Steinberg Cubase 7 User Manual
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651 SynchronizationTimecode (positional references) Master and slave Calling one device the “master” and another the “slave” can lead to a great deal of confusion. The timecode relationship and the machine control relationship must be differentiated in this regard. In this document, the following terms are used: - The “timecode master” is the device generating position information or timecode. - The “timecode slave” is any device receiving the timecode and synchronizing or “locking” to it. - The “machine control master” is the device that issues transport commands to the system. - The “machine control slave” is the device receiving those commands and responding to them. For example, Cubase could be the machine control master, sending transport commands to an external device which in turn sends timecode and audio clock information back to Cubase. In that case, Cubase would also be the timecode slave at the same time. So calling Cubase simply the master is misleading. ÖIn most scenarios, the machine control slave is also the timecode master. Once it receives a play command, that device starts generating timecode for all the timecode slaves to synchronize to. Timecode (positional references) The position of any device is most often described using timecode. Timecode represents time using hours, minutes, seconds, and frames to provide a location for each device. Each frame represents a visual film or video frame. Timecode can be communicated in several ways: - LTC (Longitudinal Timecode) is an analog signal that can be recorded on tape. It should be used for positional information primarily. It can also be used for speed and phase information as a last resort if no other clock source is available. - VITC (Vertical Interval Timecode) is contained within a composite video signal. It is recorded onto video tape and is physically tied to each video frame. - MTC (MIDI Timecode) is identical to LTC except that it is a digital signal transmitted via MIDI. Timecode standards Timecode has several standards. The subject of the various timecode formats can be very confusing due to the use and misuse of the shorthand names for specific timecode standards and frame rates. The reasons for this confusion are described in detail below. The timecode format can be divided into two variables: frame count and frame rate. Frame count (frames per second) The frame count of timecode defines the standard with which it is labeled. There are four timecode standards: •24 fps Film (F) This frame count is the traditional count for film. It is also used for HD video formats and commonly referred to as “24 p”. However, with HD video, the actual frame rate or speed of the video sync reference is slower, 23.976 frames per second, so timecode does not reflect the actual realtime on the clock for 24p HD video. •25 fps PAL (P) This is the broadcast video standard frame count for European (and other PAL countries) television broadcast.
652 SynchronizationTimecode (positional references) •30 fps non-drop SMPTE (N) This is the frame count of NTSC broadcast video. However, the actual frame rate or speed of the video format runs at 29.97 fps. This timecode clock does not run in realtime. It is slightly slower by 0.1 %. •30 fps drop-frame SMPTE (D) The 30 fps drop-frame count is an adaptation that allows a timecode display running at 29.97 fps to actually show the clock-on-the-wall-time of the timeline by “dropping” or skipping specific frame numbers in order to “catch the clock up” to realtime. Confused? Just remember to keep the timecode standard (or frame count) and frame rate (or speed) separate. Frame rate (speed) Regardless of the frame counting system, the actual speed at which frames of video go by in realtime is the true frame rate. In Cubase the following frame rates are available: •23.9 fps (Cubase only) This frame rate is used for film that is being transferred to NTSC video and must be slowed down for a 2-3 pull-down telecine transfer. It is also used for the type of HD video referred to as “24 p”. •24 fps This is the true speed of standard film cameras. •24.9 fps (Cubase only) This frame rate is commonly used to facilitate transfers between PAL and NTSC video and film sources. It is mostly used to correct for some error. •25 fps This is the frame rate of PAL video. •29.97 fps This is the frame rate of NTSC video. The count can be either non-drop or drop- frame. •30 fps This frame rate is not a video standard anymore but has been commonly used in music recording. Many years ago it was the black and white NTSC broadcast standard. It is equal to NTSC video being pulled up to film speed after a 2-3 telecine transfer. •59.98 fps (Cubase only) This rate is also referred to as “60 p”. Many professional HD cameras record at 59.98 fps. While 60 fps could theoretically exist as a frame rate, no current HD video camera records at a full 60 fps as a standard rate. Frame count vs. frame rate Part of the confusion in timecode stems from the use of “frames per second” in both the timecode standard and the actual frame rate. When used to describe a timecode standard, frames per second defines how many frames of timecode are counted before one second on the counter increments. When describing frame rates, frames per second define how many frames are played back during the span of one second of realtime. In other words: Regardless of how many frames of video there are per second of timecode (frame count), those frames can be moving at different rates depending on the speed (frame rate) of the video format. For example, NTSC timecode (SMPTE) has a frame count of 30 fps. However, NTSC video runs at a rate of 29.97 fps. So the NTSC timecode standard known as SMPTE is a 30 fps standard that runs at 29.97 realtime.
