A beginner’s guide to animated holiday lighting
Welcome!
You’ve always dreamed of running your own animated holiday light show — but you’re not sure where to begin? You’re in the right place.
This guide covers the core concepts behind modern animated light displays:
- how everything works together
- what hardware you actually need
- what software is involved
- and how to avoid common beginner mistakes
By the end, you’ll understand what’s required to get your first lights blinking in sync with music — without guesswork.
And if something isn’t clear along the way, don’t hesitate to reach out. Helping people get started is literally why we’re here.
Picture: Our 2025 Christmas Light Show, Stillview Ligths, www.stillviewlights.ca
1. The big picture: how an animated light show works
At its core, an animated light show is simply several systems working together to create one experience.
From a high-level view, it looks like this:
- Lights are connected to a controller (the “brain”)
- You program what those lights should do
- The show player (the “conductor”) plays the music and tells the controller what to do, on schedule
- The lights change color and effects to match the music
That’s it.
It sounds simple — and conceptually, it is. The complexity comes from choosing the right hardware and software for your goals. Let’s start with the physical building blocks.
2. Hardware: the physical building blocks
2.1 Pixels (the lights themselves)
“Pixels” are individually addressable RGB LED lights. Each pixel can display a different color and brightness at a different time.
They come in multiple form factors, such as:
- Bullet pixels
- Square pixels
- Seed pixels
- EVO pixels
- Gumdrops (not pictured)
Bullet pixels are the most widely used because they’re extremely versatile and work well in most applications.
Seed pixels are gaining popularity thanks to their lightweight design and smaller form factor, making them well suited for high-density props or applications where weight and discretion matter.
They also come in different voltages:
- 5V and 12V are the most common in the hobby, with 12V tending to be the default choice.
- Higher voltages like 24V or 36V exist, but are less common
Each pixel type has its own pros and cons depending on wiring distance, brightness consistency, and installation style. If you want a true side-by-side comparison, we’ve published a dedicated guide that dives deeper into the different pixel types and when to use each one.
A quick note on protocols
Most pixels used in animated light shows communicate using the WS2811 protocol, which refers to the control chip (IC) inside the pixel. You’ll often see this mentioned in product listings. You generally don’t need to worry about this — just think of it as the pixel’s language. WS2811 is widely supported and works with virtually all hobby-grade controllers and software. If you ever venture into a different protocol, the only important thing to check is that your controller supports it. As long as those two match, everything will work as expected.
You may also come across the DMX protocol — think of it as a different language for lights. DMX is widely used in stage and event lighting, and some displays use DMX fixtures like moving heads, floods, or strobes to enhance their show. These can absolutely be part of an animated display, but they add complexity and programming time. Many people choose to add DMX later, once they’re comfortable working with pixel-based lighting.
2.2 Props (what the lights go on)
In the hobby, décor elements are often referred to as props, but more generally they’re simply the physical elements your lights bring to life: trees, outlines, arches, matrices, and more.
You generally have two main categories:
- Props: Store-bought Coroplast props (pre-cut corrugated plastic sheets), which offer precise shapes and consistent pixel layouts
-
Helpers and mounting solutions: Mounting strips, matrix mesh, and similar products that help adapt size and spacing while keeping a clean, uniform look
(consistent spacing is especially important when displaying images or text)
Many people also make their own props using readily available materials from hardware stores — such as wood, PVC pipe, or coro sheets — as well as recycled or upcycled materials.
Important note on pixel density and viewing distance
Store-bought props usually list a node count — the number of pixels required to light them. More nodes generally mean higher density, which allows for more detail and brightness.
That said, more pixels does not automatically mean a better show. Viewing distance matters:
- At ~40 feet away (~12m), a 2-inch (~5cm) pixel spacing can look great
- If viewers are closer, or if you want to display text or video, tighter spacing (like 1 inch/2.5cm) may be better
The goal is to balance visual impact, viewing distance, and complexity — rather than maximizing pixel count.
