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I am wondering how to use a DMX controller to control a laser light show projector.?

The controller controls up to 12 lights on up to 16 channels each. The laser is a RGY Big Dipper laser and i also have a Cosmic Frenzy laser. Both have DMX conrol as an option.

Re-read the manuals and contact the manufacturer to make sure they are compatible.

György Ligeti: Sonata for Viola $15.18 Even though Geneviève Strosser's 2011 Aeon release appears to be devoted mostly to György Ligeti's Sonata for viola (1991-1994), there are actually five significant works on this disc that claim the listener's attention. Ligeti's name recognition no doubt helps this CD stand out, and his sonata is one of the major viola works of the 20th century. But the rest of the album presents challenging pieces that display the full range of modern viola techniques, such as the exhaustive use of tremolos in Trema (1981), Heinz Holliger's perpetual motion study; the dense multistops and dissonant counterpoint of Franco Donatoni's Ali (1977); the delicate pizzicati and light ricochet bowing of Helmut Lachenmann's Toccatina (1986); as well as the sustained microtonal lines and mixed effects in Giacinto Scelsi's Manto (1957). Taken together with Ligeti's exploration of the instrument's special timbres, tuning inflections, harmonics, and other extended techniques that came from the modernist quest for new sonorities, this album presents a well-rounded program of what solo viola music sounded like at the peak of the avant-garde. Strosser's thorough mastery of her instrument makes this a fascinating display of virtuosity, but her profound expressions shape the music into something much more compelling than a potpourri of gimmicks. The adventurous will find this an attractive disc, and string players who study experimental music will especially benefit from Strosser's extraordinary playing. ~ Blair Sanderson, Rovi Performers: Geneviève Strosser - Viola

György Kukorelly joue Chopin $15.18 Description not provided.

György Ligeti: Clear or Cloudy $25.58 Deutsche Grammophon's budget-priced, four-CD collection of all the works by György Ligeti in its catalog has many things to commend it, beginning with the title. Clear or Cloudy is a profoundly astute description of the composer's career, encompassing both the great sound clouds of his micropolyphonic work of the 1960s, such as Atmosphères, Volumina, Lux aeterna, and Lontano, and the crystalline clarity of his early years, demonstrated in Six Bagatelles for wind quintet and his first String Quartet, as well as in his Etudes pour piano and Piano Concerto from his final period. The performances here are extraordinary, and some are legendary. In Volumina, Gerd Zacher wrings an incredible variety of sonic possibilities from the organ and shapes them into a chilling aural experience. Aventures and Nouvelles Aventures, with singers Jane Manning, Mary Thomas, and William Pearson and the Ensemble InterContemporain, led by Pierre Boulez, are especially assured, and lead the listener on a frightening, comic, cryptic emotional roller coaster ride. The radiant performances of Atmosphères and Lontano by Claudio Abbado and the Vienna Philharmonic make the most of the scores' glistening mysteries. If this were intended as a survey of Ligeti's career, one could quibble over the omissions -- the Requiem; the Trio for horn, violin, and piano; and the fact that there are only two of the piano etudes -- but given the fact that it is a reissue of everything Deutsche Grammophon happened to have in its archive, it is a remarkably comprehensive and representative collection that offers a broad and detailed view of the composer's output. It's an ideal introduction to Ligeti for anyone coming to his remarkable work for the first time, and it is also expansive and diverse enough to interest those who are already fans. The set contains over five hours of music, and the program booklet includes an insightful essay by Paul Griffiths. Surprisingly, for a collection coming from so many recorded sources, the sound is consistently excellent, with the appropriate ambience and presence for the various works. ~ Stephen Eddins, Rovi Performers: Alfons Kontarsky - Piano; Aloys Kontarsky - Piano; Douglas Boyd - Oboe; Gerd Zacher - Organ; Gianluca Cascioli - Piano; Håkan Hardenberger - Trumpet; Jacques Zoon - Flute; James Sommerville - Horn

