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Performance Tips

Practical advice for getting the best results from the MVP in live production.

Video Optimization

Break Long Videos into Sections

Instead of triggering a single 5-minute video for an entire song, consider breaking it into verse, chorus, and bridge segments:

  • Assign each section to a separate MIDI note

  • If something goes wrong during the show, you can re-trigger from the nearest section boundary instead of starting the whole video over

  • Allows the operator to skip ahead or repeat sections on the fly

Choose the Right Resolution

  • 1080p is sufficient for most live projection scenarios and provides the fastest trigger response

  • 4K is available in Fast Trigger mode but produces larger files. Use 4K only when your display chain benefits from it

  • Effects Mode is 1080p/60fps only -- 4K videos are not supported in Effects (Transform) Mode

  • Videos above 1080p trigger a performance warning in the UI

Use H.264 for Compatibility

H.264 is the most widely supported and tested codec on the MVP. While H.265 and VP9 are supported and offer better compression, H.264 provides the most predictable performance.

Filename Best Practices

  • Use only letters, numbers, dashes, underscores, dots, and spaces in filenames

  • Avoid special characters, emoji, or non-ASCII characters (files with invalid characters are rejected during upload)

  • Keep names descriptive but concise for readability on the Status Display and timeline

MIDI Optimization

MIDI Octave Numbering

Different DAWs and controllers label the same MIDI note differently:

MIDI Note 60
Called...

Ableton Live

C3

Logic Pro

C3

Pro Tools

C3

FL Studio

C5

Cubase

C3

Some controllers

C4

Don't trust note names. Trust note numbers. The MVP Dashboard Input Monitor and the Status Display always show the raw MIDI note number. Use them to verify your mappings are correct.

Velocity

The MVP triggers on any Note On with velocity > 0. The specific velocity value doesn't matter -- velocity 1 and velocity 127 both trigger the same way. Note On with velocity 0 is treated as Note Off and ignored.

Delay Compensation

Some DAWs introduce a few milliseconds of MIDI output latency. If your video triggers are consistently late relative to the audio:

  1. Check your DAW's MIDI output delay/compensation settings

  2. Try sending MIDI via USB (lowest latency) rather than Network MIDI

  3. If your DAW supports it, apply a small negative offset to the MIDI track

The MVP itself has minimal processing delay (under 5ms from MIDI input to video output).

Multiple MIDI Sources

The MVP accepts MIDI from all inputs simultaneously:

  • USB-C (from computer)

  • USB-A (controllers)

  • 5-pin DIN

  • Network MIDI (RTP-MIDI on port 5004)

This means you can have your DAW sending triggers via USB-C while a tech has a hardware controller connected via USB-A as a backup or override. All inputs are processed independently.

CC #110 Trigger Mode

If you prefer CC messages over note messages for triggering, enable CC Trigger Mode in System Settings. CC #110 values 1-99 trigger clips, value 100 triggers blackout. Use buttons only -- CC #110 has no debounce and is not suitable for faders or knobs.

Timecode Optimization

Convert to All-Intra

For timecode-synced shows, All-Intra encoded video is required for the timeline. Without it, the MVP can only seek to the nearest keyframe. The MVP can convert on-device using its built-in hardware encoder, or you can export with GOP=1 from your editing software.

Match Frame Rates

Ensure your timecode source, the MVP's Timeline Editor frame rate setting, and your video files all use the same frame rate. A mismatch triggers an amber "Framerate Mismatch" warning in the timeline toolbar.

Supported: 24, 25, 29.97 (Drop Frame), 30 fps.

LTC Signal Quality

For LTC timecode input:

  • Aim for a signal level between -20dB and -1dB on the Dashboard LTC Volume meter

  • Below -40dB is treated as no signal

  • Above -1dB indicates clipping

  • Use a dedicated audio track/output -- don't mix timecode with program audio

  • Use a quality shielded 3.5mm cable

MTC + MMC for Best Experience

If your DAW supports it, enable both MTC and MMC output:

  • MTC provides continuous timecode sync

  • MMC adds explicit transport control (Stop, Play, Locate)

  • Scrubbing your DAW timeline sends MMC Locate commands that the MVP follows

  • Stop freezes the current frame without blanking

Test the Full Show

During soundcheck, run through the complete timecode timeline at least once. This verifies:

  • All file switches happen at the correct moments

  • No clips are missing from the timeline

  • The MVP syncs accurately at every clip boundary

  • Video analysis is completed for all video files on the timeline

  • Speed following works if your source runs slightly fast/slow (supported: 50%-200%)

Show Reliability

Redundant Power

When running from USB, some computers don't provide enough power for the MVP to run reliably, especially with USB controllers connected to the USB-A ports.

Best practice: Connect the DC power adapter alongside the USB cable. The MVP uses both power sources, ensuring stability even if USB power dips.

Dedicated Display Settings

Configure your display/projector to:

  • Disable auto-sleep: The MVP may output a black screen during gaps, which some displays interpret as "no signal"

  • Disable motion interpolation: This adds frame delay

  • Enable "Game Mode" (if available): Minimizes processing delay

Lock the Configuration

Before the show:

  • Turn Edit Mode off on all configuration pages (prevents accidental changes)

  • Only the Dashboard should be open during the show for monitoring

  • Verify "Sync Changes to Playback" was applied on Video and Lighting pages

Have a Backup Trigger Method

Keep a USB keyboard or simple MIDI controller connected as a backup. If your primary trigger source (DAW, timecode) fails, you can manually trigger clips from the backup device. The MVP accepts triggers from all inputs simultaneously.

Network Best Practices

Separate ArtNet from Wi-Fi

Use the standard ArtNet range (2.x.x.x) on Ethernet. This keeps it completely separate from Wi-Fi traffic and avoids IP range conflicts. If both interfaces share a subnet, ArtNet broadcast packets may be routed to Wi-Fi instead of Ethernet.

Disconnect Wi-Fi During the Show

Wi-Fi is only needed for updates and stock video downloads. Disconnecting it during the show:

  • Eliminates the possibility of IP range conflicts with Ethernet

  • Prevents accidental update notifications

  • Simplifies the network environment

Slot Strategy

Prepare your slots (A-E) for the show:

Slot
Suggested Use

A

Main show configuration

B

Alternative/backup configuration

C

Acoustic or stripped-down set

D

Rehearsal clips for soundcheck

E

Emergency/fallback (simple clips)

Switch between slots during the show via MIDI CC #119 (video/lighting channels only -- timecode slots must be switched from the UI) or from the web interface. Rename slots to descriptive names (up to 30 characters) for easy identification.

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