A quick note on installing pixels (“pushing pixels”)
Installing pixels into props, often called pushing pixels, is the process of physically inserting each pixel into a prop, mounting strip, or mesh. It’s a simple concept, but it can be time-consuming and surprisingly hard on the hands, especially for larger props or dense layouts. Many people use basic tools (or purpose-built pixel-pushing tools) to make the process faster and more comfortable. This is another reason why starting with fewer props and lower pixel counts in your first year is a good idea. Like most things in this hobby, it gets easier, and faster, with experience.
Optional: 3D printing in the hobby
Some builders use 3D printing to create custom mounts, clips, spacers, or cable guides tailored to their specific props or layouts. It can be a powerful way to solve very specific problems or clean up installations, and some even print their own props. That said, 3D printing is entirely optional. You do not need a 3D printer to build a great first-year display. Most common mounting needs can be handled with off-the-shelf hardware, mounting strips, mesh, and basic materials from a hardware store. Like many tools in this hobby, 3D printing tends to become useful later — once you know exactly what problem you’re trying to solve.
2.3 Power supplies (feeding the pixels)
Power supplies are what deliver energy to your pixels, allowing them to light up, change color, and animate reliably. Choosing the right power setup is essential for both performance and safety. Power supplies must match your pixel voltage, with the most commonly available being 5V and 12V. Their job is simple: provide power so the lights can turn on and change color.
Important note on sizing your power supplies
Product listings for pixels usually specify the power consumption per node. When planning your setup, make sure to calculate the total power draw of all pixels connected to a power supply and size it accordingly. Leaving some headroom is always a good idea — it improves reliability and helps avoid blown fuses or unexpected shutdowns. The key is proper power balancing: spreading load correctly and protecting circuits with fuses.
As a rough reference:
- One 12V bullet pixel uses ~0.7W at full white
- A typical 350W power supply can safely power ~500 pixels at 100% brightness
In reality, most shows run at 30–40% brightness, and rarely all-white. That means:
- You can often power 1,000–1,500+ pixels per power supply
A note on power injection
Power injection is the practice of supplying power to pixels at multiple points along a string, instead of only from one end. It’s commonly used to maintain consistent brightness and color accuracy when running long pixel strings or higher pixel densities.
Power injection can be very useful, but it also adds wiring, planning, and fusing considerations. For a small starter show, it’s often not required, especially when using shorter runs, moderate brightness levels, and properly sized power supplies.
It’s also worth noting that many larger displays choose to add additional controllers instead of relying heavily on power injection, as this can simplify wiring, reduce single points of failure, and add redundancy.
Both approaches are valid, and many people start without power injection and add it later — or avoid it entirely — as their display grows.
2.4 Controllers (the brains)
Pixel controllers are the central link between your software and your lights. They receive data from your show player or sequencer and translate it into signals that tell each pixel when to turn on, what color to display, and how to behave. This is often where things start to feel overwhelming — but they don’t have to be.
Types of controllers
Controllers range from:
- Simple ESP32-based controllers with 1–2 outputs
- Professional controllers with dozens of outputs, expansion ports, and long-range receiver support
Common options in the hobby include:
- ESP32-based options like QuinLED, Wasatch, or DIY ESP32 setups
- Kulp Lights (unique in that they can play shows directly without any additional hardware)
- Falcon Controllers
Picture: examples of popular controllers in the hobby.
How to choose the right controller
When choosing a controller, consider:
- Where it will be physically located
- How many props it will run
- Distance to the pixels
- Wired vs Wi-Fi connections
- Pixel density
- Whether multiple controllers need to work together
Choosing the right controller for your setup and comfort level is key to a successful show. Some people enjoy a more hands-on, modular approach — using ESP32-based controllers and managing the additional networking that comes with them — while others prefer an all-in-one controller that minimizes setup and avoids dealing with things like IP addresses and device management. Both approaches are valid. The best choice is the one that lets you focus on building and enjoying your show, rather than troubleshooting infrastructure.
Research now, evolve later
Because the controller acts as the brain of your show, it’s worth spending a bit more time researching this part and asking questions if you’re unsure. Understanding what you’re buying — and why — can save frustration later.
At the same time, it’s important to know that your first controller choice isn’t permanent. Most hobby-grade controllers and software are designed to work together, and it’s very common to change, add, or upgrade controllers in later years as your display evolves. If you discover that your first choice isn’t the perfect fit, it’s not the end of the world — it’s part of the learning process.
