Page 1
MARTIN CASE
MANUAL
Version 7.20
Revision (04/2000 English)
Page 2
04/2000 Martin Case Manual Version 7.20 Contents
CHAPTER 1: Introduction _________________________________________________________________ 6
Features ______________________________________________________________________________ 7
Models_______________________________________________________________________________ 11
Connecting ___________________________________________________________________________ 13
Connections __________________________________________________________________________ 14
CHAPTER 2: Menu______________________________________________________________________ 16
Overview_____________________________________________________________________________ 16
LIGHTCONSOLE ____________________________________________________________________ 17
UPDATE_____________________________________________________________________________ 18
TEST-UTILITIES_____________________________________________________________________ 18
TO/FROM FLOPPY___________________________________________________________________ 19
VIEW _______________________________________________________________________________ 19
DOS UTILITIES______________________________________________________________________ 19
CHAPTER 3: Using the manual ____________________________________________________________ 20
Overview_____________________________________________________________________________ 20
Experienced user or beginner____________________________________________________________ 20
Use of the keys and the denotation in this manual ___________________________________________ 21
Keyboard help ________________________________________________________________________ 22
Important remarks and actions to be taken ________________________________________________ 22
Overview_____________________________________________________________________________ 22
Example show ________________________________________________________________________ 22
CHAPTER 4: The Setup __________________________________________________________________ 23
Start-up______________________________________________________________________________ 25
Set up fixtures ________________________________________________________________________ 26
Fixture library
Fixture Information Window
Interface window
Dipswitch window
{EXP} Multipatch/Softpatch
Stage window
Fixture patch window
Saving the setup
Trackerball and keys in the setup program ________________________________________________
29
{EXP} Other functions _________________________________________________________________
30 {EXP} Patch Fixture_________________________________________________________________
30 {EXP} Patch Function _______________________________________________________________
31 {EXP} Patch link ___________________________________________________________________
32 {EXP} Info _______________________________________________________________________ 32
{EXP} Dimmer___________________________________________________________________ 32
{EXP} Client (linking controllers, function has to be used on the Client desk) ___________ 33
{EXP} Host (linking controllers, function has to be used on the HOST desk)_______________ 34
{EXP} DMX-IN___________________________________________________________________ 36
Change address _____________________________________________________________________ 36
{EXP} Change RGB lib ______________________________________________________________ 36
Erase fixture________________________________________________________________________ 36
Erase all ___________________________________________________________________________ 36
Redraw ____________________________________________________________________________ 36
______________________________________________________________________ 26
__________________________________________________________ 26
____________________________________________________________________ 26
___________________________________________________________________ 27
__________________________________________________________ 27
_______________________________________________________________________ 28
________________________________________________________________ 29
_____________________________________________________________________ 29
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_______________________________________________________________________________ 37
Exit
{EXP} Changing the start options and controller default values_______________________________ 37
Summary ____________________________________________________________________________ 40
CHAPTER 5: Introduction to programming___________________________________________________ 41
Philosophy ___________________________________________________________________________ 42
PRESETS____________________________________________________________________________ 43
Changes in light scene__________________________________________________________________ 44
Dimmer functions _____________________________________________________________________ 44
Cues ________________________________________________________________________________ 45
Cue-memory
Sequences
Playbacks
Memories
Priorities within a cue
Transparent mode
Manual mode_________________________________________________________________________ 50
Direct access__________________________________________________________________________ 50
Thresholds ___________________________________________________________________________ 51
Effects generator ______________________________________________________________________ 51
Effects generator on Pan/Tilt channels
Effects generator on non-Pan/Tilt channels
Synchronization of effects
Effect macros
________________________________________________________________________ 45
__________________________________________________________________________ 46
__________________________________________________________________________ 47
__________________________________________________________________________ 48
________________________________________________________________ 48
___________________________________________________________________ 49
__________________________________________________ 52
______________________________________________ 52
_____________________________________________________________ 52
_______________________________________________________________________ 52
Time code____________________________________________________________________________ 53
Midi_________________________________________________________________________________ 53
Summary ____________________________________________________________________________ 53
CHAPTER 6: Fixtures and Control channels__________________________________________________ 54
The trackerball _______________________________________________________________________ 56
Screen selections ______________________________________________________________________ 57
Grand master_________________________________________________________________________ 58
Selecting fixtures ______________________________________________________________________ 59
Group fixtures ________________________________________________________________________ 60
Sub-masters __________________________________________________________________________ 61
Control channels ______________________________________________________________________ 62
Selecting and adjusting channels
{EXP} Controlling dimmer channels
______________________________________________________________________________ 64
Clear
Default
{EXP} Adjusting Default values
Manual mode_________________________________________________________________________ 67
Direct access__________________________________________________________________________ 67
Selections on the playbackwing __________________________________________________________ 68
____________________________________________________________________________ 65
_______________________________________________________ 62
___________________________________________________ 64
_______________________________________________________ 66
{EXP} Absolute or relative channel adjustment____________________________________________ 69
The SOLO function____________________________________________________________________ 70
Example _____________________________________________________________________________ 71
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CHAPTER 7: Effects Generator ____________________________________________________________ 73
In general ____________________________________________________________________________ 74
Effects generator on non-Pan/Tilt channels.________________________________________________ 74
Channel 1
Swing
Speed
{EXP} The delay
{EXP} The shift
{EXP} The wait
Direct access on effect generator channels._________________________________________________ 78
Mode
Delay
Shift
Effects generator on Pan/Tilt channels ____________________________________________________ 79
X-swing and Y-swing
Mode
Figure1 and Figure2
{EXP} Rotate
{EXP} Synchronization of effects_________________________________________________________ 81
Effect Marcos or Effect Wizard__________________________________________________________ 81
Stopping effects _______________________________________________________________________ 82
CHAPTER 8: Presets_____________________________________________________________________ 83
Presets, in general _____________________________________________________________________ 85
__________________________________________________________________________ 74
_____________________________________________________________________________ 75
______________________________________________________________________________ 75
____________________________________________________________________ 76
_____________________________________________________________________ 76
_____________________________________________________________________ 76
______________________________________________________________________________ 78
______________________________________________________________________________ 79
_______________________________________________________________________________ 79
_________________________________________________________________ 80
______________________________________________________________________________ 80
_________________________________________________________________ 80
_______________________________________________________________________ 81
Storing Presets________________________________________________________________________ 86
Calling Presets ________________________________________________________________________ 87
Erasing and changing presets____________________________________________________________ 87
Preset load-selection ___________________________________________________________________ 89
Summary ____________________________________________________________________________ 90
CHAPTER 9: Cue-memories_______________________________________________________________ 91
Cues ________________________________________________________________________________ 93
Activating cues ________________________________________________________________________ 93
Cue-memories ________________________________________________________________________ 95
Programming cue-memories with Autoload parameter
{EXP} Programming Cue-memories with Autoload parameter OFF
Viewing the values of a cue-memory with Autoload parameter ON
{EXP} Viewing the values of a cue-memory with Autoload parameter OFF
{EXP} The AUTOLOAD parameter
What should be stored in a cue-memory
The values screens_____________________________________________________________________ 99
Digital Memory-Values (Channels)
Digital Output-Values
Naming Cues ________________________________________________________________________ 100
‘Cuenames’ window
_______________________________________________________________ 100
________________________________________________________________ 101
___________________________________________________ 97
_________________________________________________ 98
_____________________________________________________ 99
____________________________________ 95
_________________________ 96
__________________________ 96
___________________ 97
Arranging cues_______________________________________________________________________ 101
Cue arrangement for shows with a defined cue-sequence
Cue arrangement for shows with no cue sequence order
CHAPTER 10: Cue-timing _______________________________________________________________ 106
The main Cue-fading__________________________________________________________________ 107
Cue-timing screen
__________________________________________________________________ 109
__________________________________ 102
___________________________________ 103
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{EXP} Fade modes
{EXP} Linking cue-memories
__________________________________________________________________ 111
_________________________________________________________ 111
{EXP} Channel timings________________________________________________________________ 113
Entering times with the playbackwing ___________________________________________________ 116
Entering Cue-timings with the playbackwing
Entering channel timings with t he playbackwing
{EXP} Cue-timing options_____________________________________________________________ 117
{EXP} Stopping the Cue-timing during perfo rmance
{EXP} Speeding-up or slowing-down the cueMultiselect cues ______________________________________________________________________ 118
{EXP} Autoprepare cues ______________________________________________________________ 119
{EXP} Automatic trace _______________________________________________________________ 120
{EXP} The combinations Autoload, Cue-fading and Manual________________________________ 121
CHAPTER 11: Memories_________________________________________________________________ 122
Differences between normal memories and cue-memories ___________________________________ 124
Making memories ____________________________________________________________________ 124
Viewing memories____________________________________________________________________ 126
Naming memories ____________________________________________________________________ 127
{EXP} Thresholds on memories_________________________________________________________ 127
CHAPTER 12: Sequences and Playbacks____________________________________________________ 129
____________________________________________ 116
_________________________________________ 117
_____________________________________ 118
___________________________________________ 118
Introduction sequences ________________________________________________________________ 131
Introduction playbacks________________________________________________________________ 132
Priorities____________________________________________________________________________ 133
Adding memories to sequences (fast programming _________________________________________ 134
Adding memories to playbacks (fast programming) ________________________________________ 134
{EXP} Editing Sequences ______________________________________________________________ 135
{EXP} Fade modes
{EXP} Linking cues
{EXP} Saving an edited sequence
Sequence functions
{EXP} Editing Playbacks ______________________________________________________________ 140
Playback screen and display modes
The memories in the playbacks
{EXP} Playback fade-modes
{EXP} Transparent mode______________________________________________________________ 144
{EXP} Transparent mode on
{EXP} Transparent mode off
{EXP} Making the choice: transparent mode on or off?
{EXP} Set up the Transparent mode
The example show ____________________________________________________________________ 148
CHAPTER 13: Special Functions__________________________________________________________ 150
__________________________________________________________________ 137
_________________________________________________________________ 137
______________________________________________________ 138
_________________________________________________________________ 138
____________________________________________________ 141
_______________________________________________________ 142
__________________________________________________________ 142
_________________________________________________________ 144
_________________________________________________________ 144
___________________________________ 145
___________________________________________________ 147
Loading shows _______________________________________________________________________ 150
The options
Starting with a new show
Deleting shows
Saving shows ________________________________________________________________________ 151
{EXP} RGB _________________________________________________________________________ 152
________________________________________________________________________ 150
____________________________________________________________ 150
_____________________________________________________________________ 151
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{EXP} BLIND _______________________________________________________________________ 153
{EXP} FREEZE______________________________________________________________________ 153
{EXP} COPY ITEM and TO ITEM _____________________________________________________ 154
{EXP} Copying fixtures and fixture channels
{EXP} Copying cues, sequences and playbacks
{EXP} Copying a memory to a cue-memory
Deleting memories, cue-memories, cues, sequences and playbacks ____________________________ 155
READ OUTPUT _____________________________________________________________________ 156
The MEM-FREE item_________________________________________________________________ 156
CHAPTER 14: Running the Demo show ____________________________________________________ 157
Startup for running___________________________________________________________________ 158
Explanation of the demo show __________________________________________________________ 158
Overview of Cue-page 1
Overview of Cue-pages 2 to 5
CHAPTER 15: Time-code and midi ________________________________________________________ 163
Time-code___________________________________________________________________________ 164
Time- c o d e mo d es
Recording a cue-list
Playing a cue-list
Time-code cue-tracking
Changing a cue-list
MIDI_______________________________________________________________________________ 171
___________________________________________________________________ 164
___________________________________________________________________ 166
_____________________________________________________________ 158
_________________________________________________________ 162
_________________________________________________________________ 165
______________________________________________________________ 168
_________________________________________________________________ 169
____________________________________________ 154
__________________________________________ 154
_____________________________________________ 155
APPENDIX____________________________________________________________________________ 173
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04/2000 Martin Case Manual Version 7.20 Introduction
1 CHAPTER 1: Introduction
Thank you for selecting a Martin Case light controller. Martin Case light controllers offer
an enormous variety of tools helping light designers to create their most fabulous shows in
no time.
Originally, the controllers were designed to be used in combination with moving lights.
Today they can be used in the small disco club as well as on the big concerts. From this
software version, they offer the possibilities for the best theatrical jobs.
An enormous advantage is the software. You have to know only one software version to
control all Martin Case light controllers. From the smallest version, the Pro 1, to the most
extended version, the Pro 2 Plus, the same software is used. All functions available on the
Pro 2 Plus are al so available on the Pro 1, only the access on the Pro 2 Plus is mo re direct
and easier to use.
Time pressure, no problem. The built-in Effects Generator saves a lot of programming
time. Furthermore, you have always direct access to each function of every fixture. There
have been spectacular shows in the past performed ‘on the fly’ with only some basic
programming.
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1.1 Features
Hardware
Protocols
Channels
(standard/Max)
Grand master
Flash master
Programmable
sub-master
Playback analogue faders
Sequence digital faders
Functions digital faders
Extra keys for:
Timing/playback mode/
Direct access (***)
SMPTE/MIDI
CD-ROM
Hard disk - Floppy disk
Trackerball
(on/off toggle)
Pro 1 (*) Pro 2 (*)
DMX-out
DMX-in
512/1536
1
1
2
10 (**)
-
-
-
Option
Option
1 - 1
1
DMX-out
DMX-in
1024/2048
1
1
2
10 (**)
12
16
-
Standard
Standard
1 - 1
1
Pro 1+
DMX-out
DMX-in
512/1536
1
1
2
42
-
-
Yes
Option
Option
1 - 1
1
DMX-out
1024/2048
(*) When the Pro 1 and the Pro 2 controllers are connected through the LINK with
a Playback Wing, they will have the same functionality as their +version with
the exception of the amount of channels.
(**) The 32 extra playbacks are accessible through an external midi keyboard.
(***) Those functions can be controlled on the Pro 1 en Pro 2 controllers, but a bit
more time-consuming.
Pro 2+
DMX-in
1
1
2
42
12
16
Yes
Standard
Standard
1 – 1
1
7
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Software
FIXTUES
- Up to 700 fixtures with max 32 channels per fixture
- Library of more than 300 fixture types, grouped per manufacturer
- LEE, ROSCO, GAM filter library for CMY (RGB) fixtures
- Extended dip-switch information of the fixtures
- Repatch possibilities
- Protected functions like (reset, lamp-off, lamp-on)
- Direct access on each channel of every fixture
- Extended functions for dimmer-channels like: Dimmer-curves, multi-patch and
extended accessibility of dimmer-channels
- Possibility to group fixtures over 2 x 16 groups
- Adjustable DMX-timings for all outputs
PRESETS (70 x 4 types with extended functions)
- Pan/Tilt: includes Pan/Tilt, focus and dimmer information.
- Gobo: includes 4 gobo-wheels, 4 gobo-parameter fields, knifes (PAL1200),
iris, focus, zoom and prism information.
- Color: includes 4 color-wheels, color-parameter field, RGB and dimmer
information.
- Effect: includes all possible effects generator parameters.
- Every function can be enabled or disabled.
MEMORIES
- Maximum 4000 memories
- Every memory can include information of 700 fixtures of up to 32 channels, with
their effects generator parameters and their timing parameters
- Changes in preset-values are automatically recorded in the memories, if the
memories are built with presets
- Can be changed at any time
- Can be used in sequences and playbacks and can be called separately.
