SurgeFX SF-ST1240 12x40W Strip Strobe Moving Head Light

What Makes a Beam Bar Different

Traditional moving heads use a single light source — one lens, one beam, one point of output. A beam bar uses multiple sources in a linear array, creating effects that are impossible with single-source fixtures. Twelve individual beams tilting in unison create dramatic sweeping walls of light. Pixel control lets you run chases, color gradients, and individual beam effects across the strip. The zoom switches the entire array between tight parallel beams and a wide wash — two completely different looks from one fixture.

The SF-ST1240 sits at the intersection of beam, wash, strobe, and pixel effect fixture. It replaces multiple single-purpose fixtures in your rig, and the visual impact of 12 beams moving together is fundamentally different from what you get with a single spot or wash head.

Applications

• Concert & Touring Stages — Sweeping beam arrays, pixel-mapped effects, and dynamic wash coverage across large stages.
• Nightclubs & DJ Booths — High-energy beam shows, strobe effects, and color chases that fill the room from a single fixture position.
• Theater & Live Performance — Dramatic tilting washes, precise color mixing, and programmable scene looks across 57 DMX channels.
• Houses of Worship — Versatile fixture that serves as beam effect, stage wash, and accent lighting in one unit.
• Corporate Events & Galas — Wide zoom for smooth color washes in low-key settings, tight beams for high-energy reveals.
• Theme Parks & Immersive Environments — Pixel effects for themed sequences, continuous-duty operation with 50,000-hour LED lifespan.

Individual Pixel Control

Each of the 12 LEDs is independently addressable for color, intensity, and strobe. In the 57-channel DMX mode, you get full per-pixel control — assign different colors to each LED, run chases across the bar, create gradients, or isolate individual beams for precise effects. This is what separates a pixel bar from a standard multi-cell wash — every LED is a separate instrument you can program independently.

For simpler setups, the 14-channel and 20-channel modes give you unified control of the full bar without needing 57 channels of DMX per fixture. These are ideal for installations or shows where you want the beam bar's visual format without programming every pixel individually.

Motorized Zoom: 5°–35°

The zoom range transforms the fixture's character entirely:

• 5° (tight) — Twelve razor-sharp parallel beams. Dramatic beam arrays that cut through haze, create aerial effects, and produce the signature "wall of beams" look. This is the high-energy mode for concerts, clubs, and moments that need visual punch.
• 35° (wide) — Broad, overlapping wash coverage. The twelve sources blend into a smooth, wide-format color wash that covers a large area from a single fixture. Stage washes, backdrops, audience washes, and ambient color.
• Mid-range — Blend between beam and wash for intermediate looks. Partially overlapping beams create textured washes with visible structure — more character than a pure wash, softer than pure beams.

The zoom is motorized and DMX-controllable, so you can transition between beam and wash modes mid-show without touching the fixture. Program zoom changes into your cues for dramatic shifts — tight beams for the verse, wide wash for the chorus.

RGBW Color Mixing

Four-color RGBW mixing with dual reflectors for improved color blending. The dedicated white LED element means clean, true whites without the off-color tint you get when mixing RGB to approximate white. Full-spectrum color mixing from saturated primaries to pastels, with smooth 0–100% linear dimming across the entire range.

Movement & Strobe

220° tilt with fine adjustment gives the bar sweeping coverage — the strip format makes tilt movement dramatically more visual than a single-point source because the entire 40" array moves as a unit. Combined with the zoom, tilt movement creates massive sweeping beams or rolling wash coverage that fills the space.

The strobe function hits up to 25 flashes per second — fast enough for punchy impact effects and slow enough for dramatic pulsing. Variable-speed strobe is DMX controllable, and with pixel control, you can run strobe chases across the 12 LEDs for sequenced flash effects.

DMX Channel Modes

Frequently Asked Questions

Q: How does this compare to a traditional moving head wash?
Traditional wash heads produce a single circular beam from one lens. The SF-ST1240 produces 12 individual beams from a linear strip. The visual effect is fundamentally different — a traditional wash gives you a cone of light from one point, while a beam bar gives you a wall of light from a 40" wide source. When zoomed tight, you get 12 parallel beams cutting through haze. When zoomed wide, you get a broad-format wash with more even coverage than a single-point source. The beam bar doesn't replace a traditional wash — it does things a single-source fixture physically can't do.

Q: What DMX controller do I need?
Any standard DMX-512 controller works. For basic operation (14CH mode), any entry-level DMX board is fine. For full pixel control (57CH mode), you'll want a controller that can handle the channel count — 57 channels per fixture adds up quickly with multiple units. Consoles with pixel mapping capabilities (like MA, ChamSys, Avolites, or software like QLC+) let you take full advantage of the individual LED control. The fixture also runs standalone without any controller.

Q: How heavy is it, and what do I need for rigging?
The fixture weighs approximately 33 lbs (15 kg) and is about 40 inches wide. Use appropriately rated clamps and safety cables for any overhead mounting. The wide format means you need to account for the full 40" span when planning truss positions — it's wider than a typical moving head, so spacing between fixtures on truss requires more clearance. Always ensure your truss, clamps, and rigging hardware are rated for the fixture weight plus a safety margin.

