Martin LIGHTING DIRECTOR Owner's Manual download pdf (Page 9)

Martin Lighting Director 2.0 Page 9

rectangle covering the area of the stage that you want to be tracked. The

centre of the square or rectangle defined by the speakers should be

approximately on top of the centre of the stage. Speakers should point to

one and a half metres (5 feet) directly over the centre of the stage and

have a free line of sight over the entire area in which tracking is needed.

Objects blocking speakers’ lines of sight can degrade system perform-

ance, especially if they are close to the speakers themselves.

We will refer to each speaker by a number from 1 to 4, as follows:

Speaker 1 is towards the stage right and upstage (far from the public)

Speaker 2 is towards the stage left and upstage (far from the public)

Speaker 3 is towards the stage left and downstage (close to the public)

Speaker 4 is towards the stage right and downstage (close to the public)

Connect each of the four MLD speakers to the MLD box. This must be

done using the speaker cables supplied (20 m each) and an appropriate

XLR male to female extension cable, if necessary. Wiring of the XLR

cables conforms to normal audio speaker cable wiring conventions. The

female XLR connectors must be plugged into the MLD box’s audio

output jacks. The male XLR connectors plug into the speakers’ female

XLR. Numbering of the output jacks goes from left to right and should

follow the convention outlined above.

Tip: If it is impossible to have the speakers mounted around the stage,

you may place them in some “alternative” positions. Please see the

MLD’s online help system for details.

Public

Speaker 1

Speaker 4

Speaker 2

Speaker 3

Downstage

Upstage

Stage

Left

Stag

Right

Ideal speaker mounting. The dotted line shows the

speaker area, which is slightly bigger than the area of

the stage that will be tracked by the MLD

Page 16 Getting Started

the MLD control fixtures without the need of any other controller,

sequencer or console. In this configuration there can be 4 maps loaded

simultaneously and new ones can be added manually in the real time

screen. This arrangement is suitable for completely automated situations

such as convention centre presentations, small concerts, fashion shows

or other events where the lighting behaviour is not going to change too

frequently or require sophisticated moving light sequences.

MLD between the lighting console

and lights

This is the most common configuration for the system: the MLD

intercepts DMX data coming from a console and replaces predetermined

DMX channels with data generated by the performer. For example, the

MLD may take control of pan and tilt channels while letting all the other

channels be controlled by the console. In addition, through DMX, the

console may load and unload MLD maps to change the behaviour of the

tracking system, or to override it. This is ideal for performance situa-

tions in which the lighting designer wants to integrate the MLD system

into a sophisticated light show, with the DMX console directing all

show control.

MLD with bi-directional DMX link to

lighting console

MLD box

MLD between the console and the lights.

This is the most common configuration

DMX cable

DMX 512

outin

Light 1 Light 2

o other lights controlled

irectly by the MLD and

onsole (up to 64 fixtures

12 DMX channels)

Control console

DMX 512

outoutoutout

to other lights

(not controlled

by the MLD)

DMX

cables

DMX cable

MLD box

DMX cable

MX 512

utin

Light 1 Light 2

o other lights

ontrolled directly

y the MLD and

onsole (up to 64

ixtures or 512 DM

hannels)

DMX Board

DMX 512

outoutoutout

o other lights, controlled by board but

LD may trigger cues.

DMX

cables

DMX cable

DMX

splitter

1 2 3 4 5 6 7 8 9 10 11 12

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Martin LIGHTING DIRECTOR Owner's Manual Page 9

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