enough, or possibly two for higher output and more even coverage. The boundary between the satellites and the subwoofer is called the crossover (dividing frequency) and is usually set around 80–120 Hz.

In an active system, each box has its own amplifier – the subwoofer is connected from the mixer with a signal cable (XLR), and from its „high-pass“ or „satellite out“ output the signal then continues to the satellites, from which the subwoofer removes the low frequencies. In a passive system, the crossover is external (e.g. in the amplifier or in a separate DSP processor), which splits the signal into a bass channel for the subwoofer and a mid/high channel for the satellites; each branch then runs to its own amplifier and from there via speaker cable into the speakers.

A Class D amplifier is a modern digital amplifier that achieves efficiency of 85–95% – that is, it converts most of the input power into acoustic output and only a small part into heat. By contrast, the older Class AB has an efficiency of only 50–65% – the rest is dissipated as heat through massive heatsinks.

Practical consequences for active speaker boxes:

• Lower weight – Class D needs significantly smaller heatsinks and a smaller power supply.
• Less heating – the speaker box can be used longer at full output without thermal protection cutting in.
• Lower energy consumption – especially noticeable for outdoor events powered from a generator.
• Higher output per kilogram – modern Class D amplifiers reach hundreds to thousands of watts in a compact housing.

Sound quality of modern Class D amplifiers fully matches the older Class AB and in many parameters surpasses it – today this is the standard in active stage speakers.

A DSP processor (Digital Signal Processor) in an active speaker box is a digital module that processes the audio signal in real time before it reaches the amplifier. Its main task is to ensure clean sound and protect the speakers in the box.

Main DSP functions:

• Crossover – splits the signal between bass, midrange and high-frequency speakers at precisely defined frequencies.
• Equaliser (EQ) – tunes the frequency response of the speaker box for optimal sound across the whole spectrum.
• Time alignment – aligns the sound coming from individual speakers in time so that bass, midrange and treble reach the listener's ear at the same moment.
• Limiter – protects the speakers from overload and damage at high volume.
• Preset modes – allows switching the speaker box's character to different applications (front of house, monitor, subwoofer etc.).

Some advanced models (e.g. F15P with RS485) allow remote configuration of DSP and monitoring of the speaker box status from a computer or mobile device.

A line array is a sound reinforcement system composed of a large number of speakers stacked vertically, which together form a single curved column. Thanks to the mutual acoustic interaction of the individual modules, a narrowly directed sound beam is created, which spreads widely in the horizontal plane but remains focused in the vertical plane – this allows even coverage of the auditorium even at long distances, while at the same time reducing reflections from the ceiling and floor.

A typical setup consists of mid/high modules (often with 2× or 3× tweeter and several midrange speakers), subwoofers for the low band and, in active systems, integrated Class D amplification with a DSP processor. Passive variants are powered from external power amplifiers. A line array is recommended where there is a need to amplify a larger space well – halls, festivals, concerts, conferences – because, compared with ordinary speakers, it achieves significantly greater range, better intelligibility and more even coverage of the audience.

Speakon is a lockable loudspeaker connector for connecting passive speakers to a power amplifier. Compared with a 6.3 mm jack or bare terminals it has a snap-in lock that secures the connection against accidental disconnection, can carry high power and protects against accidental contact with live conductors. It is found on passive speakers, power amplifiers and speaker cables; two-pole and four-pole variants for transmitting one or two channels are common.

A mixing console is chosen according to the number of sound sources, the type of event and the way it will be operated. The key parameters are the number of channels, the availability of AUX outputs for monitors and the choice between an analog and a digital design.

Small club and smaller events up to about 50 people – an analog console with 6 to 12 channels and built-in effects (reverb, delay) is enough. This category is affordable and intuitive to operate – all controls are right at hand.

Concert stage, larger events and theatre – a digital console with 16 or more channels is suitable. Digital consoles offer scenes (saving the entire mix setup), advanced effects, dynamics, parametric EQ on every channel and remote control via tablet or laptop over Wi-Fi.