György Ligeti: Keyboard Works $7.17 Representing virtually all phases of György Ligeti's mercurial career, the keyboard works on this disc make a fitting résumé. While a number of the pieces here reflect his avant-garde innovations -- chiefly Continuum and Volumina -- others are more accessible and appealing. The Five Pieces for piano four hands (1942-1950) are stylistically similar to music by Bartók and Poulenc, imbued with Hungarian color and rhythmic drive but presented with cosmopolitan flair and wit. The two Capriccios and the Invention (1947-1948) are exercises in dissonant counterpoint, yet the transparency of Ligeti's writing makes these pieces fairly easy to digest. Monument, Selbstportrait, and In zart fließender Bewegung (1976) show Ligeti's interest in minimalism, particularly as they move parts in and out of phase and push restricted material to ultimate ends. The harpsichord pieces Passacaglia ungharese and Hungarian Rock (both 1978), fully exploit the instrument's timbral possibilities, while Continuum (1968) is a perpetual-motion etude of illusory pattern-shifting and compelling virtuosity. The Two Studies for Organ (1967-1969) involve transformations of the instrument's sound into clustered washes and static patterns. But Ligeti's most fascinating and daring keyboard work surely must be Volumina (1961-1962), a tour de force of atmospheric clusters and sweeping sonorities notorious for causing the literal meltdown of the organ in Göteborg Cathedral. ~ Blair Sanderson, Rovi Performers: Elisabeth Chojnacka - Harpsichord; Irina Kataeva - Piano; Pierre-Laurent Aimard - Piano; Zsigmond Szathmáry - Organ

György Cziffra plays Liszt $12.72 Description not provided.

György Kurtág: Játékok $14.38 Description not provided.

György Kurtág: Music for String Instruments $14.38 The apparent heir of Anton Webern and Béla Bartók, György Kurtág shows his influences most directly in his works for string quartet. Yet Kurtág's abandonment of the standard quartet form -- a major consideration in the music of his predecessors -- permits him to freely explore timbres and techniques and for their own sakes, in lieu of thematic development and traditional structures. The most significant works on this disc are the String Quartet, Op. 1 (1959); the 12 Microludes (1977-1978); and the Officium breve in memoriam Andreae Szervánszky (1988-1989). These three works are central to Kurtág's rather small oeuvre and reveal how concentrated and intensely expressive his music became over three decades. Listening requires close attention, for the movements do not always announce clear beginnings and endings. However, one is drawn into a heightened experience of sound, and the listener's efforts are richly rewarded. The shorter works, Aus der Ferne III (1991) and the two versions of Ligatura -- Message to Frances-Marie (1989), are enigmatic in their brevity, but characteristic of the open forms Kurtág pursues in his later "works in progress." This ECM release by the Keller Quartet is superbly recorded, and the ensemble plays with assurance and profound feeling for Kurtág's fascinating music. ~ Blair Sanderson, Rovi Performers: György Kurtág - Celeste; Miklos Perenyi - Violoncello, Cello; Ottó Kertész - Violoncello, Cello; Zoltan Gal - Viola; András Keller - Violin; Jánow Pilz - Violin

György Kurtág: Complete Choral Works $15.18 Kurtág's choral music is recognizably the product of the same imagination that produced his exquisite vocal miniatures, the cycles Scenes from a Novel and Messages of the Late R.V. Troussova -- lean, concise, texturally spare, and almost Webernian, while at the same time being deeply expressive. The two a cappella works recorded here, Omaggio a Luigi Nono and Eight Choruses to Poems by Dezsö Tandori, fit that description well. The aphoristic poetry of Tandori, Anna Akhmatova, and Rimma Dalos inspired the composer to create music of comparable economy, and only a few movements last more than two minutes. A chorus is capable of making a huge sound, not an elemental characteristic of the composer's aesthetic, and Kurtág uses the resource judiciously. The choral writing is original, but fully idiomatic, and at the same time ethereally delicate and grindingly dissonant, with great textural inventiveness and gestural variety. The Songs of Despair and Sorrow sound more conventionally choral and are more accessible on first hearing. Using visually descriptive (and longer) texts by nineteenth and twentieth century Russian poets, Kurtág shows great sensitivity in vivid text painting. He employs the accompanying instrumental ensemble with restraint, often using only accordion-like bajans to support the voices. Kurtág's setting of Alexander Blok's "Night, an empty street, a lamp, a drug-store," is especially evocative and poignant. The SWR Vokalensemble Stuttgart and Ensemble Modern, under Marcus Creed, give stunningly secure performances of these phenomenally difficult scores. Their surfaces are prickly, but they reward close listening with an experience of profound musical depth and richness. ~ Stephen Eddins, Rovi Performers: SWR Stuttgart Vocal Ensemble - Choir, Chorus