653 SynchronizationClock sources (speed references) Clock sources (speed references) Once the position is established, the next essential factor for synchronization is the playback speed. Once two devices start playing from the same position, they must run at exactly the same speed in order to remain in sync. Therefore, a single speed reference must be used and all devices in the system must follow that reference. With digital audio, the speed is determined by the audio clock rate. With video, the speed is determined by the video sync signal. Audio clock Audio clock signals run at the speed of the sample rate used by a digital audio device and are transmitted in several ways: Word clock Word clock is a dedicated signal running at the current sample rate that is fed over BNC coaxial cables between devices. It is the most reliable form of audio clock and is relatively easy to connect and use. AES/SPDIF Digital Audio An audio clock source is embedded within AES and SPDIF digital audio signals. This clock source can be used as a speed reference. Preferably, the signal itself does not contain any actual audio (digital black), but any digital audio source can be used if necessary. ADAT Lightpipe ADAT Lightpipe, the 8-channel digital audio protocol developed by Alesis, also contains audio clock and can be used as a speed reference. It is transmitted via optical cables between devices. ÖDo not confuse the audio clock embedded in the Lightpipe protocol with ADAT Sync, which has timecode and machine control running over a proprietary DIN plug connection. MIDI clock MIDI clock is a signal that uses position and timing data based on musical bars and beats to determine location and speed (tempo). It can perform the same function as a positional reference and a speed reference for other MIDI devices. Cubase supports sending MIDI clock to external devices but cannot slave to incoming MIDI clock. The Project Synchronization Setup dialog Cubase’s Project Synchronization Setup dialog provides a central place to configure a complex synchronized system. In addition to settings for timecode sources and machine control settings, project setup parameters are available along with basic transport controls for testing the system. To open the Project Synchronization Setup dialog, proceed as follows: •On the Transport menu, select the “Project Synchronization Setup…” option. •On the Transport panel, [Ctrl]/[Command]-click the Sync button. !MIDI clock cannot be used to synchronize digital audio. It is only used for MIDI devices to play in musical sync with one another. Cubase does not support being a MIDI clock slave.
654 SynchronizationThe Project Synchronization Setup dialog The dialog is organized into sections separating related groups of settings. The arrows shown between the various sections of the dialog indicate how settings in one section influence settings in another section. In the following, the available sections are described in detail. The Cubase section At the center of the Project Synchronization Setup dialog is the Cubase section. It is provided to help you visualize the role that Cubase takes in your setup. It shows which external signals enter or leave the application. Timecode Source The Timecode Source setting determines whether Cubase is acting as timecode master or slave. When set to “Internal Timecode”, Cubase is the timecode master, generating all position references for any other device in the system. The other options are for external timecode sources. Selecting any of these, makes Cubase a timecode slave when the Sync button is activated. Internal Timecode Cubase generates timecode based on the project timeline and project setup settings. The timecode will follow the format specified in the Project Setup section. MIDI Timecode Cubase acts as a timecode slave to any incoming MIDI timecode (MTC) on the port(s) selected in the MIDI Timecode section, to the right of the Timecode Source section. Selecting “All MIDI Inputs” allows Cubase to sync to MTC from any MIDI connection. You can also select a single MIDI port for receiving MTC. ASIO Audio Device This option is only available with audio cards that support ASIO Positioning Protocol. These audio cards have an integrated LTC reader or ADAT sync port and can perform a phase alignment of timecode and audio clock. VST System Link VST System Link can provide all aspects of sample-accurate synchronization between other System Link workstations. For information on configuring VST System Link, see “Working with VST System Link” on page 660.
