MOTU Digital Timepiece Bedienerhandbuch PDF herunterladen (Seite 122)

SYNCHRONIZATION WITH THE AV

120

to set the MIDI Timepiece AV’s frame rate to 29.97

(either drop or non-drop, as necessary or desired),

instead of 30. Doing so ensures that the sample rate

being generated by the MIDI Timepiece AV is

exactly as it is set in the front-panel LCD.

LTC/Video

Choose this setting when you want the MIDI

Timepiece AV to genlock to house sync video input

(as a time base reference only) but make it look for

LTC input (from the audio SMPTE input on the

rear panel) for the master address source. Be sure

to set the MIDI Timepiece AV’s frame rate to 29.97

(either drop or non-drop, as necessary or desired),

instead of 30. Doing so ensures that the sample rate

being generated by the MIDI Timepiece AV is

exactly as it is set in the front-panel LCD.

COMMON SYNCHRONIZATION SCENARIOS

Here are some common synchronization scenarios

and the correct setting for each:

LOCKING TO VIDEO

The following sections discuss several important

points to be aware of when working with video.

Double-check the frame rate

When you are working with video, be sure to set

the MIDI Timepiece AV’s frame rate to 29.97 (drop

or non-drop as needed). This ensures that the

digital audio sample rate displayed in the MIDI

Timepiece AV’s front panel LCD is the rate that the

box is actually generating. If the MIDI

Timepiece AV’s frame rate is set to 30 when you are

slaving to video (via either LTC only or video gen-

lock), then the MIDI Timepiece AV pulls down the

digital audio down sample rate shown in the LCD

to compensate for the fact that it is being forced to

operate at 29.97 (due to video gen-lock). You can

keep things simple and straightforward by making

sure you have the frame rate set to 29.97 (either

drop or non-drop) when you are using video. If

you do, the sample rate you see is the sample rate

you’ll get.

Here is a chart summarizing the MIDI

Timepiece AV’s actual word clock output when

locked to LTC or VIDEO as a time base. The

examples in this chart are given at 48000 Hz, but

Typical scenario MTP AV Master Sync setting

You have Digidesign hardware

such as Pro Tools, or any word

clock device, and ADATs and

you want to sync them with

each other (and the computer)

as accurately as possible. (And

you aren’t doing video.)

INTERNAL — this makes the

MIDI Timepiece AV the mas-

ter timing source. In this case,

you slave your sequencer (or

digital audio software) to MTC

generated by the MIDI

Timepiece AV.

You want to slave everything

(Pro Tools or other word clock

device, ADATs, and the com-

puter) to video with SMPTE

time code (LTC) also coming

from video.

LTC/VIDEO

You want the best sync possi-

ble, you want to control the

transports of everything via

MMC from your computer

software or an LRC, and you

aren’t doing video.

INTERNAL — this makes the

MIDI Timepiece AV the mas-

ter timing source and the

MMC master. You send it

MMC commands from your

sequencer, and it drives Pro

Tools (via superclock and soft-

ware address/transport con-

trol) and ADATs (via MMC

and ADAT sync).

You want to stripe SMPTE

time code (LTC) onto a video

tape while resolved to video.

INTERN/VIDEO — this

makes the MIDI

Timepiece AV generate LTC

that is frame-locked to video

(i.e. LTC won’t drift out of sync

with video frames).

You don’t have ADATs or any

other digital audio devices and

you want to slave the MIDI

Timepiece AV to a multitrack

LTC QuikLock — this gives

the MIDI Timepiece AV faster

response when locked to LTC

received on its SMPTE Input

!USB Interfaces Manual Book Page 120 Tuesday, October 10, 2000 12:43 PM

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