György Kurtág: Kafka-Fragmente $14.38 Anyone familiar with György Kurtág's practices will probably expect his Kafka-Fragmente, Op. 24 (1985-1986), to be another of his open-ended works, pieces that exist in a state of potential revision that are intermittently subjected to changes. Yet for all its looseness of design and apparent mutability -- one can easily imagine these extremely short movements rearranged in several different orders and for various instruments -- this setting for soprano and violin of phrases from Franz Kafka's letters and diaries is complete and unlikely to be configured in any other version. Kurtág himself was surprised to find that his initial sketches for the work were appropriately gnomic in expression and economical in instrumentation, and he decided that he needed nothing more than the sparsest materials to communicate the essence of these fragile, epigrammatic texts. Soprano Juliane Banse and violinist András Keller are fully attuned to Kurtág's miniaturist language and exacting techniques, and their delivery of Kafka-Fragmente is meticulous and convincing under the composer's close supervision. Not that this is easy music to penetrate, least of all in one sitting: the combination of Kafka's melancholy visions and Kurtág's terse, gestural style can be daunting for the uninitiated, if not depressing; and the extended vocal and instrumental effects are occasionally harsh and irritating. This moody piece is recommended for Kurtág's fervent admirers and adventurous listeners with a liking for expressionist monodramas, but not for a much wider audience. ECM's reproduction is splendid, so Banse and Keller are clearly heard in all details, with a resonance that adds a spectral sheen to their eerie sonorities. ~ Blair Sanderson, Rovi Performers: Juliane Banse - Soprano, Soprano (Vocal); András Keller - Violin

György Kurtág: Signs, Games and Messages $14.38 The trademark of György Kurtág's music is its conciseness. Of the 28 tracks on Signs, Games and Messages, only a handful last more than two minutes, and the longest, lasting almost five, seems positively Brobdingnagian in this context. One of the factors contributing to the appeal of the album is the brevity of the pieces, all of which (with one exception) are scored for solo viola. Each movement takes a striking, attention-grabbing idea, plays with it very briefly and then moves on before it wears out its welcome. An entire album devoted to a solo orchestral instrument (except for some masterpieces like J.S. Bach's Cello Suites) can be daunting because listening to the sound of a single instrument for an hour can weary the ear, but Kurtág's writing is so skillful and idiomatic, his exploitation of varied timbres so inventive, and his ideas so engaging that listeners who enjoy contemporary chamber music aren't likely to experience aural fatigue. This is the first recording of the complete set of Signs, Games and Messages, which is made up of 24 movements. (There is a recording of most but not all of the movements of a version of the piece for string trio, and Kurtág also wrote versions for violin, cello, and double bass.) The CD also includes four short independent works. Violist Maurizio Barbetti shows himself to be a virtuoso of the highest order in his gorgeous performance of this treacherously difficult music. No matter how far the composer pushes the boundaries of what is possible for a viola to play, Barbetti's technique is rock solid and his tone is warm and focused. He obviously understands and loves the music because even in its spikiest moments he invests it with direction and emotional meaning. Baritone Gianpiero Ruggeri demonstrates a comparable vocal mastery in the one movement in which he participates. The ambience is extremely reverberant, to the point that there is sometimes an echo. For this music, though, the cavernous acoustic does not seem inappropriate because the grandeur it imparts gives a gravity and heft to these aphoristic gestures played a single instrument and makes an unambiguous statement: the performing forces may be small and the music miniature, but the experience they offer is richly textured and large scale. ~ Stephen Eddins, Rovi Performers: Gianpiero Ruggeri - Baritone (Vocal); Maurizio Barbetti - Viola