CUES
- Maximum 11,200 cues
- Per main-cue, 9 point cues
- Each cue can hold 1 cue-memory, 4 sequences and 42 playbacks
- Have transparent possibilities so that an activation of an other cue results in
replacing only the programmed functions (sequences, playbacks, cue-memory) of
the activated cue
- Have link possibilities to other cues
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04/2000 Martin Case Manual Version 7.20 Introduction
- CUE MEMORY
o Every cue-memory can include information of 700 fixtures of up to 32
channels, with their effects generator parameters and their timing
parameters. The timing-parameters can be applied on the cue-memory
or on every single channel separately:
Delay-in time
Fade-in time
Delay-out time
Fade-out time
Link time
o Multi-select cue, or activating several cues simultaneous
o Auto-prepare cue-memory: when the dimmer closes in one cue, the
controller will look ahead and execute all programmed non-dimmer
channels until he finds a cue where the dimmer opens again.
o Auto-trace: when a cue is activated, the controller will gather all missing
channels in descending cue order.
- SEQUENCES
o Up to 4 sequences per cue
o Each sequence can hold 1 start-memory, 100 loop memories and 1 stop-
memory
o Have separate fade and wait-times.
o Can be activated/deactivated separately
o Can run forwards, backwards, in bounce (forwards and backwards) or at
random.
o Can be mutual synchronized
o Possibilities for auto-trigger, manual trigger and triggering in ‘learn the
beat mode’ (beat-step mode)
o Linking possibilities to other cues
- PLAYBACKS
o A playback is a memory to fade-in manually with:
A fader
A flash key
o Flash key functions:
Flash: with fade-in and fade-out time (adjustable separately)
Toggle: with fade-in and fade-out time (adjustable separately)
Kill: with fade-in and fade-out time (adjustable separately)
EFFECTS GENERATOR
- Up to 7 functions (10 for Pan/Tilt) per channel per fixture adjustable:
o Level, swing, speed, mode, delay, shift, wait (for non-Pan/Tilt channels).
o x-swing, y-swing, speed, mode, figure1, figure2, rotate, delay, shift, wait
(for Pan/Tilt channels).
- On Pan/Tilt channels, there is a choice out of a library of 49 different motion-
patterns.
- Pre-programmed combined effects with the effect macro functions like: Pan/Tilt
effects combined with dimmer effects or rainbow effect for RGB (CMY) fixtures.
- Possibility to spread the effect over more fixtures.
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04/2000 Martin Case Manual Version 7.20 Introduction
OTHER FUNCTIONS (overview)
- 1 Grand master
- 1 flash master
- 2 programmable sub-masters
- Time-code
o Show-programming on time-code: SMPTE, CD-ROM, Internal clock or
manual.
- Midi
o Triggering of cues, cue-memories, sequences or playbacks through
midi-codes.
- Direct access of fixture-channels resulting in fast programming of colors, gobos,
functions… Direct access with digital fader belts on Pro 2 or Pro 2+ controllers.
- Absolute or relative programming of channel-values.
- Solo function for channel adjusting on the bigger shows.
- Freeze function to freeze fixtures, sequences, playbacks and cue-fading.
- Manual override mode
- Gel filter choice on filter number for RGB (CMY) fixtures
- Extended copy possibilities for memories and cues
- Extended load and save function to load or save shows
- Possibility to read memories from other controllers through DMX-IN
- Possibility to link MartinCase controllers (up to 41 with playback wing, up to 113
without) through DMX-IN
- Print or export possibility of stage layouts or patch lists.
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1.2 Models
Pro 1
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11
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04/2000 Martin Case Manual Version 7.20 Introduction
Pro 2+
VH
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12
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04/2000 Martin Case Manual Version 7.20 Introduction
1.3 Connecting
WARNING: Adjust the voltage setting of your controller to your local AC power
supply before applying power.
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Connect the power cable to AC power
Connect a standard VGA monitor to the ‘VGA Monitor’ output and connect its
power. Note: Some controllers don’t have a power output for the monitor.
Connect a standard PC keyboard (big connector) to the ‘Keyboard’ input.
Connect a data cable between the DMX or Martin output of the controller and the
fixtures.
Note: Martin Case controllers use a 5-pin XLR connector for the DMX signal. With the
controller comes a 5-pin to 3-pin inverting and non-inverting adapter. See the table below
for the pin-connections.
DMX pin connections
5 PIN XLR
GND
PIN 1
Signal – (cold) Signal + (hot)
PIN 2
PIN 3
output controller
3 PIN XLR
PIN 1
PIN 3
PIN 2
output adapter inverted
3 PIN XLR
output adapter non-inverted
PIN 1
PIN 2
PIN 3
Connect the supplied gooseneck lamp to the output (Lamp +12V)
Switch ON
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13
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04/2000 Martin Case Manual Version 7.20 Introduction
1.4 Connections
Lamp +12V
Connection for a Gooseneck lamp (12V).
Lamp +12V
3 Pin XLR
GND
PIN 3
+12V
PIN 2
CD-ROM Digital out
Digital sound output of the build-in CD-ROM player.
CD-ROM
GND
Signal
Digital out
3 Pin XLR
PIN 1
PIN 2
CD-ROM OUT L and R
Analogue sound output left (L) and right (R) of the build-in CD-ROM player.
CD-ROM
L and R
3 Pin XLR
DMX OUTPUT
DMX output for connection with the fixtures. Depending on the controller-type, there
are 1, 2, 3 or 4 DMX outputs.
DMX
OUTPUT
5 Pin XLR
DMX INPUT
DMX input to read DMX signals coming from other controllers.
DMX
INPUT
5 Pin XLR
GND
PIN 1
GND
PIN 1
GND
PIN 1
Signal
PIN 2
Signal -
(cold)
PIN 2
Signal -
(cold)
PIN 2
Signal +
(hot)
PIN 3
Signal +
(hot)
PIN 3
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LINK OUTPUT
LINK output for connection with an extra playback wing.
LINK
OUTPUT
3 Pin XLR
GND
PIN 1
Signal -
(cold)
PIN 2
Signal +
(hot)
PIN 3
SMPTE IN - OUT
SMPTE in and output for time-code controlling of shows.
SMPTE
GND
Signal
INPUT
OUTPUT
3 Pin XLR
PIN 1
PIN 2
MIDI IN (A, B) OUT (A, B)
Standard MIDI in and outputs (channels A and B) to connect external MIDI devices.
MIDI IN
5 pin DIN
GND
PIN 4
Signal
PIN 5
Keyboard
Connection for a standard PC keyboard (5 pin DIN connector).
VGA Monitor
Connection for a standard VGA monitor.
Parallel
Connection for a printer.
Serial
To connect an external serial device like a mouse.
MIDI OUT
5 pin DIN
+5V
PIN 4
Signal
PIN 5
Screen
PIN 2
15
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04/2000 Martin Case Manual Version 7.20 Menu
2 CHAPTER 2: Menu
2.1 Overview
When the main controlling program (logicase) is left with
[SHIFT] [SETUP]
2 sec) next menu will appear:
(hold during
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2.2 LIGHTCONSOLE
START
This option starts the main controlling program (logicase) again.
CONFIG
To configure the system. When for example a DMX interface is added to the
controller, to expand the amount of DMX channels, it is necessary to run the
configuration.
When this option is selected, next menu will be shown:
CONFIGURATION LIGHTCONSOLE
CONFIGURATION CASECARDS
AUTOMATIC CONFIGURATION
CHECKING CONFIGURATION
CHANGE PASSWORD
Configuration lightconsole
To enable or disable functions like master faders, playback faders, digital faders,
speaker etc…
Configuration Casecards
Some older fixtures may react strange on the controllers DMX signal. With this
option, all DMX timings can be adapted. WARNING: IF YOU ARE NOT
FAMILIAR WITH DMX, DON’T CHANGE ANYTHING HERE, the
possibility exists that all fixtures will behave badly. To avoid this, the option is
protected by a password (telesoft). If however, the options are changed, use the
menu-item automatic configuration to default the DMX values.
This option is also used to prepare shows to be used on controllers with more
DMX channels. You won’t be able to control the fix tures, but the complete show
can be prepared.
Automatic Configuration
Is used to repair the configuration of the controller or to upgrade the number of
DMX channels when an extra DMX interface is added to the controller.
Checking Configuration
To test the configuration of the controller.
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04/2000 Martin Case Manual Version 7.20 Menu
2.3 UPDATE
PROGRAM UPDATE
To update the controller with new software: put the floppy(ies) with the new version in
the floppy-drive and use this option.
The controller will automatically make a backup of the old version and will install the
new version. The option ‘List new features’ gives an overview of new items. RESET
the controller after updating.
Rem. : Regularly check both sites below for new software versions:
http://www.martin.dk
Or the Case site:
http://www.caseconsole.com
Please follow the instructions on the site to install new versions.
NEW LIBRARIES
Each month new fixtures are added to the library. The latest libraries are always
accessible on the Martin or Case sites. The option ‘List fi xtures’ gives an overview of
all fixtures installed in the controllers library.
Rem.: A library update will always update all fixtures.
MAKE NEW FIXTURE
Not yet in use.
KEYBOARD PATCH
After a software update or after a complete new installation, the keyboard patch file of
the controller may be changed too. This causes some keys like the grand master flash
key to behave strange, sometimes the front panel keyboard may be mixed up on older
controllers. Use this option to select another keyboard patch file.
If an older controller was upgraded with the playback wing link, and the playback
keys don’t work, select in this option keyboard 4.
2.4 TEST-UTILITIES
CHECK HARDWARE
To check the hardware functions of the controller.
CHECK HARDDISK
To check the internal hard disk on errors.
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2.5 TO/FROM FLOPPY
EXPORT PATCH SETUP
To copy the patch setup, exported in the SETUP (see chapter SETUP) to a floppy. The
file can be used on a Windows PC.
EXPORT STAGE CAD
To copy the STAGE LAYOUT in BMP format, exported in the SETUP (see chapter
SETUP), to a floppy. The file can be used on a Windows PC.
EXPORT / IMPORT SHOWDATA
In rare occasions, on very big shows, a m essage ‘NOT ENOUGH DISKSPACE’ can
appear on the screen when saving a show to a floppy. If this happens, use this menu
option to save the show on multiple floppies.
To load a show from multiple floppies, use the import option.
IMPORT DEFAULT CURVE/ IMPORT SHOW CURVES
With the Windows program ‘Logicurve’, dimmer curves can be adapted externally. Use
this option to import the curves. If the default option is used, the curves are used with
every new show. If the show option is used, only the current show will use the curves.
The Windows program ‘Logicurve’ can be downloaded free on both earlier mentioned
sites.
2.6 VIEW
To view the system files of the controller.
2.7 DOS UTILITIES
To edit files and to leave the menu.
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04/2000 Martin Case Manual Version 7.20 Using the manual
3 CHAPTER 3: Using the manual
3.1. Overview
Each chapter begins with a diagram to show you which point you have reached when you are
studying the controller.
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This example shows that the chapter explains the effects generator.
3.2. Experienced user or beginner
In this manual, we try to group everything per chapter. Because of this, it can happen that
sometimes items, difficult to understand for new users, will be explained. New users are
advised to skip those items until he has some experience in using the controller. The sign
{EXP} in the margin or in the heading of the chapter stands for experienced user and it means
that the item or the chapter is only to be read by experienced users.
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3.3. Use of the keys and the denotation in this manual
The denotation of a key:
[KEY]
When an item has been explained in a previous chapter, a description will replace the key
actions:
[Description]
A PLUS sign between the keys will mark that more keys have to be selected simultaneous:
[KEY 1] + [KEY 2]
If the keys have to be selected one by one, they will be separated by a space:
[KEY 1] [KEY 2]
Some keys have the same function or meaning, like the big key matrix beginning with key 1
and ending with key 70. Those are denoted as:
[1…70]
This means, ‘press one of the keys in the key matrix 1, 2, 3, …. , 70 (Fixtures/Cues/Presets)’
[1…16]
This means, ‘press one of the keys in the key matrix 1, 2, 3, … , 16 (Groups/Cuepages)’
[1/17…16/32]
Means: ‘press one of the keys in the key matrix [1/17] … [16/32] (Control channels)’.
Some of the keys like the [CLR] or the [P&T] key, can be found more than once on the front
panel keyboard. To indicate the correct key, an explanation is given between brackets ().
[CLR (Presets)]
An example:
[1…70] [1…70] …. [1…70]
Select some keys in the key matrix 1…70. This is the same as: select some fixtures (see
chapter ‘fixtures and control channels’). Since we know now how to select fixtures, the next
paragraph won’t explain this again and the fixture selection is indicated by:
[Select fixtures] [STORE (groups/cuepages)] + [1…16]
So this means: select some fixtures and press the [STORE] key (in groups/cuepages)
simultaneous with on of the key in the key matrix 1…16.
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3.4. Keyboard help
The controller keyboard is equipped with a build-in HELP function by means of LEDs.
Every time when a function is called, the LEDs of the keys, which can be used with this
function, will blink.
Example: Select the [E DIT (CUES)] key. All LEDs of the keys involved in the edit function
will blink orange.
3.5. Important remarks and actions to be taken
Bold marked texts indicate an important remark or a tip.
Bold and italic or italic texts indicate an action to be executed by the user.
3.6. Overview
The ‘appendix’ of this manual holds some fold up pages with an overview of the front-panel
keys of the controller.
3.7. Example show
There are 2 example shows:
The first show ‘getstart.cmp’ gives examples for the ‘getting started’ manual.
The second show ‘manual72.cmp’ holds the examples for this manual.
If an MSD (Martin Show Designer) is connected to the controller, all exampl es can be seen
‘in live’. For both shows, an MSD version is available.
Loading of the example show ‘MANUAL72’:
When the main program is started, load the show by pressing the [LOAD] key.
Step 1: Press [LOAD (hold for 2 secs)]. In the lower left corner of the screen, next message
will appear: ‘1 = LOAD INTERNAL 2 = LOAD EXTERNAL’
Step 2: Select [1 (keypad)] to load the show from the internal hard disk or select [2 (keypad)]
to load the show from a floppy disk.
Step 3: Type the name MANUAL72 or highlight the name MANUAL72 using the [2↓] key.
Step 4: Press [RET] (in case you’ve used the [2↓] key press 2 x [RET] ). The show will
appear within a few seconds.
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4 CHAPTER 4: The Setup
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SET UP B A SIC S
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4.1. Start-up
When the controller is powered on, or when the option ‘START’ is chosen from the menu,
the main-program will show up.
To control lights with the controller, first the STAGE has to be built. The corresponding
fixtures with their corresponding DMX addresses have to be set up.
The SETUP program is used to:
- modify the start-up options of the main program
- draw the stage layout
- set up the fixtures from the library
- set up fixture addresses
- re-patch fixture channels and fixture numbers
- select the dimmer curves for dimmer channels
- activate/deactivate dimmer channels for dimmer programming
- link controllers
- select the RGB (CMY) library
- print and export the patch setup and the stage layout
[SETUP]
The setup program is started from the main program by selecting the [SETUP] key (hold it
during 2 sec).
2 key LEDs will start blinking now on the keypad. There are 2 possibilities:
- Select [1] to start the fixture setup program
- Select [2] to modify the start-up options and the default values for the main
program
If option [1] is selected, the screen below will appear:
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4.2. Set up fixtures
4.2.1 Fixture library
To place a fixture on the stage, the fixture has to be chosen
from its library.
