Martin LIGHTING DIRECTOR Owner's Manual Page 11

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Martin Lighting Director 2.0 Page 11
6. The trackers should never cross the imaginary surface formed by the
four speakers. For example, setting the four speakers at a height of 1.60
m would be very risky because the tracker could easily move under or
over that height and cross this imaginary plane (plus you would prob-
ably have problems related to issues 1 and 4 above). When the plane is
crossed the tracking system is turned inside out and erratic behaviour is
observed.
7. While the MLD has a robust echo detection and rejection system, it is
advisable to mount the speakers away from walls when possible to
avoid echoes bouncing off the walls and causing pulse detection prob-
lems. Under ideal circumstances, mount speakers 3 or more metres (10
feet) away from each wall. Mounting speakers in corners is particularly
bad; if it is not possible to be 3 metres (10 feet) away from all walls, it is
better to position them closer to the centre of the room away from the
corners.
8. Please note that the following issue is NOT as important as issue
number 1, above. A speaker should be tilted so that it is pointing to the
farthest point in the interactive area that its pulses will have to reach.
The reason for this is that the speakers sound emission is not uniform
and we want the region of strongest radiation (along an axis directly out
from the centre of the speaker) to be pointing where it will need to travel
most. Again, issue number 1 in this section is much more important than
this issue.
Speaker calibration
The software must know the precise 3D location of the four speakers
with respect to the centre of the stage; this is called “calibrating the
speakers”. There are three ways to do it: automatic, manual regular and
manual irregular.
Automatic speaker calibration
Automatic calibration is the most common method for setting up the
tracking system. This method entails measuring the distances between
five gaffer-tape stage-marks and then using the tracker to correlate those
distances to actual speaker positions.
Mark the centre of your stage with some gaffer tape. This will be the
central reference point for the tracking system, also called the origin.
Page 14 Getting Started
Press the “Apply” button to calculate the speaker positions using the
values you have entered. Note that the system will automatically fill-in
the “interactive area” fields as it suggests what area is bound to have
good ultrasonic coverage. You may override these suggestions by
manually entering a different area, but make sure that the area will have
ultrasonic coverage by all four speakers.
Manual irregular speaker calibration
Manual irregular calibration should be used only if for some reason
automatic calibration is not possible and the speakers are not in a
“regular” configuration (not at right angles to each other or not at the
same height from the stage floor). To use the manual irregular method
you must measure the exact position in centimetres of each speaker
relative to the origin, which is the centre stage mark.
By convention:
At the origin the X, Y and Z are zero.
• X is the stage width, with positive values towards stage left and
negative values towards stage right.
Y is the stage depth, with positive values towards upstage and negative
values towards downstage.
• Z is the stage height, with positive values above the stage floor.
Once you have entered all twelve distances press the “Apply” button to
use those values to register the speaker positions. Note that the system
will automatically fill-in the “interactive area” fields as it suggests what
area is bound to have good ultrasonic coverage. You may override these
suggestions by manually entering a different area, but make sure that the
area will have ultrasonic coverage by all four speakers.
Downstage
Upstage
Stag
e
Left
MLD coordinate system
Stag
e
Right
+Y
-Y
+X
-X
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