Important note on show playback
Some controllers require an external show player (such as a Raspberry Pi or computer) to run the show and play music. Others can do this themselves. Your controller choice directly affects your overall system design.
Important note on enclosures and outdoor use
Because controllers and power supplies are usually installed outdoors, they are typically housed in weather-resistant enclosures. These protect electronics from rain, snow, dust, and accidental contact.
Most hobby-grade controllers are designed to be mounted inside an enclosure, and many people use purpose-built controller boxes or outdoor-rated electrical enclosures. Proper ventilation and thoughtful placement help prevent moisture buildup and overheating. You don’t need a complex enclosure to get started — just something appropriate for outdoor use that keeps electronics dry and secure, while allowing cables to enter and exit safely.
A note on receivers (remote ports)
Some controllers support receivers (remote output modules), which allow you to place pixel outputs closer to props while keeping the main controller farther away. This can reduce long cable runs and simplify wiring in larger or more spread-out displays.
Smart receivers, as useful (or sometimes frustrating!) as they can be, are not required to get started, and many first-year setups don’t use them at all. They become useful as your show grows, distances increase, or when consolidating multiple props onto a single controller. If you see recommendations involving receivers on forums, they’re usually about scaling or optimizing a larger layout, not a requirement for a first show.
A note on AC controllers (LOR type)
AC controllers are used to control traditional plug-in lights and devices by turning them on and off in sync with the show. They’re commonly used for traditional decorations, inflatables, motors, or animatronics, and can be a great way to blend classic décor with modern pixel-based effects.
2.5 Cabling and wiring (connecting it all together)
Cabling is what physically connects your controllers, power supplies, and pixels. It’s not the most exciting part of a light show, but it plays a huge role in reliability.
At a basic level, pixel cabling carries:
- Data (telling pixels what to do)
- Power (supplying electricity)
- Ground (return path for both)
Good cabling helps prevent flickering, data errors, voltage drop, and intermittent failures.
Common connectors and cables
Most hobby-grade pixel setups use pre-made waterproof cables, often referred to as pigtails and extensions.
The most common connector types you’ll see are:
- xConnect, which has become the most common default standard in the hobby
- Ray Wu
Both work well, but it’s best to pick one connector type and stick with it for your display. Mixing standards usually means adapters, extra connections, and more potential failure points.
Some people choose to make their own cables using pigtails and bulk wire to get exact lengths. That’s a valid option if you’re comfortable soldering and properly waterproofing connections.
For beginners, using pre-made cables with matching connectors is strongly recommended, (unless you're soldering wizard!). They make setup, teardown, and troubleshooting much easier than custom wiring, and they are not necesarily more expensive. As with most things in this hobby, cabling tends to get cleaner and simpler over time as you refine layouts and standardize lengths.
2.6 Audio (how people hear the music)
Audio is how your audience connects the visuals to the music, and — like most parts of a light show — there are several valid ways to handle it. Common options include:
- Outdoor speakers
- FM transmitters (check local regulations — permits may be required)
- Online streaming
Many displays use more than one method, depending on how people experience the show:
- FM radio for viewers in cars
- Speakers for people walking by
- Streaming for those listening on their phones
These options are not mutually exclusive. You can enable or disable them based on your location and audience — for example, there’s little reason to run outdoor speakers if your display is primarily viewed from passing vehicles.
A note on audio quality (DACs)
When using speakers or FM transmitters, audio quality matters more than people often expect. Many computers and small devices have mediocre built-in audio outputs, which can introduce noise, distortion, or inconsistent volume.
Using a dedicated USB sound card / DAC (digital-to-analog converter), such as the Sound Blaster Play! 3, is a simple and inexpensive way to produce clean, consistent audio. This can significantly improve sound quality when feeding speakers, amplifiers, or FM transmitters.
A higher-quality audio source helps ensure:
- Clear music without hiss or hum
- More consistent FM broadcast levels
- Better overall experience for viewers
This isn’t strictly required to get started, but it’s a small upgrade with a big impact, especially once your show runs unattended.