First select a fixture page with the [Fixture PgUp] or
[Fixture PgDn] keys. (There is a choice between 10 pages
of 70 fixtures).
Then select a manufacturer, for example Martin, and
select a fixture type.
Suppose we will build a stage with 6 MAC600 in mode .4
4.2.2 Fixture Information Window
From the moment, the fixture type is selected, its fixture channels
will appear in the ‘Fixture Information’ window.
In this example, a MAC600 (mode 4) was selected. This fixture
has 14 functions or channels. A yellow square behind the channel
indicates that the channel has fading possibilities
4.2.3 Interface window
This window reveals the INTERFACE outputs and for older
controllers also the PROTOCOLS. Select with the trackerball an
output and a protocol. Output 1 is the same as channels 1 to 512,
output 2 = channels 513 to 1024, output 3 = channels 1025 to
1536 and output 4 = channels 1537 to 2048.
A yellow box denotes the selected output, a gray box means a
possible choice and a black box indicates that the option is not
installed.
Rem. 1: It is not always possible to select a protocol, since the protocol depends on the
fixture type. Also, on new controllers, only the DMX OUT protocol is available.
Rem. 2: Depending on the configuration, all output boxes may be gray, indicating that all
outputs are available, but as explained in the menu chapter, a controller can be set up for
2048 channels with only 1 physical output available.
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4.2.4 Dipswitch window
From this window, the fixture addresses are selected. The
dipswitches represent address switch positions on the fixtures. New
fixtures today use displays.
The numbers on the left represent the fixture patch number, as
they appear in the stage layout window, and the stage page or
fixture page where it is placed.
Patch number.Stage page
The numbers on the right represent fixture addresses. The
addresses increase per number of fixture channels. By clicking the
INC=14 box, the addresses will increase by 1 (the box will show
INC=1).
When the fixture type, the output and the protocol are selected, slide
with the trackerball over the dipswitches. When the dipswitch
address corresponds with the physical fixture address, the fixture
will respond with a Pan/Tilt at half its values, dimmer open, no
gobo and no color. A gray box indicates an address not selected yet,
a light blue box indicates a partially used address section and a dark
blue box indicates that the address section is completely taken.
There is a second option to select the address by means of the
keypad: select: [@] number [RET].
If the fixture is equipped with a lamp-on/off function, the command
LAMP ON is executed by selecting the LAMP ON box before the
fixture address is chosen.
4.2.5 {EXP} Multipatch/Softpatch
From this software version (7.20), there are multipatch or softpatch possibilities for
certain fixture types like dimmers (out of the dimmerpacks library) or spots (out of the
spots library). There are also some fixture types, like the VL5, that have a dimmer channel
that is separately addressable. When those types are selected, the softpatch window will
open automatically.
Multipatch/Softpatch gives the possibility to:
- individually address all channels of a dimmerpack
- assign multiple addresses to one singe dimmerchannel
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When a dimmer or spot is taken, and instead of
selecting an address, the MULTIPATCH function is
activated, a softpatch window will open.
Place the fixture somewhere in the Stage window.
Select a channel from the fixture information
window and select ADD CHANNEL. Assign an
address (see previous paragraph) to the channel.
The channel will appear in the softpatch window.
With the add channel function, multiple addresses
can now be assigned to one single channel. If an
address has to be deleted from the window, select its address line in the softpatch window
and click the DELETE CHANNEL.
A quick and shorter method to assign addresses: Select a channel from the fixture
information window and press [@] [address (keypad)] [RET] or in case addresses 10 to
20 need to be assigned to the channel: [@] [10 (keypad)] [THRU] [20 (keypad)] [RET]
4.2.6 Stage window
It is important that the Pan/Tilt directions of the fixture corresp ond w ith the d irections
made with the trackerball. To apply this correspondence the fixture can be turned in 9
possible positions with the keypad keys [1…9]. The fixture is now ready to be positioned
somewhere on the stage by confirming its position with the left trackerball key.
It is always possible to move the fixture by re-selecting it in the stage window.
When the same fixture type, with successive addresses, has to be set up, it is faster to select
the [next] key after assigning the first address to the first fixture.
It is also possible to draw circles, rectangles and lines in the stage layout window. In
addition, some texts can be added. Afterwards, everything can be edited with their EDIT
function.
By default, everything that is placed in the stage window has a green color. To keep
everything well organized, it is better to select first a color before a fixture is set up or
before drawing lines etc… It is always possible to change colors afterwards with the EDIT
functions.
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4.2.7 Fixture patch window
From the moment the fixture is placed in the stage window, its
number with its color will also appear in the fixture patch
window.
This same window will also be displayed in the main program.
The numbers 1…70 represent the fixture numbers on the selected
fixture page as they appear in the stage layout window
4.2.8 Saving the setup
Click on the EXIT box or select (and hold for 2 sec) the [SETUP] key.
Click the SAVE box or select key [1], NOT SAVE or key [2] or [ESC] to abort.
It is impossible to leave the S ETUP as long as there are patch faults (overlapping
addresses).
4.3. Trackerball and keys in the setup program
Trackerball
Only the 2 upper trackerball keys have a function in the setup program:
- LEFT KEY: apply
- RIGHT KEY: abort
Front-panel keys
In general: When a function has been selected, the LEDs of the keys
belonging to the selected function will blink.
Keypad [2] and [8]: Line down, up, like address down, address up.
Keypad [1 ... 9]: Rotating fixtures
Manually assigning addresses followed by [RET]
[PgUp] en [PgDn]: Page up, Page down: for example address page up or address
page down in the dipswitch window.
[Fixture PgUp] and
[Fixture PgDn]: Selecting a fixture page.
[ESC]: Abort
[@]: Select this key first when values need to be assigned, for
example when assigning DMX addresses.
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4.4. {EXP} Other functions
4.4.1 {EXP} Patch Fixture
This is a re-patch function or re-number function for fixtures already being placed on the
stage.
All
All fixture numbers change starting from 1.
First, the fixture type, of the fixture that has to become fixture 1, has to be selected.
Then the fixtures, within the selected type, have to be clicked in successive order.
Type
To change the fixture order within one fixture type.
First, select the type (for example MAC300 or MAC600), and then click the fixture
that has to become first within the selected type.
Groups
To renumber the fixtures by selecting complete groups of fixtures.
Select in successive order the groups. The fixtures will be renumbered automatically.
Random
To break the fixture type ordering. Every fixture can be ordered as wished.
The fixtures are selected in successive order.
Tip: It is also possible to re-patch fixtures by using the DRAG AND DROP function with
the trackerball. Just click the fixture number, in the fixture patch window, with the
left trackerball key and hold it. Drag the number to another position and drop it by
releasing the key.
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4.4.2 {EXP} Patch Function
Like fixtures, also the fixture channels can be re-patched, since every fixture type has
another channel ordering.
Ex.: For all types, channel 1 has to be dimmer, channel 2 has to be color and channel 3
gobo.
First, select a fixture from the library. The function patch window shows it’s patching:
This picture represents the function patch for a MAC600 in
Mode 4.
In this example, channel 2 (dimmer) is re-patched to channel 3
(CYAN) (F2 = F3 (cyan)), and channel 3 becomes the dimmer
channel (F3=F2 (dimmer)). Channel 1 remains the same (F1 =
F1).
If we want channel 2 to become the dimmer again and channel 3
to become cyan again then select:
Patch Function, give the number of the channel to re-patch
(ex. 2 [RET]), followed by the channel number where it should
be re-patched to (ex. 2 [RET]. In this case, channel 2 is re-
patched to its original state (F2 = F2). The same sequence has to
be repeated for channel 3 ([3] [RET] [3] [RET])
Rem. 1: It is impossible to re-patch 2 channels to the same function. The re-patch of
the channels has to be completely finished, or an error message will appear
(the red area cannot contain 2 times the same patch channel).
Rem. 2: It is also impossible to assign a patch number greater than the
maximum number of channels of the fixture. This means that the empty
boxes cannot be used.
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4.4.3 {EXP} Patch link
4.4.1.1 {EXP} Info
This function gives an overview of the already patched fixtures together with their
addresses, protocols and dipswitch settings. This info may be printed (in hp laserjet mode)
or exported.
There are 2 possible ways to group the information: by fix ture type (type) or by controller
output (output).
When exporting, the stage layout can be added to the export file (include stage).
When the (export) function has been selected, the exported BMP file has to be copied to a
floppy disk using the MENU item (TO/FROM FLOPPY) (see chapter menu). This file can
be imported and printed on a Windows PC.
4.4.1.1 {EXP} Dimmer
Dimmer channels can be used with some advanced functions. Dimmer curves can be
assigned to them and the dimmer channels can be added to a list of dimmer channels where
special dimmer commands can be applied on. Those special com mands are for example
DIMCHANNEL x THRU y @ zz%
Each dimmer channel can be configured separately.
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In the above example, dimmer channel 35 represents the dimmer of a MAC250. It is
activated, which means that it is included in the list where the special dimmer commands
can be applied on. The channel has a linear dimmer curve.
Channel 36 is also included in the list and linear. Because channel 36 represents a PAR64,
we can assign another curve like PRE-HEAT to it.
To activate dimmer channels in the list, the fixture(s) have to be selected with the
trackerball and the ACTIVE or NONACTIVE box has to be clicked.
When the item DIMCURVE is selected, a supplementary window will open:
.
Linear: Normal linear curve
Linear 110V: Linear curve limited to 50% max value
Preheat: Linear curve starting from 5%
Preheat 110V: Preheat curve limited to 50% max value
ON/OFF: Relays function
Neon: Curve special for neon lamps
Custom x: User curves to be made with the program ‘Logicurve’
Note: the program ‘Logicurve’ is a Windows based program that can be downloaded from
the net for free. (addresses: see chapter Introduction). The user curves have to be imported
to the controller using the menu.
4.4.1.2 {EXP} Master (linking controllers, function has to be used on the MASTER desk)
MartinCase controllers are linked through DMX. This way, up to 41 controllers (with
playback info) and up to 113 controllers (without playback info) can be linked. To
accomplish this, the DMX outpu t of the master controll er is connected with th e DMX
input of the slaves.
To set up a link, a fixture called ‘Case slave controller’ (out of the Casefixtures library)
with its DMX address, has to be placed on the stage
There are 3 possible fixture choices:
6 Case slave console: this is a slave controller without point cues and limited to 10
playbacks. New shows shouldn’t use this fixture anymore, it is only included
in the library to insure compatibility with older shows. New shows should
select the Case Slave Desk V2.
6 Case slave desk V2: this is a slave controller with point cues and 10 playbacks.
6 Case slave wing: Together with Case slave desk V2, a Pro Plus controller can be
linked.
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After setting up the Case slave desk, the function Patch Link -- Master has to be selected.
One has to make the choice between Playbacks, Masters and Cues automatic or manual:
- Automatic: Playbacks, Master faders or cues will be send immediately to the
slave desks as soon as there is a change in one of them on the master.
The playbacks and master faders will have the same value on the
save desks and the same cues will be activated. In this case, you
don’t have to worry about the slave desks placed on the stage; they
are only there for the DMX addressing.
- Manual: The slave devices on the stage act as normal fix tures. Master faders
and playbacks have to be controlled as if they were normal fixtures.
The cues will only be activated on the slave desks when Case Slave
Desk channel 17 has a value higher than 50%. The advantage is that
different cues numbers and different master and playback fader
values and can be activated on the slaves.
On the slave desk, patch link SLAVE must be activated (see next paragraph).
4.4.1.3 {EXP} Slave (linking controllers, function has to be used on the SLAVE desk)
When controllers are linked, the function Patch Link – SLAVE has to be activated on
each slave desk to assign a DMX address to the slave controller.
When the function is selected, the DMX address of the Playbacks – master – cue will be
asked. This has to be the same address as assigned on the master desk for the ‘Case Slave
Desk V2’.
When there is also a ‘Case slave wing’ set up on the master, the address of the Playbacks
11 –42 on the slave should correspond with the ‘Case slave Wing’ address assigned on the
master. When there is no slave wing set up on the master, just press [RET] on the
Playbacks 11-42 item of the slave desk.
De controller will ask now if the master is working in %proportional or digital mode. In
case of a MartinCase controller, select the digital option, in case of an other brand master
controller, you have a choice.
Note: It is possible to control a MartinCase desk from an other brand controller using
DMX. The other brand controller, which will act as master, needs a library called
‘Case slave desk V2’ and ‘Case Slave Wing’ (for the channel values, see next
page). It is also possible to control the MartinCase slaves with a dimmer on the
Master. A dimmer of:
o 20 channels for a MartinCase with point cues
o 32 channels in case of a MartinCase slave with playbackwing.
The MartinCase slave controllers act as a normal fixt ure on the master. If a library
is made for another brand controller, the channel assignment will be:
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Channel
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
....
32
Without point
cues (*)
playback 10
grandmaster
flashmaster
GO (**) GO (**) playback 27
playback 1
playback 2
playback 3
playback 4
playback 5
playback 6
playback 7
playback 8
playback 9
submaster1
submaster2
cuepage
cuenumber
With point
cues
playback 1
playback 2
playback 3
playback 4
playback 5
playback 6
playback 7
playback 8
playback 9
playback 10
playback 11
playback 12
playback 13
playback 14
playback 15
playback 16
playback 17
playback 18
playback 19
playback 20
Playback-
wing
grandmaster playback 21
flashmaster
submaster1
submaster2
cuepage
cuenumber
pointcue
not in use
not in use
playback 22
playback 23
playback 24
playback 25
playback 26
playback 28
playback 29
playback 30
playback 31
playback 32
(*) The Case slave desk without point cues should not be used any more
starting from software version 7.0. It only exists in the library to retain
compatibility with older shows.
(**) The GO function is used to activate the cue, set with channels 15 and
16. To activate the cue, the GO channel must have a value > 127 (>50%).
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4.4.1.4 {EXP} DMX-IN
DMX coming from other controllers can be read using the [SHIFT] [READ OUTP.] keys
in the main program when the controllers are linked through DMX-IN.
It is also possible to mix the DMX of 2 controllers with the same setup when both are
connected through the DMX output, DMX input. The DMX-IN signal will be mixed with
the DMX-OUT signal on the HTP principle. This means that the highest channel value
will take over.
Ex.: Suppose we have 2 desks with the same setup. The 2 desks are connected DMX-
OUT (desk 1) to DMX-IN (desk 2). Suppose channel 30 of desk 2 has a value of 80
and the same channel on DMX-IN coming from desk 1 has a value 100. On desk 2
the DMX value sent out by its DMX out will be 100.
DMX in (100) > DMX out (80) ----> DMX out = 100
To activate this, the DMX-IN channels of the fixtures on the stage must be active. Using
the function Patch Link - DMX-IN, the DMX-IN patch can be toggled ON or OFF.
4.4.2 Change address
This function is used to change the address of already patched fixtures on the stage.
This function is also used to change the multipatch/softpatch of an already existing
setup.
Select the function, click the fixture and select a new address value.
4.4.3 {EXP} Change RGB lib
When CMY (RGB) fixtures are in use, the filter library can be chosen. In the main
program, the [RGB] key is used to call a color by its filter number.
The library selected here will be used for all CMY fixtures in the main program. There is a
choice between LEE, ROSCO, or GAM.
Select the function and select a library.
4.4.4 Erase fixture
To erase an already configured fixture, select this function and click on the fixtures to
remove.