655 SynchronizationThe Project Synchronization Setup dialog Timecode Preferences When MIDI Timecode is selected, additional options become available in the Cubase section, providing several options for working with external timecode. Lock Frames This setting determines how many full frames of timecode it takes for Cubase to try and establish sync or “lock”. If you have an external tape transport with a very short start-up time, try lowering this number to make lock-up even faster. This option can only be set to multiples of two. Drop Out Frames This setting determines the amount of missed timecode frames it takes for Cubase to stop. Using LTC recorded on an analog tape machine can result in some amount of drop outs. Increasing this number allows Cubase to “free-wheel” over missed frames without stopping. Lowering this number causes Cubase to stop sooner once the tape machine has stopped. Inhibit Restart ms Some synchronizers still transmit MTC for a short period after an external tape machine has been stopped. These extra frames of timecode sometimes cause Cubase to restart suddenly. The “Inhibit Restart ms” setting allows you to control the amount of time in milliseconds that Cubase will wait to restart (ignoring incoming MTC) once it has stopped. Auto-Detect Frame-Rate Changes Cubase can notify the user when the frame rate of timecode changes at any point. This is helpful in diagnosing problems with timecode and external devices. This notification will interrupt playback or recording. Deactivating this option will avoid any interruption in playback or recording. Machine Control Output Destination When the Sync button on the Transport panel is activated, all transport commands (including movements of the cursor in the Project window) are translated into machine control commands and routed according to the settings made in the “Machine Control Output Destination” section. !If there is a discrepancy between the project frame rate in Cubase and incoming timecode, Cubase might still be able to lock to the incoming timecode. If the user is unaware of these differences, problems can arise later in postproduction.
656 SynchronizationThe Project Synchronization Setup dialog MC Master Active When this option is activated, transport commands are routed or sent to any device while sync is enabled. Additional routing options become available, see below. Deactivating this option does not affect the operation of the individual MMC Device panels. They can still function regardless of the machine control destination. MMC Input and Output The MMC Input and MMC Output settings determine which MIDI port in your system will send and receive MMC commands. Set both the input and output to MIDI ports that are connected to the desired MIDI device. MMC Device ID The MMC device ID should be set to the same number as the receiving device. You can also set the device ID to “All” if more than one machine is receiving MMC commands or if the device ID is not known. ÖSome devices can only listen to their specific IDs. Therefore, using the All option will not work with such devices. Number of Audio Tracks (Cubase only) The number of audio tracks should be set to match the amount of available audio tracks in the destination device. This setting determines how many record-enable buttons are shown in the MMC Master panel (see below). MMC Master panel The MMC Master panel can be opened from the Devices menu. In order to use the MMC Master panel, proceed as follows: •Open the Preferences dialog, select the MIDI Filter section and make sure SysEx is activated in the Thru section. This is necessary since MMC uses two-way communication (the tape recorder “replies” to the MMC messages it receives from Cubase). By filtering out SysEx Thru, you ensure that these MMC System Exclusive replies are not echoed back to the tape recorder. •On the MMC Master panel, activate the Online button to use the transport buttons on the panel to control the transport of the device. It is not necessary to have this activated in order to synchronize with the MMC device. It only affects operation of the MMC Master panel. •You can use the buttons to the left on the MMC Master panel to arm tape tracks for recording. •The “A1, A2, TC, VD” items refer to additional tracks usually found on video tape recorders. Refer to the manual of your VTR device to see if these tracks are supported.
657 SynchronizationThe Project Synchronization Setup dialog Machine Control Input (Cubase only) Cubase can respond to machine control commands from external MIDI devices. Cubase can follow incoming transport commands (locate, play, record) and respond to record-enabling commands for audio tracks. This allows Cubase to easily integrate into larger studio systems with centralized machine control and synchronization such as theatrical mixing stages. MMC Slave Active When this option is activated, several settings become available in the Machine Control Input section: MIDI Timecode Destinations Cubase can send MTC to any MIDI port. Use this section to specify the MIDI ports to which MTC is routed. Devices that can lock to MTC will chase Cubase’s timecode position. ÖSome MIDI interfaces send MTC over all ports by default. If this is the case, only select one port of the interface for MTC. MIDI Timecode Follows Project Time Activate this option to ensure that the MTC output follows Cubase’s time position at all times including looping, locating, or jumping while playing. If not, MTC will continue on without changing locations at a loop or jump point until playback stops. OptionDescription MMC InputSet this to the MIDI input that is connected to the master machine control device. MMC OutputSet this to the MIDI output that is connected to the master machine control device. MMC Device IDThis determines the MIDI ID number that is used to identify the machine in Cubase. !The MMC protocol involves polling devices (requesting information) for their status which requires two way communication. While some functions may work with only one way communication, it is best to connect both MIDI ports (input and output) of MMC devices. Refer to “MMC Master panel” on page 656 to ensure that the MIDI filter is set up correctly.