3. Software: creating, running, and enhancing your show
Software is what ties all the hardware together and turns it into an actual light show. It serves two main purposes:
- Creating the light animations
- Running the show automatically for your audience
As your display grows, software can also enable interactivity and advanced features — but those are optional and come generally later.
3.1 Creating the show (sequencing)
To design and program your light show, the hobby standard is xLights.
This is where you:
- Define your layout (props, pixel counts, wiring order, controllers)
- Assign effects and colors
- Sync everything precisely to music
Each programmed song becomes a sequence — a timeline of instructions that tells every pixel what to do and when.
xLights allows you to sequence a show from scratch, or to import existing sequences and map them to your own display. Many people start by importing free or paid sequences to learn how things work. In fact, some shows rely almost entirely on pre-made sequences, adjusting them to fit their layout rather than creating everything from scratch.
Sequencing can be challenging, and there’s nothing wrong with easing into it gradually. Using existing sequences lets you focus on setup, reliability, and understanding the workflow, while learning the creative side at your own pace.
Because of the amount of data involved, xLights is resource-intensive, especially for larger layouts or complex effects. Sequencing typically requires a desktop or laptop computer with a reasonable amount of RAM and processing power. It’s not something you can realistically do on a phone or tablet, and lower-powered computers may struggle as your display grows. That’s normal — sequencing is one of the more demanding parts of the hobby. The good news is that you don’t need a high-end machine to get started. A reasonably modern computer is usually enough for small to medium displays, especially when learning with simpler layouts or existing sequences.
For comfort, many people also find that using multiple monitors (or a large external display) makes sequencing much easier. Having your layout, effects, and timing views visible at the same time can significantly improve workflow when mapping props or fine-tuning sequences. This isn’t required to get started, but it can make longer sequencing sessions far more comfortable as your display grows.
Note about xLights and its documentation
We won’t cover the detailed usage or programming of xLights here — this article is already long, and going deeper would quickly make it endless.
xLights is a very powerful and feature-rich piece of software that evolves constantly. Rather than attempting to rewrite or summarize its documentation — which would quickly become outdated — we strongly recommend relying on the official xLights documentation, which is comprehensive and regularly maintained.
👉 Official xLights documentation:
https://manual.xlights.org/xlights
The goal of this guide is to help you understand how xLights fits into the overall system, how it interacts with controllers and show players, and how to approach the hobby with the right foundations. The official documentation is the best place to dive deeper into xLights itself, at your own pace.
3.2 Running the show (playback)
Once your sequences are created, they need to run reliably and on schedule, without requiring a computer to stay on all the time.
This is where Falcon Pi Player (FPP) comes in.
FPP acts as the show manager:
- Plays music
- Sends lighting data to your controllers
- Runs schedules automatically
- Allows the show to operate fully standalone
Depending on your setup, FPP may run on a Raspberry Pi, a dedicated device, or be integrated directly into the controller. We do not cover the configuration of Falcon Pi Player (FPP) in detail here, as it depends heavily on the hardware used and the overall system architecture. For those who want to go further, the official documentation is the best reference.
A note on xSchedule, an alternative to FPP
Some people in the hobby use xSchedule, which is a scheduling and playback tool built into xLights. It allows you to run a show directly from a computer instead of using a dedicated show player. This approach works well for certain setups, but it typically requires a computer to remain powered on during show times. For that reason, many displays prefer FPP or controller-based playback for long-term reliability — especially for outdoor or unattended shows. Both options are valid. The best choice depends on how hands-on you want the system to be and whether you’re comfortable dedicating a computer to show playback.
3.3 Expanding the experience (optional interactivity)
Once you’re comfortable with the basics, you may choose to add audience interaction to your show.
Platforms like Remote Falcon, PulseMesh or dedicated FPP plugins allow visitors to interact with your display in various ways, such as:
- Voting for songs
- Streaming the show audio
- Triggering special effects
- Controlling specific props
- Integrating show controls with a smart home system
This level of interactivity requires additional setup, including networking configuration and some basic web or system integration work. It’s completely optional, but it can be a powerful way to elevate the experience once your core setup is stable.