DJ and mobile PA – for a DJ, a dedicated DJ mixer with 2 to 4 channels, phono inputs (for turntables) and a crossfader is enough. For a mobile DJ who occasionally also amplifies speech, a versatile 8–12 channel console is a good fit.

The number of AUX (Aux Send) outputs matters especially for live events – each AUX sends a separate mix to a stage monitor, so a band with three monitors needs at least 3 AUX. On digital consoles AUX can be assigned flexibly, while on analog ones the number is fixed.

Microphones are sound sensors that convert an acoustic signal into an electrical one. When choosing a handheld, lavalier, headset or wireless microphone, it is useful to know the basic terms.

Pickup principle:

• Dynamic microphone – coil in a magnetic field, no power needed, handles high sound pressure well. Suitable for live performance and vocals (e.g. PM03, I-58).
• Condenser microphone – capacitive sensor with higher sensitivity and wider frequency range, requires phantom power +48 V or battery power. Used in the studio, on headset and lavalier microphones.
• Electret microphone – a variant of the condenser with a permanently charged diaphragm, common on headset and lavalier types, requires only 1.5–9 V power.

Polar pattern (from which directions the microphone picks up):

• Omnidirectional – picks up evenly from all sides, suitable for conference and lavalier microphones.
• Cardioid – picks up mainly from the front, suppresses sound from behind (heart-shaped pattern). The most common type for vocals, reduces feedback from monitors.
• Supercardioid / hypercardioid – narrower front lobe, greater side rejection, suitable for noisy stages.
• Bidirectional (figure-of-eight) – picks up from front and back, suppresses the sides.
• Microphone capsule – interchangeable capsule with a diaphragm that determines the polar pattern and sound. On professional systems (e.g. Shure SLXD), the capsule can be swapped for another type (SM58, Beta 58, Beta 87A).

Construction types:

• Handheld microphone – the classic stage handheld, usually dynamic.
• Lavalier microphone – miniature clip-on, used in television, at conferences and in theatre.
• Headset microphone – mounted on a light holder over the head, hands remain free.
• Hanging (overhead) microphone – suspended above a speaker or choir.
• Instrument microphone – adapted to pick up musical instruments, often with a clip.
• Conference microphone – desktop type on a flexible gooseneck or a desktop wireless transmitter.

Wireless transmission:

• VHF / UHF – VHF (30–300 MHz) is cheaper and more susceptible to interference; UHF (300 MHz–3 GHz) is the professional standard. In the Czech Republic, bands around 470–790 MHz are most commonly used (e.g. G59 = 470–514 MHz).
• Digital vs. analog transmission – digital systems (e.g. Shure SLXD) offer better sound, encryption and more stable transmission; analog systems are cheaper.
• Diversity / True Diversity – a receiver with two antennas, or two full receivers, automatically selecting the stronger signal and reducing dropouts.
• Bodypack (pocket transmitter) – a small transmitter worn on the belt, to which a lavalier, headset or instrument microphone is connected.

Tuning the frequency between transmitter and receiver: The transmitter and receiver must operate on the same frequency. On analog sets, the frequency is either fixed or switchable within several channels. On digital systems, the receiver runs a scan of free frequencies (Scan function), the cleanest channel is selected, and the transmitter is then tuned either manually or via the infrared port (IR Sync) by bringing it close to the receiver. When using several sets simultaneously, it is necessary to choose compatible frequencies from the manufacturer's so-called compatible frequency list, so that they do not interfere with each other.

Other useful terms:

• Phantom power (+48 V) – DC power for condenser microphones, sent over the XLR cable.
• Frequency range – range of frequencies picked up (e.g. 50 Hz – 16 kHz), wider range = more faithful reproduction.
• Sensitivity – how strong a signal the microphone produces at a given sound pressure (mV/Pa or dB).
• SPL (Sound Pressure Level) – maximum sound pressure without distortion.
• Pop filter / windscreen – a cover that suppresses sibilants and bursts of air.
• XLR connector – three-pin balanced connector, resistant to interference.
• TRS / 6.3 mm jack – connector for instrument inputs and some bodypacks.
• Mini-XLR (TA3, TA4) – small connectors for connecting lavalier and headset microphones to a bodypack (Shure uses TQG/TA4F).