4.4.5 Erase all
To clear the entire stage. If this function is used accidentally, the setup can be left without
saving.
4.4.6 Redraw
Redraw everything.
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4.4.7 Exit
To leave and save the setup program, select the exit function. When leaving, there is a
choice between:
6 Save
6 Not save
6 Cancel
When fixtures, of a type already in use in the stage, are added on an existing programmed
show, the setup program will ask next question when leaving:
Fixture x (Page y) is new.
Select a fixture to copy from...
With keys [1...70] or by clicking with the trackerball, the fixture(s), to copy from, can be
selected. All memories, presets and all cues of the selected fixture(s) will be copied to the
new fixtures.
Tip: It is easy to make a standard show that can be used on every occasion, if always the
same type of fixtures are used. Just prepare the show with only 1 or 2 fixtures of
every type. Since you can copy memories, cues and preset s from the programmed
fixtures when leaving the setup, it is easy to extend an already existing show.
4.5 {EXP} Changing the start options and controller default values
[SETUP] [2]
When option [2] is selected from the main program when entering the SETUP, next menu
will appear:
The different options will become clear when reading the next chapters in this manual. We
will give here a brief description.
Note: The values in this example are the valu es from the ‘EMPTY’ show. Every time
a new show is started, those values will be applied to the show.
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• Global Transparentmode
Sets the global transparent mode for the entire show. Possible choices for sequences
and playbacks are: OFF or ON. Explanation in chapter Sequences and Playbacks.
• Console Startup
The controller will activate those options when starting up:
MODE
Will start-up the controller in Fixture mode or cue mode.
VIEWMODE
Opens the STAGE, TEXT (names) or VALUES (channel values) screen when
starting up.
SEQUENCE A – D
Options: OFF or ON. Starts or stops the sequences when starting up. (Chapter
Sequences and Playbacks).
CUEFADING
Options: OFF or ON. Starts or stops the cuefading when starting up. (Chapter
Cuetimings).
VALUES
Options: DIGIT. or PERC. Shows the channel values in digital or proportional.
(Chapter Fixtures and Control channels).
TIMECODE PLAY
Options: OFF or ON . Starts or stops the time-code when starting up. Handy on
exhibitions, to automate everything when the power comes up. (Chapter Timecode).
• Cue-fading Options
AUTOLOAD CUEMEMORY
Options: OFF or ON. Selects whether a cue-memory has to be loaded or not, in
the temporary memory, when selecting a cue. (Chapters cue-memories and cuetimings).
AUTOPREPARE CUES
Options: OFF or ON. Selects whether the auto-prepare function is active or not.
(Chapter Cue-timings)
AUTOMATIC TRACE
Options: OFF or ON. Selects whether the automatic-trace function is active or
not. (Chapter Cue-timings)
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• Console Settings
AUTOMATIC PLAYBACK-MEMORIES FROM
Sets the starting memory number from which memories will be created
automatically when using the fast playback-programming mode. (Chapter
Sequences and Playbacks).
AUTOMATIC SEQUENCE-MEMORIES FROM
Sets the starting memory number from which memories will be created
automatically when using the fast sequence-programming mode. (Chapter
Sequences and Playbacks).
AUTOMATIC MEMORYNAME
Options: OFF or ON . In ON mode, a memory name will be asked every time a
memory is created (also when using the fast programming mode of sequences and
playbacks). (Chapters Memories, Sequences and Playbacks).
AUTOMATIC CUENAME
Options: OFF or ON. In ON mode, a cue name will be asked every time a cue-
memory is created. (Chapters Cue-memories).
AUTOMATIC PRESETNAME
Options: OFF or ON. In ON mode, a preset name will be asked every time a
preset is created. (Chapter Presets).
DEFAULT CUETIMINGS
Assigns default timings, used when creating cue-memories. (Chapter cuetimings).
• Time-code settings
AUTOMATIC CUETRACKING
Sets the time-code cue-tracking mode. (Chapter Time-code and Midi). Possible
choices are: Disabled, normal or full. This setting stipulates what should be done
with previous cues when the time code is started in the middle of a time-code
show.
[2↓↓] or [8↑↑] [EDIT]
To change the settings, highlight the item with the [2↓] or [8↑] keys and press the [EDIT]
key. When timing-values have to be given, use the keypad.
To save the settings, press the [RET] key.
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4.6 Summary
Before programming starts, the stage setup has to be created.
To create it:
6 select a manufacturer
6 select a fixture type
6 select a fixture page with [Fixture PgDn], [Fixture PgUp] (up to 10 pages)
6 select the address and output
6 put the fixture somewhere in the stage window
6 rotate it to correspond the Pan/Tilt motions with the trackerball actions
6 repeat these steps until all fixtures are done
6 save the setup and return to the main program
Other functions:
6 drawing attributes to the stage and adapt the colors
6 re-patch fixtures
6 re-patch channels
6 select dimmer curves
6 linking of controllers
6 configure DMX-IN
6 RGB library select
6 print and export the stage and patch
The start options and default settings can be modified, and the auto-trace and auto-prepare
functions can be activated.
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5 CHAPTER 5: Introduction to programming
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This chapter gives a sh ort d escripti on of th e w ork in g of the Marti n Case con troll er. Also
some frequently used terms will be explained.
5.1. Philosophy
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CUE MEM ORY SEQUENCE (chaser)
A B C D
PLAYBA CK
1 ...... 42
Martin Case controllers have many possibilities to control light. Every light engineer will
develop his own method to create a fluent program style.
Martin Case controller’s philosophy is very simple:
6 First PRESETS have to be created, to make programming easier in a later stage.
6 With those presets and with the fixture control channels, changes in ligh t scenes are
made.
6 Those changes can be saved in memories, in playbacks or sequences (memories
will be created automatically) or stored immediately in a cue memory.
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5.2. PRESETS
Presets have one purpose: saving frequently used Pan/Tilt positions, colors, gobos and
effects in some kind of a user library, to avoid that those values have to be adjusted again
and again. Those preset-values can be used in a later stage, to make memories or light scenes.
If a preset, already in use in a memory, playback or sequence, is changed, the changes will be
forwarded immediately to them.
When presets are used in a show ‘on tour’, it becomes very easy to adapt the show to a new
hall, by changing some of the presets.
Presets are user definable combined settings of a main function of more fixtures
together. Also, every main function has a number of sub-functions that can be toggled
on or off.
The main functions of the fixtures are: Pan/Tilt, color, gobo and effect. In every preset, the
user can also adjust some of their sub-functions like, for example, the focus or dimmer in case
of a Pan/Tilt preset. Those settings are stored for all fixtures together.
The user can store 70 presets in every main function.
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70 x Pan/Tilt
- P an/T ilt in fo
- Fo c us in fo
- D im m er in fo
70 x Gobo
- gobo w heel 1
- gobo w heel 2
- gobo w heel 3
- gobo w heel 4
- gob o pa ram e ters
- kn ifes
- kn ife p ara m e ters
- effects1
- effects2
- effects3
- iris
- zo om
- foc u s
- fros t
- pris m
70 x Color
- co lor w h e el 1
- co lor w h e el 2
- co lor w h e el 3
- co lor w h e el 4
- co lor p a ram e te rs
- R G B
- dimm er
70 x Effect
- P an/T ilt e ffec t p a ra m e te rs
- go b o e ffec t pa ram e ters
- co lor e ffec t pa ram eters
- effe c t e ffe ct p a ra m eters
- iris effe ct pa ra m e ters
- zo om effect p ara me ters
- fo cus effect param eters
- d imm er effe c t p a ra m eters
Every preset has a number of sub functions, which can be toggled, on or off: ex. When
loading Pan/Tilt presets, the focus and dimmer info can be loaded too or not.
Gobo presets can hold info of 4 gobo wheels, gobo parameters like speed..., knifes (on the
PAL1200), certain effect wheels, iris, zoom, focus, frost and prism.
Example: When we work with the stage layout of the setup, we can make Pan/Tilt
combinations with all fixtures. Suppose, we take the home position of all spots and this
position is stored in Pan/Tilt preset 1 (home). Then we make a preset where they all focus 1
spot. We save this to Pan/Tilt preset 2. Then we can make color combinations with all fixtures
and we save them in one of the 70 color presets. For example white, yellow and blue. This is
important to gain programming time, because the color channel is not always on the same
channel position for different fixture types. Also the color values change depending on the
fixture type.
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When shows have to be done at different locations with the same programmed show, then the
programmed Pan/Tilt positions will certainly not be correct at each location. It will be easier
now to change 70 Pan/Tilt presets than to check all the memories that hold Pan/Tilt info. Pay
attention, the memories have to be programmed with presets, otherwise it won’t help.
5.3. Changes in light scene
Martin Case controllers use the principle: only the changes is light scenes have to be stored in
the memories. This means that it is not necessary to store all pa rameters of all ch ann els of
all fixtures in the successive memories. It is sufficient to store only once all parameters of
all fixtures and then, only those parameters that change in the next memories.
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Light scene 1
All channels of all fixtures
Light scene 2
On ly the channels of the fixtures that change to scene 1
Example: Light scene 1: Let’s take Pan/Tilt preset 1 (all spots home) and we
program: no gobo, color white, no strobo,...
Light scene 2: Only the color has to change. It is not necessary to
program the Pan/Tilt, gobo and strobo info again, only the color change
compared to light scene 1, has to be stored.
5.4. Dimmer functions
In chapter ‘SETUP’ was explained that dimmer channels could be stored into a list of
dimmers where special dimmer commands can be applied on. Those dimmer commands can
be things like:
- Dimmer 1 to 20 at 50%
- Decrease 5% on dimmer 5
- Increase all dimmers with 20%
- …
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5.5. Cues
A cue is can have:
6 a cue memory
6 4 sequences (chasers)
6 42 playbacks
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MEMORIES
PLAYBACK
1 ...... 4 2
S EQ U E N C E (c h as e r)
A B C D
CUE MEMORY
The system can hold up to 11,200 cues (16 pages of 70 cues + 9 point cues between every
cue). This means that it can have 11,200 cue memories, 44,800 sequences and 470,000
playbacks.
5.5.1 Cue-me mory
A cue-memory can be compared to a light scene. The light scenes we’ve made can be stored
in cue-memories and we have the possibility to add fade-times to them. Up to 2,000 cue-
memories can be stored in the system.
The cue memories can hold next parameters:
6 all channel parameters (up to 32 per fixture) of all fixtures (up to 700 fixtures).
6 all effect parameters (7 to 10) per channel, per fixture.
6 delay-in time equal for all channels, or different per fixture channel
6 fade-in time equal for all channels, or different per fixture channel
6 delay-out time equal for all channels, or different per fixture channel
6 fade-out time equal for all channels, or different per fixture channel
6 hold time equal for all channels, or different per fixture channel
On every channel of every fixture, an effect can be set. This way it is possible to create
enormously fast a color effect together with a Pan/Tilt motion in one single memory. (see
chapter effects generator).
Cue memories are handled the same way as light scenes. Also here, only the changes to the
previous memories have to be stored. Moreover, fade times can be put on every single
channel.
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- Delay-in: the wait time before the channel fading starts
- Fade-in: the time needed to fade-in the channel
- Delay-out: the wait time before the channel starts fading-out
- Fade-out: the time needed to fade back to its start value
- Hold: the wait time before calling another cue (link)
The cue fading can be stopped, accelerated or decelerated at any time during the
performance. This function is often used in live performances where the timings depend on
the speed of the actors.
It is also important that cue-memories make use of the presets as much as po ssible. It is
easier to change 70 presets than having to scroll through 2,000 cue-memories.
Multi-select cues: This is a function, which makes it possible to pre-select multiple cues and
start them at the same moment. For example, starting a Pan/Tilt cue-memory, together with a
color-memory and a gobo-memory. Important here is that the different cue-memories don’t
hold values for the same channels.
Auto-prepare: When the dimmer is closed in one cue and opened again in one of the next
cues, the controller will look ahead and execute all non-dimmer channels between those 2
cues, the cue where the dimmer opens included.
Auto-trace: This function is useful if the cues are programmed in successive order of
performance. When those cue-memo ries are programmed on the ‘only changes’ principle, it
can happen that a light scene is not reproduced correctly when going back a few cuememories. At this point, the auto-trace function will gather all channels in descending cueorder, starting from the last activated cue, until he has found a value for all channels.
5.5.2 Sequences
A sequence can be compared with a chaser. The light scenes can be placed in a user definable
order and in an endless loop so that they can be called automatically.
Sequences are built w ith memories (see paragraph memories). Starting from this software
version, those memories are created automatically when light scenes are added to a sequence.
Memories in the sequence:
- start memory: this is a memory executed only ones when the sequence is started or
when the sequence is linked.
- loop memories: these memories are executed in an ending or endless loop. 100 loop
memories can be added.
- stop memory: this memory is also executed only once when the sequence is stopped
or linked.
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Cue xx
Sequence A
Loop memory 1
Loop memory 2
Loop memory 3
Loop memory 100
Loop memory 1
Loop memory 2
Loop memory 3
Loop memory 100
Loop memory 1
Loop memory 2
Loop memory 3
Loop memory 100
Sequence DSequence CS equence B
Start memoryStart memoryStart memoryStart memory
Loop memory 1
Loop memory 2
Loop memory 3
Loop memory 100
Stop memoryStop memoryStop memoryStop memory
In every cue, up to 4 sequences can be used. Every sequence:
6 has his own fade and wait times for the loop memories
6 has a start/stop key
6 has loop memories that can run forwards, backwards, in bounce or at random
6 can be synchronized with other sequences
6 can run in automatic mode, in manual trigger mode or in ‘learn the beat’ mode
6 can be linked with another cue to call other sequences automatically
5.5.3 Playbacks
A playback is one light scene that can be faded in by a slider or by a switch (flash key).
There are 42 playbacks available per cue. A playback holds 1 memory (see paragraph
memories). Starting from this software version, those memories are created automatically
when light scenes are added to a playback.
When a flash key activates the playbacks, a fade-in and fade-out time can be added per
playback. When used by a flash key, there are 3 possible modes:
- Flash: The memory is faded-in (with fade-in time) when the key is pressed. Releasing
the key results in fading-out (with fade-out time).
- Toggle: The memory is faded-in (with fade-in time) when the key is pressed. When the
key is pressed again, the memory fades-out (with fade-out time).
- Kill: Two playbacks of the same cue in kill mode: pressing the key of the first
playback results in fading-in the memory (with fade-in time). Pressing the key
of the second results in fading-out the fist one (with fade-out time) and at the
same time fading-in the second (with fade-in time) = (radio button mode).
When the last flash key is pressed again, a fade-out will happen.
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Playback 1
Playback 2 Playback 3
CUE xx
............ Pla y b a c k 4 2
Memory
Fade-in time Fade-in tim e Fade-in tim e Fade-in time
Fade-out tim e Fade-out time Fade-out time Fade-out tim e
Memory
Memory
Memory
5.5.4 Memories
The memories we’ve mentioned in the sequences and playbacks paragraphs, are in fact light
scenes. They are comparable to cue-memories, only the fade-timings are missing. From
software version 7.0, there are 4,000 memories available to program. This means that 4,000
different light scenes can be programmed.
The memories can hold next parameters:
6 All channel parameters (up to 32 per fixture) of all fixtures (up to 700 fixtures).
6 All effect parameters (7 to 10) per channel, per fixture.
Like mentioned in previous paragraph, it is not necessary to save the values of all channels in
the memories. If only the color has to change, only the color channel has to be filled in. The
other parameters will remain empty.