3.4 Supporting tools (as needed)
As your show grows, you may naturally add additional software tools to support specific needs, such as:
- Audio editors (to trim, normalize, or adjust music tracks)
- Image or video tools (for matrices, screens, or visual effects)
- Automation or scheduling tools (for more complex show logic)
None of these are required to get started. They simply become useful as your creative goals expand and your display becomes more advanced.
4. So, where do I start?
No matter your background, there are multiple valid ways to enter this hobby. The goal of your first year isn’t scale or perfection — it’s building one complete setup that works end-to-end.
Think of year one as a learning year: you’re discovering what you enjoy building, what fits your space, and how all the pieces work together.
Common starting points
Most first-time displays begin with one manageable visual element, such as:
- House outlines, when access is easy and safe
- Ground-based props, when roof access is limited or when you prefer simpler mounting and wiring
Neither option is better than the other. The right starting point depends on your space, safety considerations, and personal comfort.
The goal isn’t to do everything — it’s to choose one element you can plan, build, and operate confidently.
A realistic first-year setup
A very typical first-year setup includes:
- One controller
- One main element (outlines or ground-based props)
- A few complementary props
- A few hundred to around 2,000 pixels
- One to five sequenced songs
- FM audio and/or speakers, depending on your audience
That’s more than enough to run a real, scheduled animated show and learn how the entire system works together.
You don’t have to create everything yourself
Creating a sequence from scratch can take dozens of hours, especially when you’re learning. Many beginners use free or shared sequences to:
- Get a show running faster
- Learn by example
- Focus on setup, wiring, and reliability
This approach is very common in the hobby — and often recommended for a first-year display. You can always start creating your own sequences later, once you’re comfortable with the workflow and want to explore the creative side more deeply. xLights Sequences is an excellent resource for finding both free and paid sequences.
The key takeaway
Start small. Build something that works. Learn from it.
If you enjoy the process, expanding later — with more props, more pixels, or more advanced features — will feel natural instead of overwhelming. Your first show doesn’t need to be big to be magical.
5. Practical advice before you expand your display
This hobby can feel overwhelming at first — and that’s completely normal.
Your first show is a learning show, not your final masterpiece. Almost everyone naturally evolves their display over time:
- Layouts grow or shift as space and ideas change
- Props are added, upgraded, or repurposed
- New elements replace older ones as skills improve
That evolution is the point — it’s how shows grow.
It’s also worth setting realistic expectations around time. Learning the tools, planning layouts, testing wiring, and sequencing music all take time — especially in your first year. Many people spend more time learning and experimenting than physically installing lights at first, and that investment pays off in smoother setups and less stress in future seasons.
(And yes — you’ll also spend a surprising amount of time just watching your own lights. We promise.)
One more thing that’s worth mentioning: expect a few (or many) trips to the hardware store.
Zip ties, mounting hardware, conduit, PVC, fasteners, brackets — no matter how much you plan, there’s almost always something you didn’t anticipate until you’re physically installing things. This isn’t a sign you did something wrong. It’s part of building a real-world display, and it happens to everyone. Each trip usually solves a problem once — and teaches you how to avoid it next time.
(Consider it part of the hobby. Most of us have lost count of trip to the hardware store.)
Start small, on purpose
The best way to succeed early on is to limit scope intentionally:
- One controller
- A few props
- A few songs
Make it work end-to-end. Once everything runs reliably and does what you expect, expanding becomes easier — and far more enjoyable.
If you enjoy the process, growth will feel natural, not forced.
When in doubt, ask
If you’re unsure what to choose, how far to go, or whether something is overkill, ask questions.
The holiday light show community is exceptionally welcoming and knowledgeable. There are active groups on Facebook, dedicated forums, and even permanent Zoom rooms where people regularly help each other troubleshoot, plan layouts, and review ideas.
Many experienced builders are happy to share what worked for them — and what they’d do differently. Don’t hesitate to use that collective knowledge. It’s one of the biggest strengths of this hobby.
And of course, if you’d rather talk directly, you can always reach out to us. Helping you make the right decisions before you buy is how we help you succeed.
Final thought
Your first light show doesn’t start with perfection — it starts with one prop, one controller, and one song 🎄✨
And trust us: seeing your show come to life — no matter the size — is worth every bit of effort.
Welcome to the hobby — and salute! 🎄💡