MA3 Timecode, First Try: How I Turn a Cue List into a Tour-Ready Light Show
I follow one rule when I program grandMA3 timecode: treat it like a music-production timeline. I lock the signal chain first, then I write cues by song structure. That approach turns a first attempt into a repeatable light show that scales from rehearsal room to arena—and it fits real stage lighting design workflows.
Table of Contents
Why first-timers stumble
Most first shows break in three places: inputs don’t lock, objects get created out of order, and songs bleed into each other. I stop that before I touch looks:
- Lock the chain: DAW → MTC/LTC → MA3 input → Timecode Slot → Timecode Track.
- Work by sections: Intro / Verse / Pre / Chorus / Bridge / Outro.
- Isolate content: one sequence per song—no cross-talk, no surprises.
This mindset keeps stage design and lighting clean and predictable.
The signal chain I trust (MTC vs. LTC)
MTC (MIDI Timecode): I use it for onPC. I send MTC from Reaper or QLab over a virtual MIDI port.
LTC (SMPTE): I switch to LTC when I need long runs or rock-solid cross-system sync. I route LTC on a spare audio output so music stays isolated.
LTC (SMPTE): I switch to LTC when I need long runs or rock-solid cross-system sync. I route LTC on a spare audio output so music stays isolated.
Inside grandMA3 I add a Timecode Slot, set its source to the input I actually feed, and bind my Timecode Track to that slot. When the clock turns green and rolls, I know movers—and any laser lights I add—will hit every downbeat.
Five steps from DAW to show
- Generate code in the DAW. I print MTC or LTC. For LTC I route code to an unused output; music stays on 1/2.
- Create the pipe. loopMIDI for MTC; a dedicated interface line for LTC.
- Configure MA3. I pick the right input, build a Timecode Slot, confirm activity.
- Build the Timecode Track. I select the slot as source, hit play, watch the clock go green.
- Record rough, then refine. I “play” the song once to drop rough hits, then I nudge to frame accuracy.
Pro tip: I park Song 1 at 01:00:00, Song 2 at 02:00:00, and so on. Expansions never wreck my schedule.
Program like a producer
I write lighting the way I arrange music.
- Markers everywhere. I mirror song markers in MA3 so I can jump to beats and phrases.
- One sequence per song. The timecode track fires that sequence only.
- Breathing room. I keep 10–20% of the show on a fader for crowd-led moments.
This keeps the lightshow musical and readable, even when I layer complex lasers lighting or video.
Laser add-ons that actually help the show
Timecode lets beams land on the music, not just near it. I build around one hero laser projector, then add depth:
- Single-aperture RGB (hero): precision abstracts with a pro laser show projector.
- Multi-beam bar (depth): instant tunnels/fans that make small rooms feel bigger.
- Moving-head RGB laser: physical motion without re-rigging.
- Long-throw options: skyline punches and landmark reveals with outdoor projector laser lights.
Consumer toys can’t replace a pro laser light projector. I want ILDA/DMX control, real scanners, safety interlocks, and optics that hold through load-in and temperature swings. That’s how I end up with the best laser projector for timecoded work.
Quick buyer’s guide (keep it simple)
- Room size first. In small rooms, one high-quality laser for light show beats two cheap fixtures.
- Scanning matters. If you need text/logos, buy scanners that hold vectors cleanly.
- Color control. I bias toward green for perceived brightness, then add red/blue for mood.
- Weather & duty. For exterior cues, pick IP-rated hardware and plan power/ground paths.
Fast fixes on show day
- Clock stays grey / no follow: wrong input or the Timecode Slot isn’t bound.
- Early/late hits: adjust audio buffer sizes and nudge a few frames.
- Songs “bleed”: one sequence per song; add a reset cue on the first frame.
Tour-ready file structure
I future-proof the show so it survives new venues and different rigs:
- Build color/position/beam presets first; write cues from presets, not hard values.
- Drive phasers with Groups so repatching goes fast.
- Version audio and timecode stems; never rename mid-tour.
- Keep a safety look on a fader and a 60-second pre-roll for lock checks.
This travels well—from concerts to corporate, theme-parks, and architectural façade work.
Shipping, duty-free USA, EU warehouses & distributor invite
I offer free shipping site-wide on every fixture. I also provide a tax-free + free-shipping channel to the USA so you don’t lose days to customs. I will open overseas warehouses in Greece and the Netherlands to speed up EU delivery. If you want to represent pro laser light projector solutions locally, I’m looking for distributors in Greece and the Netherlands who value reliable stock and fast service.
Wrap-up + catalog download
Timecode isn’t a trick; it’s a discipline. I lock the chain, structure cues like songs, isolate sequences, and leave room to perform. That’s how a compact rig becomes a serious light show—and why the same showfile can live in a living room today and on a festival stage next month.
📥 Download the Starshine Laser Product Catalog to compare output, scanners, and control options across the laser projector lineup. I offer free worldwide shipping, a duty-free USA route, and significant bulk-order discounts for production houses and venues.