Phantom power is a DC voltage (most often 48 V) that the mixing console or preamplifier sends along the audio cable to the microphone. It powers condenser microphones and active DI boxes, which need their own source of energy.

Dynamic microphones do not need it, and with ribbon microphones it should be switched on only if the manufacturer explicitly permits it – otherwise the ribbon may be damaged.

It is recommended to switch phantom power on only after the microphone is connected and with the faders down, so that connecting is not accompanied by a pop; when disconnecting, proceed in the reverse order.

A wireless microphone transmits sound by radio signal between a transmitter at the microphone and a receiver at the console. When choosing one, the main considerations are the frequency band, the number of channels and the required range.

Most professional sets work in the UHF band. The use of frequencies is governed by regulations that differ by country and change over time, so it is recommended to choose sets intended for the given region. When several microphones are used at once, each must operate on a different frequency, otherwise they may interfere with each other – better receivers can find free frequencies automatically.

The stated range applies to a direct line of sight; walls and metal structures shorten it. Reliability is improved by diversity reception (two antennas).

A DI box converts an unbalanced signal from a musical instrument into a balanced signal suitable for a mixing console. This makes it possible to connect a guitar, bass guitar or keyboard directly to the console over a long cable without interference and hum.

A passive DI box contains only a transformer and needs no power; an active one has its own circuit and requires phantom power (48 V) or a battery, and is suitable for instruments with a weak output (e.g. passive pickups).

Acoustic feedback (howling or whistling) occurs when a microphone picks up sound from a speaker, the sound is amplified, leaves the speaker again and is picked up a second time. The loop closes and the system starts to oscillate at the frequency where it has the highest gain – which is why you hear a specific tone rather than noise.

Placement helps most: PA speakers belong in front of the microphones (further from them than the audience), monitors go where the microphone is least sensitive, and a microphone is never pointed into a speaker. Speaking or singing closer to the microphone also helps, because less gain is then needed at the mixer. Directional microphones (cardioid, supercardioid) pick up mainly from the front and significantly reduce feedback.

The rest is handled at the mixer: turn the monitors down, reduce the channel gain and use an equaliser to cut the narrow band where the howling starts. Professional systems have a DSP processor with automatic feedback detection that suppresses the problem frequency on its own.

A UV-C lamp calls for careful handling, because UV-C radiation harms the eyes and skin. Only an empty space is irradiated, without the presence of people, animals or plants, and the room is entered only after the lamp is switched off; a timer or remote control is useful for safe activation.

A distinction is made between lamps that produce ozone and ozone-free ones. With ozone-producing lamps the space must additionally be ventilated thoroughly after the cycle finishes, before anyone enters again. The irradiation time depends on the size of the space and the power of the lamp.

An ozone generator produces concentrated ozone (O3), which serves for intensive disinfection and odour removal where ordinary cleaning cannot reach. As a strong oxidising agent, ozone breaks down odours from smoke, mould, animals or damp and at the same time destroys bacteria and viruses in the air and on hard-to-reach surfaces.

It is used, for example, in hotel rooms, cars, air-conditioning and ventilation systems, in warehouses or when remediating spaces after flooding or fire. The generator always works in a closed and empty space without the presence of people, animals and plants; after the cycle is finished the space must be thoroughly ventilated before anyone enters again.

An ozone generator requires caution, because ozone is irritating at higher concentrations and harmful to health when inhaled. Only a closed and empty space is treated, in which no people, animals or plants stay during the cycle or immediately after it.

After the cycle is finished the space must be thoroughly ventilated, and it is necessary to wait until the ozone breaks back down into oxygen; only then is entry safe. The length of the application and of the subsequent ventilation depends on the size of the space and the degree of odour or contamination.