On all channels of all fix tures, an effect can be run. It is very simple to create a color chase
together with a Pan/Tilt motion in only one memory (see: effect generator).
It is very important that the presets are used as much as po ssible in the memories. It’s
faster to change 70 presets than 4,000 memories.
5.5.5 Priorities within a cue
This is the most important paragraph from this chapter.
General: HTP (highest takes precedence) is used for DIMMER channels. I.e. the
highest active value for a dimmer channel will take precedence over the rest.
LTP with priorities is used for all other channels. I.e. the active function
(cue mem, sequence, playback) with the highest priority for the same channel,
takes precedence over the rest. The cue memory has the lowest priority,
followed by sequence D, C, B, A and playbacks 41, 40, ..., 1. There is also
the MANUAL mode. It has the highest priority.
These rules are only valid IF THE SAME FIXTURE CHANNEL IS USED
IN THE CUE MEM, SEQUENCES, PLAYBACKS OR MANUAL
MODE.
Memory modes can change the priority.
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•
DIFFERENT FUNCT IONS (cue mem , sequence, playback, manual)
ONLY IF THE SAME CHANNEL IS USED IN THE
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Sequence DSequence D
Sequence CSequence C
Sequence BSequence B
Sequence ASequence A
Play ba ck 4 2Play ba ck 4 2
Play ba ck 4 1Play ba ck 4 1
....................
Play ba ck 1Play ba ck 1
M anual m odeM anual m ode
Highest
Note for HTP on the dimmer channels: The HTP for dimmers can be disabled by applying
MODE 5 or MODE 6 on the memory (see: memory modes)
5.5.6 Transparent mode
Sequences, playbacks or the entire show can be used in 2 modes:
- Transparent mode on
- Transparent mode off
Transparent mode on: When changing cues, only the programmed se-
quences/playbacks of the called cue will replace the functions
of the previous one.
Suppose, there are 2 cues:
- Cue 1: playbacks 1 to 10 and sequences B, C, D in use
- Cue 2: playbacks 5 to 15 and sequences A, B in use
- Calling Cue 1: playbacks 1 to 10 and sequences B, C, D are active
- Calling Cue 2: playbacks 1 to 4 are still active and belong to cue 1, playbacks 5 to 15
are those of cue 2, sequences C and D belong to cue 1, sequences A and B belong to
cue 2
In transparent mode ON, it is possible to make combinations of different cues.
Order of priority
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Transparent mode off: Changing cues will result in replacing ALL
sequences/playbacks (also those who are not programmed) of
the old cue by those of the new one. = Replace all mode.
When certain sequences/playbacks were not programmed in the
new cue, they will remain empty.
When in the previous example, cue 2 is called, the result will be:
- Calling Cue 1: playbacks 1 to 10 and sequences B, C, D are active
- Calling Cue 2: playbacks 1 to 4 become empty, playbacks 5 to15 are those of cue 2,
sequences C en D become empty, sequences A and B are those of cue 2.
The choice can be made between transparent mode ON or OFF for the entire show, or for
playbacks and sequences apart.
5.6. Manual mode
Manual mode is the HIGHEST PRIORITY mode. No matter what cue, what sequence or
what playback is activated, it is always possible to select manual mode and do other things
with the fixtures on all channels.
Even when only the setup stage has been built and some presets are programmed, big shows
can be performed by taking all fixtures in manual mode and working with the direct access
function and the effect generator.
When sequences are running or playbacks are opened, it is always possible to take our one or
more fixtures in manual mode and do other things with them.
If manual mode is deactivated again, then all fixtures that were taken manually will remain in
manual mode until the manual changed channels are called again in a playback, sequence or
cue-memory.
Note for users of older software versions: In the older versions, the channels jumped
immediately back to the values they had before the manual mode was activated.
5.7. Direct access
There are 4 ways to adjust fixture channels:
- or the channel is adjusted with the trackerball
- or the channel value is typed in on the keypad
- or the channel value is selected by the direct access function of the controller
- or the channel value is adjusted with the digital fader belts of the P2 or P2+ controller.
Some fixture channels like color, gobo, prism... are divided into areas in the library. Those
areas are given a name like yellow, green, star gobo, square gobo... Just a simple press on a
key is needed to access those area’s. This is called direct access.
Using this method, it’s easy to program blind, because you see what you select.
Certain functions of some fixtures are protect ed against accidental use; this means that they
can be called only using the direct access function. Functions like RESET, LAMP OFF and
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LAMP ON are only accessible using the direct access and can’t be selected using the
trackerball or the digital fader belts.
On the Pro 2 Martin Case controllers, there is a second direct access possibility. The channels
of the selected fixtures are sent immediately to the Pro 2s 16 digital fader belts, which can be
adjusted at any time. With those belts, you have an overview over 16 channels and for fixtures
with more than 16 channels; you can select the next bank of 16 channels
5.8. Thresholds
A threshold is a table with percentages indicating wh en a channel has to be activated if
this channel is involved in a fading.
Thresholds are mainly used when many actions have to happen in one single memory (!!! Not
cue-memory), but those actions have to happen at different times.
Suppose we have 2 memories:
Memory 1: dimmer closed, no gobo
Memory 2: dimmer open, laser gobo
When we fade from memory 1 to memory 2, the dimmer will open slowly, but the
gobo will begin changing also at the same speed.
Suppose we want the gobo to change if the dimmer is open for 90%, so in 90% of the
fading, then we’ll have to give the gobo channel a threshold of 90%. The result will be
that the dimmer opens slowly and when he’s open for 90%, the gobo will start
changing.
Thresholds can only be applied on memories (playbacks and sequences) and not on cuememories, since a threshold can be simulated using the delay-in timings from the channels in
a cue-memory.
5.9. Effects generator
There have been many discussions already about creativity and the use of effects generators in
shows. Of course a self-made chaser will always give more satisfaction, but for some things
like Pan/Tilt motions in perfect circles and if time-pressure increases, the effects generator is
and will always be a handy tool.
On every fixture channel, the effect generator can be launched. Using the effect generator
saves lots of memory space, because an effect on all channels of all fixtures can be stored in 1
single memory.
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5.9.1 Effects generator on Pan/Tilt channels
If the effect generator is used on Pan/Tilt channels, 10 extra channels will be added to the
fixture channels:
- x-swing: adjusts the motion width
- y-swing: adjusts the motion height
- speed: adjusts the speed of the motion
- mode: choice between forward or backward motion
- figure1: polygonal motion selections
- figure2: circle and elliptical motion selection
- rotate: rotate the motion axis
- delay: to create a phase shift between more fixtures
- shift: to create a phase shift of 360° between more fixtures (used together with wait).
- wait: to adjust the wait time between the effect cycles
5.9.2 Effects generator on non-Pan/Tilt channels
7 channels are added to each non-Pan/Tilt channel of a fixture:
- Function: The center-point of the selected channel
- swing: The size of the effect around the center-point
- speed: The speed of the effect
- mode: Selection of forward or backward effect, fade, not fade, under or above the
center-point.
- delay: The phase shift
- shift: to create a phase shift of 360° between more fixtures (used together with wait).
- wait: to adjust the wait time between the effect cycles
5.9.3 Synchronization of effects
Effects on different channels can be synchronized if the speed and the wait of the dif ferent
effects are equal.
It is possible to create a Pan/Tilt fall motion together with a dimmer On/Off effect and
synchronize both, and this over more fixtures. The entire effect can be stored into one single
memory.
5.9.4 Effect macros
Effect macros are pre-defined, synchronized effects available by a simple key press. There are
effect macros only meant to be used with CMY (RGB) fixtures like the rainbow effect, which
creates a running color mix over several fixtures.
There are also typical combined effects like the previous explained Pan/Tilt + dimmer open/dimmer closed effect. There can be 70 different effect macros in the system.
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5.10. Time code
Calling cue memories, starting sequences or activating playbacks, in short the recording and
the playback of a show can be done using the time code. There are some possibilities:
6 On the internal controller clock
6 by using SMPTE (24, 25, 30, 30 drop) internal or controlled by any external SMPTE
controller.
6 MTC or Midi Time Code
6 by using the built-in CD-ROM, this means the music time-code of a music CD.
6 manual (last/next step by manual triggering)
Internal: The controller has a built-in clock that can be used to record or playback a
show
SMPTE: Standard on Pro 2 controllers, optional on Pro 1 controllers. With the SMPTE
time-code, controlled internal or external, a show can be recorded or
reproduced.
MTC: Midi Time Code can be applied by connecting an external midi time-code
source to the MIDI input of the controller.
CD-ROM: Standard on Pro 2 controllers, optional on Pro 1 controllers. A music CD in the
controller sends also a time-code signal. This signal can be used to record or
reproduce the show on the frame exact. The controller has an analogue and
digital music output.
Manual: Cue actions can be recorded in manual mode. Those actions can be called by
pressing the last/next keys.
5.11. Midi
By connecting a midi keyboard or midi sequencer to the controller, cues, sequences and
playbacks are triggered by sending midi codes (note on/off, beat, program change) to the
controller.
Using the controller this way, the 32 extra playback flash keys (not faders) can be used on Pro
1 or Pro 2 controllers without the need of an extra playback wing.
For simple shows, a musician can control the lights by just playing a song on his midi
keyboard.
5.12. Summar y
This chapter explained the philosophy of the Martin Case controller. Starting from a preset,
we can program a memory, a cue-memory, sequences or playbacks.
Important is that only the changes in light scenes have to be stored into the memories.
The priorities (cue memory = lowest, manual = highest) were ex plained and we saw how it
is possible to combine cues.
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6. CHAPTER 6: Fixtures and Control channels
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This chapter explains how to select fixtures, how to group fixture types and how to set
the control channels.
When using the example show ‘MANUAL72’, then first select the
[MAN]
key. The explanation for this is explained in the paragraph ‘manual mode’
in this chapter.
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6.1. The trackerball
The trackerball will be used to set channel values and to control Pan/Tilt positions.
On the trackerball, there are 4 keys and an LED.
.
Decrease
resolution
On/Off
indicator
Increase
resolution
To g gle O n/Off
Toggle On/Off: The trackerball can be toggled ON or OFF with both keys. When the
trackerball is active, the On/Off indicator LED will be green (only on
new controllers).
Decrease resolution: This function will only work on 16 bit channels of some fixtures
like Pan/Tilt channels, which have fine channels. By means of
Decrease resolution, the resolution will go to 8 bit. The
resolution setting is shown in a window left on the monitor. An
8 bit resolution means: when Pan/Tilt is selected on the
trackerball and it is moved, the fixtures mirror or head will
move fast, but its position is not accurate.
Increase resolution: This is the opposite of the previous function. The position can
be set precise, but the movement will be slow. Depending of the
fixture type, the resolution can be increased to 16 bit.
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6.2. Screen selections
On the monitor, different windows can be opened.
[STAGE]
Opens the stage layout window, as we know it from the setup. The 4 sequences will be
displayed too.
When the [STAGE] key is selected again, the analogue fader window will open.
Rem.: For users of older software versions, the second function of the [VALUES] key is now
moved to the [STAGE] key.
[TEXT]
Opens the names screen:
In fixture mode: displays the memory names given by the user.
In cue mode: displays the cue names given by the user.
In preset mode: displays the preset names given by the user.
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[VALUES]
Opens the channel value screen. There are 2 modes:
- Digital Memory-Values
- Digital Output-Values (select [VALUES] again)
The Digital Memory values screen represents the values, recorded in the memories or cuememories.
The Digital Output values screen represents the value, send to the fixtures t hrough the DMX
interface. These are the values of what you see on the stage.
Note: When the combination [SHIFT] + [VALUES] is used, the values will be in %
instead of digital.
6.3. Grand master
The grand master controls the light intensity of all fixtures. When it is closed,
*0
some functions on some fixture types like reset, lamp-on... will not function.
Before starting, better check first the level of this fader.
The flash key [GM] is used to flash to the maximum value of the master fader
when the fader is closed or not at maximum level.
LED off: Grand master not active
LED green: Grand master active but not at full level
LED red: Grand master at full level
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6.4. Selecting fixtures
Playback W in
[Fixture PgUp]
[Fixture PgDn]
Like mentioned in the SETUP, there can be 10 stages of 70 fixtures. With these keys, the
stage page can be chosen.
When fixtures have to be selected to set their control channels, first a page has to be
chosen. This mode is called FIXTURE MODE.
ixture PgUp]
Fixture Page up.
[Fixture PgDn]
Fixture Page down.
[Fixture PgUp] + [Fixture PgDn]
When both keys are selected together, the k eys [1]...[10] will flash. Those keys represent
the pages to select.
[ALL]
Select all fixtures on all pages.
[CLR]
Deselect all fixtures on all pages.
[EVEN]
Select only the even numbered fixtures from the present selection.
[ODD]
Select only the odd numbered fixtures from the present selection.
Remark: To work with the keys [EVEN] and [ODD] , first a number of fixtures have to
be selected. Then the even or odd numbered fixtures can be chosen out of this
selection.
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[1]…[70]
To select one or more fixtures
[1]
Selection of fixture number 1
[x] (x represents a number from 1 to 70)
Selection of fixture number X
[x] + [y] (x and y represent a number from 1 to 70)
When both numbers are selected together, all fixtures between those 2 numbers will be
selected.
6.5. Group fixtures
Fixtures can be grouped. There can be 32 groups (A and B each 16 groups) created.
[A/B]
To select group page A or B. Each group page can hold 16 groups of fixtures.
[STORE] + [1…16]
To save a group of fixtures in group x. Select first the fixtures, like only the MAC600 or
only the MAC250 and press [STORE] together with a group number.
Note: To erase a previously stored group: Deselect all fixtures and store this in the group
number to erase.
[1…16]
To select/deselect a stored group. The called group will be selected or deselected to the
existing selection.
[TXT EDIT (keypad)] + [1…16] [give a name using the keyboard] [RET]
Groups that have been stored can be named. The group-names will appear at the left of the
screen.
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6.6. Sub-masters
2 groups of fixtures can have each their own dimming fader. This can be
6 6
useful when intelligent light (scans) is used together with conventional light
(pars).
In the example we can store all scans (fixture page 1) in sub-master 1, and
all dimmers (fixture page 2) in sub-master 2.
LED off: Sub-master closed or not programmed
LED green: Sub master active but not at maximum level.
LED red: Sub master at maximum level.
[S1]
[S2]
Sub-master flash keys
[EDIT] + [S1] [select fixtures or groups] [S1]
Program sub masters
When the [EDIT (CUE keys)] is selected together with [S1] or [S2], the sub master will be
in edit mode. Fixtures or fixt ure groups have to be selected. Save the selection by selecting
the [S1] or [S2] key again.
Both fixture groups can be dimmed with the fader or flashed with the [S1] or [S2] keys.
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6.7. Control channels
6.7.1 Selecting and adjusting channels
[1/17]…[16/32]
Each fixture has 1 to 32 control channels. Keys [1/17] to [16/32] represent the fixtures
control channels, if a fixture has been selected.
[Pg<]
[Pg>]
View control channels 1 to 16 or 17 to 32. When the [Pg<] LED is lit, keys [1/17]...[16/32]
represent control channels 1 to 16.
The name of the control channel can be found on the monitor:
Note1: When more fixtures of diff erent types are selected together, the control ch an-
nels window represents the channels of the last sel ected fixture. For example,
if both MAC600 and MAC250 are selected together and the MAC600 was the last
selected one (like this example), the window will show the MAC600.