Q: Is it noisy?
The SF-ST1240 uses fan-forced cooling, which produces some audible noise. For high-energy events (concerts, clubs, DJ shows), fan noise is not a factor — it's completely masked by the sound system. For quieter environments (theater, corporate, house of worship), be aware that the fans are audible in silent moments. Position fixtures at a distance from the audience if noise sensitivity is a concern.

Q: Can I use it without DMX?
Yes. Auto-run mode cycles through built-in programs automatically. Sound-activated mode responds to music via the built-in microphone. Both modes are useful for simple installations, mobile DJ setups without a lighting console, or as a backup if DMX fails. For full creative control — especially pixel effects — you'll want a DMX controller.

Q: How many can I daisy-chain on DMX?
Standard DMX-512 supports up to 512 channels per universe. In 57-channel mode (full pixel control), you can address up to 8 fixtures per DMX universe (8 × 57 = 456 channels). In 14-channel mode, you can fit up to 36 fixtures per universe. For large rigs with many pixel bars, plan your DMX universes accordingly — you may need multiple universes for full pixel control of a large array.

Q: Does it need haze to look good?
For beam effects (zoomed tight), haze is essential. Beams are only visible in the air when there are particles for the light to hit. Without haze, you'll see the beam's landing spot but not the aerial beam itself. For wash effects (zoomed wide) and pixel color effects, haze enhances the look but isn't required — the light on surfaces and performers is visible regardless. For the full "wall of beams" experience, pair with haze from the Aurà™ haze fluid line.

Q: What's the power draw?
500W maximum at full output. At standard voltage (120V), that's approximately 4.2 amps per fixture. Plan your power distribution accordingly — a standard 15A circuit can handle 2–3 fixtures at full output, but always account for inrush current and other devices on the same circuit. The auto-ranging power supply accepts 90–240V, 50/60Hz, so it works internationally without a voltage converter.

Getting the Most From the SF-ST1240

🎯 Use haze. Seriously. A beam bar without haze is a wash fixture. A beam bar with haze is a spectacle. The tight 5° beam mode creates dramatic aerial effects, but only when there's haze in the air for the beams to hit. Even a light atmospheric haze transforms the fixture from "nice colored lights" to "12 beams cutting through the room." Pair with Aurà™ haze fluids — Essence for persistent haze, or Whisper for subtle atmospherics.

🎯 Start with 14CH or 20CH mode. The 57-channel mode is powerful but complex — 57 channels per fixture is a lot of programming for your first show. Start with 14CH to learn the fixture's behavior (zoom, tilt, color, master dimmer), then move to 20CH for more control, and graduate to 57CH when you're ready to pixel-map individual LEDs. You'll get impressive results even in basic mode.

🎯 Multiple fixtures multiply the impact. One SF-ST1240 is impressive. Two or more tilting in unison or alternating patterns create the large-scale visual impact that beam bars are known for. Pairs are the minimum for symmetrical stage looks. Four across upstage truss creates a dramatic back wall of light. Budget and plan for multiples if your stage design calls for beam bar effects — the format scales dramatically with quantity.

🎯 Account for the fixture width on truss. At 40 inches wide, the SF-ST1240 takes up significantly more truss space than a traditional moving head (typically 12–16 inches). Plan your truss layout with clearance for the full fixture width plus the tilt arc. Two beam bars side by side need roughly 7+ feet of truss span minimum. Check that adjacent fixtures don't collide during tilt movements.

🎯 Use zoom changes as a programming tool. Don't just set the zoom and forget it — the motorized zoom is DMX-controllable, which means you can program zoom transitions into your cues. Tight beams for high-energy moments, zoom open for washes during slower sections, and smooth zoom transitions between the two for dramatic reveals. The audience perceives zoom changes as a "shift in intensity" even though you're not changing the output level.

🎯 Pixel chases through haze are show-stoppers. When you're ready for 57CH mode, the signature move is running color or intensity chases across the 12 LEDs while the fixture is zoomed tight and tilting through haze. The result is 12 individual beams sequentially firing across the room — a flowing, animated wall of light that's one of the most visually striking effects in modern stage lighting. Worth learning the programming for.

🎯 Plan power and DMX before the gig. At 500W per fixture and 57 channels in full mode, multiple SF-ST1240s add up fast. Map out your power circuits (how many fixtures per circuit at what output), DMX universes (how many fixtures per universe in your chosen channel mode), and cable runs before show day. This is a professional fixture that rewards professional planning.

Pairs Well With

• Aurà™ Haze Fluids — Essential for beam visibility. Essence for persistent haze, Whisper for subtle atmospheric.
• SurgeFX Stage Lighting — Browse the full lighting lineup for complementary fixtures.
• SurgeFX Fog Machines — Dense fog for dramatic reveals and atmosphere beneath your beam effects.