A UV-C lamp and an ozone generator both serve for chemical-free disinfection, but they differ in principle. A UV-C lamp destroys microorganisms with direct UV-C radiation, which acts only where it reaches – it does not penetrate into shadows and cavities. An ozone generator, by contrast, fills the space with gaseous ozone, which reaches even hard-to-access places and additionally removes odours.

For quick treatment of surfaces and air on a directly exposed area a UV-C lamp is suitable, while for penetrating disinfection of the whole space and odour removal an ozone generator is the better fit. Both work only in an empty space without people, animals or plants, and after ozonation the space must additionally be ventilated. Some UV-C lamps also produce ozone themselves, so the two technologies can even complement each other.

An oxygen concentrator draws in the surrounding air and separates nitrogen from it, so at the output it provides air with a significantly higher proportion of oxygen (usually around 90 %). Unlike pressure cylinders, it produces oxygen continuously straight from the air in the room, so it does not need to be refilled or replaced.

Concentrators are used for oxygen therapy and supplying oxygen in home and residential settings, in wellness or during recovery after sports exertion. Some models are complemented by a nebuliser – a device that disperses liquid medication into a fine aerosol suitable for inhalation into the airways. For medical use it is advisable to consult a doctor about the settings and the suitability of the device.

Complaints and out-of-warranty repairs are handled by sending the goods to our premises or bringing them in person:
SOH, Antala Staška 242/14, 140 00 Praha 4, Czech Republic.

Warranty complaint

Out-of-warranty repair

The seller is obliged to handle the complaint without undue delay, no later than 30 days from its filing. After expiry of this deadline, the buyer has the same rights as in the case of a significant breach of contract.

Defects can be claimed within 24 months of receiving the goods (for consumers), or 12 months (for entrepreneurs purchasing for their business activity).

Depending on the nature of the defect, the buyer can claim:

• Free removal of the defect (repair or replacement of the goods)
• Adequate discount on the price of the goods
• Withdrawal from the contract (in the case of a significant defect or an unremovable defect) and refund of the full purchase price

The specific procedure depends on whether it is a removable or unremovable defect, a significant or insignificant breach of contract.

Yes, a consumer (a buyer who is not an entrepreneur) has the right to withdraw from the contract within 14 days of receiving the goods without giving a reason. The goods must be returned undamaged, unused and ideally in the original packaging together with the purchase document.

Withdrawal does not apply to:

• Custom-made goods
• Goods sold by the metre (LED strips, cables)
• Audio/visual recordings with broken packaging
• Digital content on a non-tangible medium
• Hygiene and medical supplies
• Goods picked up in person at the seller's establishment
• Further exceptions according to applicable regulations

For more details, see the section "What is the return policy?" in this section.

A buyer who concluded the purchase contract outside their business activity as a consumer has the right to withdraw from the purchase contract within 14 days of receiving the goods.

How to proceed when returning goods:

1. Send the complete goods at your own expense to the address of the establishment:
   SOH, Antala Staška 242/14, 140 00 Praha 4, Czech Republic.
2. Enclose the issued purchase document or its copy along with a declaration of withdrawal from the contract.
3. The goods must be returned undamaged, unused and uncontaminated, ideally in the original packaging.
4. After receiving the returned goods, the seller will issue a credit note. After the buyer confirms the credit note, the funds in the amount of the price of the returned goods will be returned no later than within 14 days.

Withdrawal does not apply, among other things, to:

• Goods custom-made to the customer's wishes
• Goods sold by the metre (LED strips, cables)
• Audio or visual recordings with broken packaging
• Digital content delivered on a non-tangible medium
• Hygiene and medical supplies
• Goods picked up in person at the seller's establishment
• In other cases listed in § 1837 of the Czech Civil Code

The buyer is not entitled to a refund of the costs of delivering the returned goods. The seller is entitled to withdraw from the contract due to sold-out stock or unavailability of goods – in such a case, all funds will be returned within 14 days.