Note2: When different types of fixtures are selected together, and a certain control
channel is changed then the software will filter out the same control channel
in the other selected fixtures, if the control channel exists on the other types.
Example: When the dimmer channel is changed and different types of fixtures are
selected together, then the dimmer channel will change on all selected
fixtures, even if the dimmer is patched on another control channel
number.
To set a channel value, select the channel number with keys [1/17]...[16/32]. The selected
channel is now on the trackerball.
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[@] [value (keypad)] [RET]
It is also possible to give in the value manually:
6 Select the control channel
6 Select [@] and give-in the value on the keypad. Press [RET].
[SHIFT] + [VALUES]
This combination sets the values, in the value screen, in digital or % view (see also Screen
selections).
When the values are represented as % values, they cannot ex ceed 100%. For digital values,
the maximum is 255.
Pro 2 controllers have always direct access on the 16 control channels by means of the
digital fader belts:
On the Pro 2 controller, changing the fader belt without selecting the channel first sets the
channel value. Remember, with the [Pg<] and [Pg>] keys, the channels are shifted.
[P&T]
Pan/Tilt control.
When [P&T] is selected, Pan and Tilt will be on the trackerball at the same time.
Note: As mentioned before, the speed and the precision of the movement when using
fixtures with a resolution higher than 8 bit on Pan/Tilt (pan and tilt fine available),
depend on the resolution setting of the trackerball.
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6.7.2 {EXP} Controlling dimmer channels
In the SETUP, w e have seen that dimmer channels can be enabled in a list, to perform
special dimmer commands on them. The origin of these commands is the theater world.
It is now possible to select dimmer channels and give them a value using the keypad:
Example: On the stage, we’ve set up 6 MAC600 (fixtures 1 to 6), 4 PRO918 (fixtures 7
to 10) and 11 MAC300 (fix tures 11 to 21). When we want the dimmers of the
MAC600s and those of the PRO918s at 40%, we type:
[DIM Chan.] [1] [THRU] [1] [0] [@] [4] [0] [RET]
When the dimmer values of the MAC600s and the PRO918s, except PRO918
number 8, have to be decreased with 15%, we type:
[DIM Chan.] [1] [THRU] [1] [0] [-] [8] [@] [-] [1] [5] [RET]
The command line looks like this (between (brackets) is optional):
[DIM Chan.] [x] ( [THRU] [y] [+] [-] [z] ) [@] ( [+] [-] ) [value] [RET]
6.7.3 Clear
We already talked about changes in light scenes. Not all channel values of all fixtures have to
be stored into the memories. Therefor it should be possible to store for ex ample only the color
in a memory. This is done by erasing all other channels out of the memory table.
Use this function with the channel value screen on ‘digital memory values’ [VALUES].
Example: Select all MAC600 and press 2x the [DEFAULT] key. All channel values of all
MAC600 will be displayed in the channel value window. We want to erase the
value for channel 8 (focus). Select [CLR] + [8/24]. The field ‘channel 8' of all
MAC600 will be erased.
Note: A channel field containing value 0 is not the same as an empty field. Zero is a
value; an empty field means that nothing will change.
[CLR] + [ALL (Fixtures/Cues/Presets)]
Erases all fields of all fixtures on all pages, resulting in an empty page
[CLR] [CLR] (double-click)
Erases all fields of the pre-selected fixtures. For example: [ALL] [CLR] [CLR] will have the
same effect as the [CLR]+[ALL] function.
[CLR] + [1…70]
Erases all fields of the selected fixture (1...70)
[CLR] + [1…16 (groups/cuepages)]
Erases all fields of all fixtures of the selected group of fixtures
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[CLR] + [1/17…16/32] or [CLR] + [P&T]
Erases the selected channel (1...32) or the Pan/Tilt channel of the pre-selected fixtures. To
use this function, the fixtures have to be selected in advance.
[CLR] + [P&T (Presets)] or [CLR] + [GOBO] or [CLR] + [COLOR] or [CLR] + [EFF
(Presets)]
Erases Pan/Tilt or gobo or color or effect generator fields of the pre-selected fixtures.
[CLR] + [EFF] + [ALL]
Erases all effect generator functions of all channels of all fixtures, except Pan/Tilt effects.
[CLR] + [EFF] + [1…70]
Erases all effect generator functions of all channels of the selected fixture (1...70), except
Pan/Tilt effects.
[CLR] + [EFF] + [1/17…16/32]
Erases the selected channel (1...32) or the Pan/Tilt channel of the pre-selected fixtures. To
use this function, the fixtures have to be selected in advance.
[CLR] + [EFF] + [P&T]
Erases all effect generator functions of the selected channel (1...32) of the pre-selected
fixtures.
6.7.4 Default
Sometimes it can be useful to put fixtures in their defaults. By default, the default setting is
white open and no gobo. The fixtures defaults can be changed.
[DEFAULT] [DEFAULT]
Selecting the [DEFAULT] key twice will default the pre-selected fixtures and stops all
effects (*). It is necessary to select the fixtures first before using the function like this.
[DEFAULT] + [1…70]
Fixtures can be put in their defaults separately by selecting the [DEFAULT] key together with
a fixture key(s). The effects keep running (*).
[DEFAULT] + [ALL]
Defaults all fixtures. The effects keep running (*).
[DEFAULT] + [1…16]
Defaults all fixtures of the selected group. The effects keep running (*).
[DEFAULT] + [1/17…16/32] or [DEFAULT] + [P&T]
Defaults the selected control channel (1...32) of the pre-selected fixtu res. Useful to default
ex. Only color, or gobo or only Pan/Tilt. The effects keep running (*).
[DEFAULT] + [P&T (presets)] or [DEFAULT] + [GOBO] or [DEFAULT] + [COLOR]
To default Pan/Tilt, colors or gobos of the pre-selected fixtures. The effects keep running
(*).
Note: Maybe a little bit confusing, but this function doesn’t have to do anything with
presets here.
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[DEFAULT] + [EFF] + [ALL]
Defaults all effects (except Pan/Tilt) of all fixtures (*).
[DEFAULT] + [EFF] + [1…70]
Defaults all effects of the selected fixtures (1...70) (*).
[DEFAULT] + [EFF] + [1/17…16/32]
To stop effects on single channels. Select the [DEFAULT] together with the [EFF] and a
channel [1/17....16/32]. The effects of the pre-selected fixtures will go to their defaults
(effects stop) (*).
[DEFAULT] + [EFF] + [P&T]
Stops all Pan/Tilt effects, of the pre-selected fixtures (*).
(*) see chapter effects generator
6.7.5 {EXP} Adjusting Default values
The original fixture default values come with the fixture libraries. The user can adapt the
settings to his own needs.
[EDIT] + [DEFAULT]
Will open the default editor window:
The numbers in the left column are the fixture numbers as they appear in the stage-layout.
Select fixture(s) and change the channel
settings as needed.
By selecting [CLR] + [1...70] the original
settiing (library settings) of fixture (1-70) can
be recalled.
To save the adapted settings, select the
[DEFAULT] key again.
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6.8. Manual mode
[MAN]
Later we will explain that we can store the control channel values in memories or cuememories. Those memories or cue-memories will be used to make programs of light-scenes.
But, if changes are needed to those memories while the program is running, or if new (cue-)
memories must be created, it is necessary to activate the manual mode.
MANUAL MODE has the highest priority. Every channel that is changed in manual
mode will stop in the program (cue). This is why we asked in the beginning of this chapter,
to select the manual mode when following the examples explained in the previous paragraphs.
The [MAN] key will toggle the manual mode on or off. When changes are made to the
fixtures control channels, those channels will follow the manual actions and stop in the
cues that use those channels. When the [MAN] mode is left by selecting it again, the
channels will leave the manual mode and start running again in their program, if the
program calls them again.
[CLR] + [MAN] + [1/17…16/32]
So a control channel that is manually changed will stop following the programmed actions on
it. If during manual actions, a channel that is changed manually has to go back to the program,
it is possible to clear the manual mode for that channel by selecting the [CLR] key together
with the [MAN] key and the control channel [1/17…16/32]. This action will clear the manual
setting of the channel. !! Pay attention, the cleared manual channel has to be recalled in
the cue-memory or sequence to follow the program again.
The manual mode is very important while programming.
6.9. Direct access
Some channels like color or gobo or... have pre-defined area’s to make them direct accessible
to the user.
[select fixtures or groups] [DIRECT ACCESS] + [1/17…16/32 (blinking LED’s)]
First make a selection of fixtures. Then use the [DIRECT ACCESS] key together with one of
the blinking control channels (only those are accessible). The direct access window will
open on the monitor:
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This example shows the color channel of the PRO918. With keys [1...70] or with the
trackerball a color like color 3 (red) can be selected.
[select fixtures or groups] [DIRECT ACCESS] [DIRECT ACCESS]
The direct access window can remain opened when the [DIRECT ACCESS] key is selected
twice. Now you have the possibility to select between the control channels, the window will
stay open. To close the window, press [ESC].
Remark: Some functions like reset, lamp-on, lamp-off can only be accessed by using
the direct access function or with the [RESET], [LAMP ON] or [LAMP
OFF] keys of the playbackwing (Pro 1+, Pro 2+ or extra wing).. When th e
channel holding the reset function, is set by the trackerball or by a digital
fader, those functions will not be activated. In the channel window, the text
reset, lamp-on, lamp-off... will be colored blue, meaning that it is only
accessible by direct access. This is a securi ty against accidental use of the
special functions.
6.10. Selections on the playbackwing
Pro1+, Pro2+ or the extra wing controllers have some extra possibilities:
3OD\EDFNZLQJ
[EVEN] or [ODD]
To select out of a present fixture selection, the even or odd numbered fixtures.
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[LAMP ON] or [LAMP OFF] + [Select fixtures or [ALL] ]
To select the lamp-on, or lamp-off commands.
With these keys, it i s possible to select a LAMP ON command for all fixtures ([LA MP
ON] + [ALL] ). In this case, the software will send the command to all fixtures, one by
one, with a pause of 300 ms between them.
Remark: These commands can have macro contents, setting more channels on different
values in a limited time. Like for a Cyberlight or a MAC600 where during 5 sec the lamp off
command has to be given together with the CMY at 141. This even works with the Lamp
off=OFF in the display menu of the MAC600.
6.11. {EXP} Absolute or relative channel adjustment
When channels of different fixtures have to be set at the same time, you have 2 ways of doing
this:
6 relative setting to each other
6 absolute setting to each other
When using relative programming, the changes of 2 fixtures to each other will always
remain equal.
Example: When the first fixture has value 50 for Pan and the other value 100, and the Pan
increases with 100, the result will be 150 for the first and 200 for the second.
When using absolute programming, the channel values of the fixtures will always be the
same. From the moment a channel value is changed in absolute programming when more
fixtures are selected at the same time, the channel value will be copied to the other selected
fixtures.
Remark: The channel values of several selected fixtures in relative mode will always
change relative to each other until one fixture reaches its limits (0 or 255).
This one will stay at this value, the others will continue changing relative to
each other. If the value is still increased until all fixtures have reached 255,
they all will stop moving. When coming back again to value 0, everything
will happen in reversed order. The one that stopped last will start first and
the one that stopped first will start last again.
Only in relative mode it is possible to point all fixtures to 1 spot and move
the spot around.
[ABS]
To select or deselect absolute programming mode. To deselect or to go back to relative
programming, press the key again.
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6.12. The SOLO function
Programming a very big show with many fixtures is not so easy if you can’t see the
fixtures one by one. The SOLO function will help. It only opens the selected fixtures and
dims the other ones.
An active SOLO function will open only the dimmers of the selected fixtures.
[Select fixtures] [SOLO]
The SOLO function will only be activated when the CUE-FADING and all sequences
are deactivated.
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6.13. Example
In this example we will perform next steps:
- Sub-master 1 will be used for all scans (fixtures of fixture page 1).
- Sub-master 2 will be used for all dimmers (fixtures of fixture page 2)
- All MAC600s will be grouped in group 1
- All PRO918s will be grouped in group 2
- Both groups will be defaulted
- We will select color 3 and move the Pan/Tilt of the MAC600s
- We will change Pan/Tilt in relative and absolute mode for the PRO918s and
MAC600s
Select: [EDIT (Cue)] + [S1]
To put sub-master 1 in edit mode.
Select: [1 (1…70)] + [35(1…70)]
To select fixtures 1 to 35 (all scans)
Select: [S1]
To save sub-master 1
Select: [FIXT. PgDn]
To go to fixture page 2 (dimmers)
Save all dimmers to sub-master 2
Open both sub-masters. (Pay attention, the grand master has to be open too.)
Select: [MAN] to put the controller in manual mode. When the show ‘MANUAL72’ is
loaded, cue-memories can be active in the background. Since manual mode has the
highest priority, it is better to switch it on.
Select: [V ALUES] (until the digital memory-values screen opens)
To see the adjustments we will make..
Select: [FIXTURE PgUp]
To go back to the scan page.
Select: [1(1…70)] + [6(1…70)]
To select fixtures 1 to 6 (MAC600).
Select: [STORE] + [1(1…16)]
To save the MAC600s in group 1.
Select: [CLR (Fixtures/Cues/Presets)]
To deselect all fixtures.
Select: [7(1...70)] + [10(1...70)]
To select fixtures 7 to 10 (PRO918s)
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Select: [STORE] + [2(1…16)]
To store the PRO918s to group 2.
Select: [CLR (Fixtures/Cues/Presets)]
To deselect all fixtures.
Select: [1(1…16)] [2(1…16)]
To select both groups.
Select: [DEFAULT] [DEFAULT] (2x fast)
To put all selected fixtures in their defaults. They will be all white open. (In the
example show, all dimmers will be closed, because the defaults are changed).
Select: [CLR (Fixtures/Cues/Presets)]
To deselect all fixtures.
Select: [1(1…16)]
To select all MAC600s
Select: [DIRECT ACCESS] + [6/22] (and hold the direct access key)
To select the direct access function on the color channel.
Select: [4(1…70)] (and release all key s)
To select color 3.
The direct access can also be selected by doing this: [DIRECT ACCESS] [DIRECT
ACCESS] (2x fast) [6/22] [4] or select using the trackerball, color3 [ESC] (All keys
are selected one by one).
Select: [P&T (Control Channels)] and move the trackerball (trackerball has to be switched
on). To change Pan/Tilt on the MAC600s
Select: [2(1…16)]
To select also the PRO918s.
Move the trackerball
The Pan/Tilt values of the MAC600s and the PRO918s will be different, since we’ve
moved the Pan/Tilt of the MAC600s before, but they will move relative upon each
other.
{EXP} Select: [ABS]
To select absolute mode.
Move the trackerball.
Watch the Pan/Tilt values, they will now be equal for all fixtures.
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7. CHAPTER 7: Effects Generator
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When working with the example, the show ‘MANUAL72’, first go to
manual mode
7.1. In general
On every channel of each fixture an effect can be started. Therefor a number of effect
generator channels are added to each channel.
[EFF]
Displays and enters the effect generator channels for a selected control channel.
When a control channel like, for example Gobo is selected and the [EFF] key is pressed then
the fixture control channels will be replaced by the effect control channels. Those effect
control channels are used in the same way as the fixture control channels. To return to
the fixture control channels, the [EFF] key has to be selected again.
[1/17]…[10/26]
To select the effect control channels i f the effect generator is started. The selected channel is
adjusted like a normal control channel.
7.2. Effects generator on non-Pan/Tilt channels.
[Select a non-Pan/Tilt channel] [EFF]
The control channel window will be replaced by the effect control channels.
On non-Pan/Tilt channels, 7 parameters will be displayed:
1 The fixture control channel itself: ex. Gobo channel
2 Swing
3 Speed
4 Mode
5 Delay
6 Shift
7 Wait
7.2.1 Channel 1
The first control channel is nothing more than the selected fix ture control channel. When for
example the effect generator was opened on the gobo channel, then this first channel will
represent the gobo channel.
With this channel, the center point, around which the effect will run, is selected.
[MAN].
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7.2.2 Swing
This channel sets the size of the effect around the center point of channel 1.
255
Effect display
Channel 1 valueChannel 1 valu e
value
Swing x 2Swing x 2
spee d
0
Time
255
Effect display
value
0
Time
The max. value of the swing depends on the selected value (value on Fig.) of channel 1.
When the swing is chosen too big, the channel value will exceed its limits, which are 0 or
255. Those limits are shown on the effect display by a gray area. In reality, channel 1 will stay
a certain time (depends on the speed) on the limit values (0 or 255). When the values stay
between the limits, the point on the effect display will never leave the blue (white on Fig.)
area.
Example: Select a MAC600 and select channel 2 (dimmer). Press [EFF] to open the
effect generator. With channel 1, the center point is selected. Adjust the swing
and give the effect a speed (channel 3). When the swing is too big, the dimmer
will stay open (255) or closed (0) for a certain time. This is shown in the effect
display by the point hitting the gray area. Experiment now with channel 1 and
the swing to keep the point in the blue area.
Sometimes it is the intention that the effect exceeds its limits, to create, for example, an
ON/OFF effect. In this case, the channel will stay at its limits for a longer time and will rush
through the blue area (depends of the selected effect-speed).
7.2.3 Speed
This channel controls the speed of the effect. A speed of 0 will stop the effect. To disable
the effect completely, the swing has to be set at 0 too.
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7.2.4 {EXP} The delay
When the same effect is launched at more fixtures at the same time then the effect will be in
phase on all fixtures or they are all doing the same thing at the same time. With the delay
parameter, a phase shift can b e created between more fixtures. The shift will always be
taken in relation to 0.
Example: Start an effect on the gobo channel of the 4 PRO918s. Put the delay for the first
7.2.5 {EXP} The shift
A shift is a delay or phase shift of 360°. On its own, a shift has no effect because a shift of
360° will shift the start point of the effect to the next cycle, but combined with the WAIT, the
shift can create a step function.
7.2.6 {EXP} The wait
The wait is used to stop the effect during a short period. When the effect stops, it will wait on
the center point (channel1).
To create a step function over more fixtures, a combination of wait and shift is needed.
255
Channel 1 valueChan nel 1 value
value
0
Delay
255
value
0
FIX TU R E 1
Time
FIX TU R E 2
Time
one at 0, for the second at 45, for the third at 90 and for the fourth at 135.
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WAIT
value
FIX TU R E 1
SHIFT=1
value
WAIT
FIX TU R E 2
SHIFT=2
value
WAIT
FIX TU R E 3
In this example, a step over 3 fixtures will be created.
- Fixture 1: shift = 0 and select a wait.
- Fixture 2: shift = 1 and the same wait as 1.
- Fixture 3: shift = 2 and the same wait as 1.
When on fixture 1 the first fading cycle is finished, fixture 2 will start its fading. Fixtures 1
and 3 will wait at the center point (channel 1 value) while fixture 2 is fading. When the fading
on fixture 2 is finished, fixture 3 will start. When this is done, the cycle will start all over
again. This is called a step function.
Remark: It will be a lot easier when the delay, shift and wait timings are calculated by the
controller. This can be accomplished by using the direct access function on those channels.
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7.3. Direct access on effect generator channels.
The direct access function can be used on channels 4 (mode), 5 (delay) and 6 (shift).
7.3.1 Mode
With the mode parameter, the fade mode and the direction of the effect is selected.
[DIRECT ACCESS] + [4/20]
Will open next screen:
"
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1 Fading above and below the center point on channel 1.
2 Fading above and below the center point on channel 1 (reversed direction)
3 Fading only above the center point on channel 1.
4 Fading only above the center point on channel 1 (reversed direction)
5 Fading only below the center point on channel 1.
6 Fading only below the center point on channel 1 (reversed direction)
7 Step above and below the center point on channel 1.
8 Step above and below the center point on channel 1 (reversed direction)
9 Step only above the center point on channel 1.
10 Step only above the center point on channel 1 (reversed direction)
11 Step only below the center point on channel 1.
12 Step only below the center point on channel 1 (reversed direction)
{EXP} Note: Functions 9, 10, 11 and 12 are not useful when the wait time is zero.
WAITWAIT = 0
value
If the wait = 0, the step will happen so fast that it will be invisible.
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7.3.2 Delay
To spread out a wave effect over more fixtures, the direct access on the delay channel is
used.
[Select some fixtures] [Select a control channel] [EFF] [Adjust swing and speed]
[DIRECT ACCES] + [5/21] [select a wave per x]
Example: Suppose we have to make a dimmer wave on next fixtures (6 x MAC600 and
11 x MAC300). Select those fixtures, select the dimmer channel and open the effect
generator. Adjust the dimmer value (center point), swing and speed. Select, using the
direct access, channel 5/21 and choose w ave per 17 (because 17 fixtures were selected).
The result will be a fluent dimmer wave over all selected fixtures.
7.3.3 Shift
To spread out a step effect over more fixtures, the direct access on the shift channel is used.
On a step effect, the fading of a fixture will wait for the end of the fading of a previous
fixture.
Example: We repeat last example, but now with a direct access on channel 6/22. The
result will be a dimmer chaser where every fix ture waits for the previous one to
be finished.
7.4. Effects generator on Pan/Tilt channels
On Pan/Tilt channels the effect generator supplies you with a tool to create Pan/Tilt motions
like circles, polygons, squares,… in a fast way. 10 channels will be added to each fixture:
1 X-swing
2 Y-swing
3 speed
4 mode
5 figure1
6 figure2
7 rotate
8 delay
9 shift
10 wait
[Select a Pan/Tilt channel or select [P&T]] [EFF]
The speed, delay, shift and wait channels have the same functions as on non-Pan/Tilt
channels.
!!! The center point of the motion is selected by the Pan/Tilt setting and here, in
contradictory to non-Pan/Tilt channels, its value will not be displayed in the effect
control channels window.
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7.4.1 X-swing and Y-swing
The X-swing and Y-swing channels adjust the width and length of the motion. When for
example a circle motion was selected, the x-swing and y-swing set the width in both
directions. When they are equal, the motion will be a circle, when they differ a lot, it will be
an ellipse.
Remark: When moving heads like the MAC600, MAC500, MAC300 or MAC250 are
used, it is i mpossible to make a circle motion wh en the head is positioned in
line with the foot. A circle motion in this position will result in an 8 motion.
This is a result of the mechanical construction of moving heads.
7.4.2 Mode
The mode function on Pan/Tilt channels has only 2 functions:
- forward motion
- backward motion
7.4.3 Figure1 and Figure2
Those channels are used in direct access mode:
Figure1:
This function gives direct access to lots of lissajous motions like line motion, circle
motion, elliptical motions…
Figure2:
This function accesses to geometrical motions like squares, triangles…
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7.4.4 {EXP} Rotate
Using the rotate results in rotating the motion over x degrees. Use this function with direct
access when the rotation has to be spread over more fixtures.
Example: Take all MAC600s and select a line motion. Adjust x and y swing and the
speed. Select channel 7/23 with direct access and use ROTATE P ER 6. Next
figure shows the result:
&
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0
7.5. {EXP} Synchronization of effects
Effects on different channels can be synchronized. There is just one rule: Speed and wait
have to be the same (same value for speed and wait).
Example: We want to synchronize a dimmer effect with and up and down motion on
Pan/Tilt. We have to make the dimmer and the Pan/Tilt effect and we set the
values for speed and wait equal on both, the dimmer effect and the Pan/Tilt
effect.
7.6. Effect Marcos or Effect Wizard
Effect macros are pre-programmed combined and synchronized effects. Here is also the
possibility to spread the effect over more fixtures.
[SHIFT] + [EFF]
The combination of [SHIFT] and [EFF] keys will open the effect macros selection screen.
There is a choice between:
- Effects only applicable on RGB (CMY) fixtures: Effects 1 to 14 are only applicable
on RGB fixtures. Color effects like ‘Rainbow effect’ (runs through the color spectrum),
‘Green/Red effect’ (red green transitions)…
- Effect combinations with Pan/Tilt like ‘Pan/Tilt fall-dimmer’ (dimming effect
combined with Pan/Tilt motion, ‘Pan/Tilt fall+dimmer+iris’…
- Effect combinations with dimmers like ‘Dimmer wave’, ‘Dimmer bump’…
- Fixture depending effects, like for ex. For MAC500 or for PALs.
0
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Example: We wish to create an up/down Pan/Tilt motion and a dimmer effect with the
PRO918s. The dimmer has to be open in upper Pan/Tilt position and has to be
closed in lower position (snap effect). This effect has to be spread over all
fixtures resulting in one fluent wave.
Select all PRO918s and press [SHIFT] + [EFF].
Select function [19] (P/T-FALL DIMMER). All fixtures will make now the
up/down motion with the dimmer effect. To spread the effect, just click the
[NEXT] button and select Wave per 4 (4 PRO918s).
When the effect runs, try next steps: Leave the effect macro’s by cl icking the
[ESC] button (the effect will keep running), select [P&T] [EFF] to adjust the
effect generator on the Pan/Tilt. Change the Rotate parameter.
7.7. Stopping effects
Like explained, a running effect can be stopped by setting the speed and swing of the effect
at zero.
When a fixture is put in his default state, all effects will stop, except the Pan/Tilt effect.
To stop the Pan/Tilt effect, select first the fixtures and then [DEFAULT] + [EFF] +
[P&T].
Suppose an effect, including a Pan/Tilt effect, is running on all fixtures. To stop all effect, we
select:
[DEFAULT] + [EFF] + [ALL] will stop all effects, except on Pan/Tilt, of all fixtures.
[ALL] [DEFAULT] + [EFF] + [P/T] will stop all Pan/Tilt effects on all fixtures.
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8. CHAPTER 8: Presets
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Presets are an important part of programming. Of course, a show can be programmed without
the use of presets, but taking time to make presets will reduce the rest of the programming a
lot.
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8.1. Presets, in general
280 presets can be programmed on the controller:
- 70 Pan/Tilt presets
- 70 Gobo presets
- 70 Color presets
- 70 Effect generator presets
Those presets can be called for each fixture separate; this gives the possibility to make
combinations of presets. It is possible to combine for example Pan/Tilt preset 1 of the first
MAC600 with Pan/Tilt preset 2 of the other MAC600s while both presets were made for all
fixtures together.
It is also possible to load some extra sub-functions on each preset. Those sub-functions
can be toggled on/off on every preset different. For example, it is possible to load also the
focus when a Pan/Tilt preset is called, or only color wheel 1 for fixtures with more color
wheels. The sub-functions from:
- Pan/Tilt presets can have:
o Pan/Tilt
o Focus
o Dimmer
- Gobo presets can have:
o Gobo-wheel 1
o Gobo-wheel 2
o Gobo-wheel 3
o Gobo-wheel 4
o Gobo parameters like speed…
o Knifes (PAL)
o Knife parameters (PAL)
o Effect wheel 1 (Ex. Cyberlight)
o Effect wheel 2
o Effect wheel 3
o Iris
o Zoom
o Focus
o Frost
o Prism
- Color presets can have:
o Color wheel 1
o Color wheel 2
o Color wheel 3
o Color wheel 4
o Color parameters like speed…
o RGB
o Dimmer
- Effect presets can have:
o Pan/Tilt effect parameters
o Gobo effect parameters
o Color effect parameters
o Effect effect parameters
o Iris effect parameters
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o Zoom effect parameters
o Focus effect parameters
o Dimmer effect parameters
8.2. Storing Presets
Very important: When saving presets, always the values of all fixtures will be
saved whether there is a selection of fixtures or not. In addition,
the values of all sub-functions will be stored in the preset.
When there was only a correct Pan/Tilt setting for the MAC600s
but those of the PRO918s, the values of the PRO918s will be stored
too when the preset was saved. Also, the dimmer and focus settings
will be stored. However, when th e preset is called, it is possibl e
to decide what to load.
[Adjust fixture channels] [STORE] + [P&T] + [1…70] [Enter preset name] [RET]
A preset stores fixture channel values, so the first step will be to adjust them. When for
example all fixtures light 1 spot on the stage, the Pan/Tilt values of those fixtures are stored
by pressing the [STORE], [P&T] and a number out of the [1…70] matrix together. The
system will ask to enter a name for the preset. Enter the name and press [RET].
[Adjust fixture channels] [STORE] + [GOBO] + [1…70] [Enter preset name] [RET]
[Adjust fixture channels] [STORE] + [COLOR] + [1…70] [Enter preset name] [RET]
[Adjust fixture channels] [STORE] + [EFF] + [1…70] [Enter preset name] [RET]
The same procedure is used to store gobo, color or effect presets.
Example: We’ll make the first 2 presets of the show ‘Manual72’; preset ‘HOME’
(everything facing down) and preset ‘CENTER’ (everything facing the center of
the stage).
- Select all fixtures and start from their default positions. When the dimmers from
all fixtures are opened (in the default show, the default values were changed); all
dimmers were closed). As we can see now, most of the fixtures are facing the
ground already; only the MAC300s have to be adjusted. This preset is stored like
this: [STORE] + [P&T] + [1] [Type preset name ‘HOME’] [RET]
- To create preset 2, it is advised to work with the SOLO function (remember to
stop all sequences and the cue-fading). All fixtures should face the center of the
stage.
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8.3. Calling Presets
Presets are called for the selected fixtures only.
[Select fixtures] [P&T] + [1…70]
When [P&T] (presets) is selected together with one of the blinking LEDs in the 1…70 matrix,
the preset will be called, but only for the selected fixtures.
When one of the preset functions (P&T, gobo, color or eff) is selected, the preset names
window will open at the screen and the LEDs of matrix 1…70 will blink orange for the
programmed presets.
[Select fixtures] [GOBO] + [1…70]
[Select fixtures] [COLOR] + [1…70]
[Select fixtures] [EFF] + [1…70]
To call gobo, color or effect presets.
Example: To show the possibility of combined presets, we will call preset 1 for all MAC600s
and preset 2 for the PRO918s.
- Select the SOLO function and select fixture group 1 (MAC600s). Select Pan/Tilt
preset 1.
- Deselect group 1 and select group 2 (PRO918s). Select Pan/Tilt preset 2.
- Deactivate SOLO.
If the value screen [VALUES] (digital memory values) is opened, you can see that the preset
numbers replace the digital values.
Color preset 2 is represented by:
3"
In general: C xx : Color preset
P xx: Pan/Tilt preset
G xx: Gobo preset
F xx: Effect preset
8.4. Erasing and changing presets
[CLR] (presets) + [P&T or GOBO or COLOR or EFF] + [1…70]
When the [CLR] (presets) key is used together with a preset function (P&T, color or eff), and
at the same time, a number (1…70) is selected, the preset will be erased.
Note: When a preset, already used in a memory (see later), is erased, then the preset
number will still show up in the memory but it doesn’t have any value or function any
more. This means that the value of this preset is empty and w ill not change anything to
the channel, when the memory is called.
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[Select fixtures] [Adjust fixtu re channels] [MOD] (presets) + [P&T or GOBO or COLOR or
EFF] + [1…70]
When a preset needs to be modified, first the fixtures have to be selected and their
channels have to be adjusted before saving the preset in modify mode.
Only the altered values of the selected fixtures will be stored in modify mode. This makes
sense otherwise all fixtures will be changed and the preset has to be re-adjusted.
Suppose that the same show has to be performed on different locations, it will always be
necessary to adjust the Pan/Tilt values of the fixtures. When everything is programmed with
presets, it is a lot easier to change those 70 Pan/Tilt presets than having to check all cuememories (up to 2,000) or all memories (up to 4,000). You just call all 70 presets and change
their settings. If the Pan/Tilt presets of all fixtures have to change, you can use STORE or
MOD. Is it only necessary to change the settings of some fixtures, you can use MOD.
The MOD (modify) function is designed to change d ifferences d uring performance of the
show. This is to avoid that you have to call the preset during show performance. When you
see that the preset is wrong during the show, just change the settings when you see it and use
the MOD key to store those changes.
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8.5. Preset load-selection
We already mentioned that the presets can hold more than Pan/Tilt, gobo, color or affect
values, but also zoom, iris, focus etc…
You can decide what to load for every preset.
[EDIT] (cues) + [P&T or GOBO or COLOR or EFF] (presets)
When the [EDIT] (key from CUES) is selected together with one of the preset functions, next
window will open:
The numbers on the left represent the preset
numbers. With the [PgUp] or [PgDn] keys,
presets 1 – 35 or 36 – 70 will be shown.
The numbers on the top represent the subfunction. Which sub-function belongs to which
value can be found in the window on top
(control channels).
In this example, only gobo-wheel 1 is taken
when calling one of those presets. Presets 9
loads everything, and in preset 10 and 20, only
the focus is called (the gobo-preset becomes a
focus-preset in this case).
On saving a preset, the values of all sub-functions are stored, on calling them however,
only the values, activated in the table, are called.
When this window is open, LEDs (1…70) of the programmed presets will be RED.
[Select preset(s) (1…70)] [Toggle sub-function(s) on/off (1…16)]
Select the preset(s) t hat needs to have another load selection (just select the numbers in the
matrix (1…70) until their LEDs are off), and toggle their sub-functions on or off with the
keys (1…16 control channels).
[Select opened preset function, to save, P&T or GOBO or COLOR or EFF]
When the changes are made, we can store the whole setting by selecting the [preset function],
the one we’ve used to open it, again.
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8.6. Summar y
In this chapter we’ve explained the advantage of using presets. Many users skip this step for
little shows that have to be performed only once, but once the presets are programmed, you
will regain lots of time when programming the rest.
Presets storing (of all fixtures):
[Adjust fixture control channels] [STORE] + [Preset function] + [1…70]
Presets calling (of the selected fixtures):
[Select fixtures] [Preset function] + [1…70]
Presets deleting (of all fixtures):
[CLR] + [Preset function] + [1…70]
Presets changing of the selected fixtures):
[Select fixtures] [Adjust fixture control channels] [MOD] + [Preset function] + [1…70]
Preset load selection change:
[EDIT] + [Preset function1] [Select preset(s) (1…70)] [toggle sub-function(s)
on/off (1…16)] [Preset function1]
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9. CHAPTER 9: Cue-memories
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IMPORTANT: Adjustments to be done to follow the examples:
- Please check the start options of the controller, before starting to program
cue-memories. Press the [SETUP] key during 2 secs. and select option [2]
(show settings). Go to AUTOLOAD CUEMEM. with the blinking keys and
select [EDIT] until the option is marked ‘ON’. Select [RET] to save the
settings.
- The CUEFADING should be disabled. Press [CUE] + [ON], until the red b ox
behind cue-fading at the left of the screen, is black.
9.1. Cues
What are CUEs?
A cue can hold:
- 1 cue-memory
- 4 Sequences (chasers)
- 42 Playbacks
The system can hold up to 11,200 cues (16
&8(
MEMORIES
pages of 70 cues + 9 point-cues between
every 2 main-cues). Of those 11,200 cues,
2,000 can hold a cue-memory.
PLAYBACK
1 .... .. 4 2
SE Q U E N C E (c has er)
A B C D
CUE MEMORY
Those cue-memories are quick accessible in
run-mode by means of the 1…70 keymatrix.
9.2. Activating cues
The 1…70 key-matrix is frequently used. An overview:
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[Fixture PgUp] or [Fixture PgDn]
Fixture mode:
- Fixture mode is activated with the keys [Fixture PgUp] or [Fixture PgDn].
- In this mode, keys 1 to 70 represent fixtures.
[Direct Access] [Direct Access] [1/17…16/32] or [P&T]…
Direct access mode:
- In this mode, the keys represent possible direct access choices.
[P&T] (presets) or [GOBO] or [COLOR] or [EFF] (presets)
Preset mode:
- The keys represent presets.
[CUE]
Cue mode:
When we select the [CUE] key, t he key-matri x represents CUES. When no cues are
programmed, only the LED of key [1] will be lit green. If cues are programmed,
their LEDs will be lit red or orange (orange: when only point-cues are programmed).
The active cue is green.
When we select a key [1…70], we call a main cue. Note that on the keypad, key [0]
will blink. The keypad keys [0] to [9] represent point-cues. Point-cues are
insertions between 2 main cues.
When we wish to activate Cue 5.7, we select [5 (1…70)] and [7 (keypad)]. On the
monitor, this will appear as:
PAGE 1 CUE 5.7 REL 5.7
[1…16] (Groups/Cuepages)
Each cue-page can hold 70 main cues with their point-cues. To change the cue-page,
select a page [1…16] in the Groups/Cuepage keys. Remember, in Fixture mode,
those keys represent fixture groups, in Cue mode they represent cue-pages.
If Cue 60.2 on cue page 2 has to be activated, select first page [2 (1…16)], then [60
(1…70)] [2 (keypad)]. The monitor will show:
PAGE 2 CUE 60.2 REL 130.2
In general, to activate a cue:
( [1…16] ) [1…70] ( [0…9] )
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{EXP} REL 130.2 stands for ‘Relative Cue 130.2’; the cue number is taken relative to cue 1.0
on cue-page 1. Cue 60.2 cue-page 2 is relative: 70 (cues of page 1) + 60 (cues of page
2) = 130, and point-cue 2, or 130.2.
[CUE] + [number (keypad)] [.] [digit (keypad)] [RET]
{EXP} If a cue has to be called rel ative; select and hold the [CUE] key, and type the relative
number on the keypad followed by a [RET].
Example: Cue rel 135.3 has to be called as: [CUE] + [1] [3] [5] [.] [3] [RET].
REMARK: When a point cue is activated using the common way, first the main
cue has to be called and it will be activated, then the point-cue. If we want to
avoid that the main cue is activated too, we have to select it using the relative
way. There is a second way to avoid this:
[CUE] + [1…70] [.] [digit (keypad)] [RET]
This means: select and hold the [CUE] button, while selecting the cue.
[LAST] of [NEXT]
When cues are programmed in order of performance, and th e controller is in Cue
mode, the cues can be called in sequence using the [LAST] or [NEXT] key.
9.3. Cue-memories
A cue-memory is a light scene with its own fade, delay and hold times (see next chapter
for the timings).
9.3.1 Programming cue-memories with Autoload parameter ON
Suppose we want to program the default light scene in cue-page 16 cue 1:
- Select cue mode; [CUE], select cue-page 16 [16 (1…16)] and select cue1 [1
(1…70)] to activate an empty cue.
- Put all fixtures in their defaults: go back to fixture mode [FIXT PgUp] [ALL]
[DEFAULT] [DEFAULT] [open all dimmers]
- Save this light scene in the selected empty cue: [TO] [RET] [RET] (on the first
RET, a timing window will open, this will be explained in the next chapter. Select
RET again to save the scene).
In cue 2 of the same cue-page, we want Pan/Tilt preset 2:
- Select empty CUE 2: [CUE] [2 (1…70)]
- [P&T (presets)] + [2 (1…70)]. We don’t have to select all fixtures again, since
they are still selected.
- [TO] [RET] [RET]
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We have programmed the default light scene in cue 1 (page 16), and a Pan/Tilt change in cue
2. If both cues must be activated (one by one), we go the cue mode [CUE] and we select CUE
1 [1 (1…70)] or [2 (1…70)] in cue page 16.
[Select an empty cue] [Adjust fixture control channels] [TO] [RET] [RET]
Summary: if we want to program a cue-memory with the autoload parameter ON, we have to
select first an empty cue, and then we adjust the fixture control channels. To save i t, we select
[TO] [RET] [RET].
9.3.2 {EXP} Programming Cue-memories with Autoload parameter OFF
If we want to program the same light scenes as in the previous paragraph, but with the
autoload parameter OFF, more keyboard actions have to be taken:
- Select all fixtures in fixture mode [FIXT PgUp] [ALL]
- Default scene for all fixtures [DEFAULT] [DEFAULT] [open the dimmers]
- Save in cue 1 page 16: [TO] + [CUE] [16 (1…16)] [1 (1…70)] [RET] [RET]
- Clear all channels of all fixtures: [CLR (control channels)(double-click)]
- Select P/T preset 2: [P&T (presets)] + [2 (1…70)]
- Save in cue 2: [TO] + [CUE] [16 (1…16)] [2 (1…70)] [RET] [RET]
- To activate the cues, first the C UEFADING parameter has to be activated: [CUE]
+ [ON] until the box behind CUEFADING (left at the screen) colors red. This has
to be deactivated again to proceed with programming.
[Adjust fixture control channels and delete the not-needed channels] [TO] + [Select a cue]
[RET] [RET]
9.3.3 Viewing the values of a cue-memory with Autoload parameter ON
If we want to view the values of a previously stored cue-memory, the ‘Digital Memory-
values’ screen has to be open:
[VALUES] until the screen shows: ‘Digital Memory-values’
The DIGITAL MEMORY-VALUES screen represents the fixtures control chann els, as
they are stored in the cue-memory. This is not the output memory, but a memory in
between, showing what was programmed.
( [Select cue-page] ) [select CUE] ( [0…9 (keypad)] )
In ‘Autoload ON’ mode, this is the same as activati ng a cue. When a cue from another page
has to be viewed, then first the cue-page has to be selected [1…16], then t he cue [1…70] and
if necessary a point-cue [0…9].
In ‘Autoload ON’ mode, the stored cue-memory values are directed automatically to th e
Digital Memory-values’ memory when the cue is activated. Adjustments can be done
instantly.
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9.3.4 {EXP} Viewing the values of a cue-memory with Autoload parameter OFF
[GET] + [CUE] ( [Select cuepage] ) [select CUE] ( [.] [0…9] (keypad) ] [RET]
In ‘autoload OFF mode’, the values stored in th e cue-memory are not directed instantly
to the digital memory-values screen, when the cue is activated. Only when the cuememory is called with the GET key, the values will be updated.
9.3.5 {EXP} The AUTOLOAD parameter
[SETUP] [2]
In the last 4 paragraphs, it has become clear that the AUTOLOAD parameter is best ON,
when programming. To explain this, open the digital memory-values screen.
Take back example 1 with the AUTOLOAD ON.
- Activate an EMPTY CUE. Since activating is the same as getting the values, in
AUTOLOAD ON mode, all values will be erased when the empty cue is called. If,
for example Pan/Tilt preset 2 is selected, then the values of Pan/Tilt will show up
for the selected fixtures. In fact, the Autoload does the same as a [GET] + [CUE].
If the AUTOLOAD is OFF:
- When acti vating an empty cue, the values screen won’t change. We are obliged to
clear the values first ([CLR] key).
- On top of this, we MUST activate the CUEFADING to send the values to the
output (and to the fixtures), and DEACTIVATE it later to resume programming.
To avoid the CUEFADING switch, we can work with the [GET] + [CUE] key
combination, but this is a longer way.
The end of the chapter ‘cue-fading’ will give a survey of the possible combinations of
autoload, cue-fading and manual mode.
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9.3.6 What should be stored in a cue-memory
A cue-memory has to hold changes, to a previous cue-memory or light scene.
It is possible, but not necessary to store all values of all fixtures in a cue-memory. When, for
example, we want to change only the color of all fixtures, there is no need to store also the
values for Pan/Tilt, dimmer, gobo, …
Example:
- In cue-memory 3 (the nex t cue), we want all fixtures in green. This means that
only the green color has to be programmed: Select cue 3 (page 16) (autoload
cuemem = on, cuefading=off) and select color preset 5 (green). Press [TO] [RET]
[RET].
- Activate cue 1, everything has color white in default position.
- Activate cue 2, P/T to the center, white.
- Activate cue 3, P/T remains unchanged because we didn’t record Pan/Tilt
information in this cue, but everything will be in green.
- Activate cue 1 again, so everything will be white again in default.
- Skip cue 2 and go instantly to cue 3, only the color will change to green.
Attention, when the effects generator is activated on some channels in a cue-memory, it will
keep running until some cue-memory contains values to stop him.
Example:
- In cue-memory 4, the effects generator is activated on Pan/Tilt of the MAC600s:
[Select cue 4] [Select the MAC600s] [Select P&T and open the effects generator]
[adjust the x and y swing and the speed] [TO] [RET] [RET].
- If cue 4 is activated, the effects generator can only be stopped when cue 1 is
selected, because the default in cue 1 stops all effects. If we just want to stop the
effect in a cue, then we make a cue 5: [Select cue 5] [Select the MAC600s]
[DEFAULT] [EFF] [P&T] [TO] [RET] [RET]
Important remark: Like advised , it is not necessary to record all parameters in a cuememory, but it is possible. Cue-memories that hold information for all parameters can
slow down the controller enormously.
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9.4. The values screens
9.4.1 Digital Memory-Values (Channels)
The ‘Digital Memory-Values’
screen represents a memory
showing only the values, which
were or are stored in the cuememory.
The rows represent the fixtures
(with their numbers as they
appear in the stage window), the
columns represent the fixture
control channels. With the
[PgUp], [PgDn], [Fixture
PgUp] and [Fixture PgDn] keys,
the values of the other fixtures
can be retrieved.
Keys [Pg<] and [Pg>] will shift
the channels to channels (1-16)
or (17-32).
The different symbols:
Empty field. When calling the cue-memory, the empty field will change
nothing on the fixtures control channel.
Color preset 3. A field like this , calls a preset, in this case color preset 3. The
values for the preset are stored in the preset itself. W hen the preset is changed,
the values are forwarded automatically to the cue-memories, where it was been
used.
Field with digital memory values. Those values can have 2 colors:
- Blue: the values from the cue-memory
- Yellow: channel values changed in MANUAL MODE
A colored box behind the channel value indicates that some effects generator channels
have values for the concerning channel.
Fields filled only with effect generator channels. If the effects generator box is
blue, it indicates a Pan/Tilt channel. In this case, the Pan/Tilt value is not
changed but its effect generator channels are.
Gobo preset 4 is in use, but there are some timing differences (T) (see next chapter) to
the main cue timing.
9.5.
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