658 SynchronizationSynchronized operation MIDI Clock Destinations Some MIDI devices like drum machines can match their tempo and location to incoming MIDI clock. Select any MIDI ports that you wish to output MIDI clock. MIDI Clock Follows Project Position Activate this option to ensure that the MIDI clock device follows Cubase when looping, locating, or jumping while playing. ÖSome older MIDI devices might not respond well to these positioning messages and could take some time synchronizing to the new location. Always Send Start Message MIDI clock transport commands include Start, Stop, and Continue. However, some MIDI devices do not recognize the Continue command. By activating the “Always Send Start Message” option, you can avoid this problem with specific MIDI devices. Send MIDI Clock in Stop Mode Activate this option if you are working with a device that needs MIDI clock to run continuously in order to operate arpeggiators and loop generators. Synchronized operation Once you have connected all the devices that will be synchronized, it is important to understand how Cubase operates in Sync mode. Sync mode is enabled by activating the Sync button on the Transport panel. Sync mode When you activate the Sync button, the following happens: •Cubase only: Transport commands are routed to the machine control destination output as specified in the Project Synchronization Setup dialog. Locate, Play, Stop, and Record commands will now be sent to an external device. •Cubase awaits incoming timecode from the chosen timecode source defined in the Project Synchronization Setup dialog in order to play. Cubase will detect incoming timecode, locate to its current position, and start playback in sync with the incoming timecode. Cubase only: In a typical scenario, an external tape machine (e.g. a VTR) has its timecode output connected to Cubase. Cubase is sending machine control commands to the deck. When Sync is activated and you click Play on the Transport panel, a play command is sent to the VTR. The VTR in turn starts playback, sending timecode back to Cubase. Cubase then synchronizes to that incoming timecode.
659 SynchronizationExample scenario (Cubase only) Example scenario (Cubase only) To better understand how synchronization options can be utilized, an example scenario is provided. Personal music studio In a personal music studio, the user might have the need of synchronizing with an external recording device such as a portable hard disk recorder used for live remote recordings. In this example, MIDI will be used for timecode and machine control while the audio clock will be handled by Lightpipe digital audio connections. •When the Sync button is activated, Cubase sends MMC commands to the hard disk recorder. Cubase can remotely start playback of the recorder. •The hard disk recorder is using audio clock from Cubase’s audio interface as the speed reference. It is also possible for Cubase to use the audio clock from the recorder. The audio clock is carried over the Lightpipe digital audio connection that also carries audio signals. •The hard disk recorder sends back MTC to Cubase. When the recorder begins playing, MTC is sent back to Cubase which will sync to that timecode. Sync settings for a personal music studio To synchronize the devices in this example scenario, proceed as follows: 1.Make the connections as shown in the diagram above. In this simple example, any device that uses MTC can be substituted. 2.Open the Project Synchronization Setup dialog and select “MIDI Timecode” as the timecode source. When recording from the hard disk recorder into Cubase, Cubase will be the machine control master and the timecode slave, locking to incoming MTC. 3.In the “Machine Control Output Destination” section, select the “MIDI Machine Control” option. Cubase will now send MMC commands to the hard disk recorder to locate and start playback. 4.In the “Machine Control Output Settings” section, assign the MIDI input and output ports that are connected to the hard disk recorder. Since MMC uses two-way communication, both MIDI ports should be connected. Be sure the MIDI filter does not echo SysEx data. 5.On the Transport panel, activate the Sync button. This routes transport commands to the hard disk recorder via MIDI and sets Cubase as the timecode slave. 6.On the hard disk recorder, enable MMC and MTC. Follow the instructions on how to set up the unit to receive MMC commands and transmit MTC. 7.In Cubase, click the Play button. The hard disk recorder should start playback and send MTC to Cubase. Once Cubase syncs to MTC, the status on the Transport panel should read “Lock” and show the current frame rate of incoming MTC.
660 SynchronizationWorking with VST System Link Working with VST System Link VST System Link is a network system for digital audio that allows you to have several computers working together in one large system. Unlike conventional networks it does not require Ethernet cards, hubs, or CAT-5 cables; instead it uses the kind of digital audio hardware and cables you probably already possess in your studio. VST System Link has been designed to be simple to set up and operate, yet give enormous flexibility and performance gains in use. It is capable of linking computers in a “ring” network (the System Link signal is passed from one machine to the next, and eventually returns to the first machine). VST System Link can send its networking signal over any type of digital audio cable, including S/PDIF, ADAT, TDIF, or AES, as long as each computer in the system is equipped with a suitable ASIO compatible audio interface. Linking up two or more computers gives you vast possibilities: - Dedicate one computer to running VST instruments while recording audio tracks on another. - If you need lots of audio tracks, you may simply add tracks on another computer. - You could have one computer serve as a “virtual effect rack”, running CPU- intensive send effect plug-ins only. - Since you can use VST System Link to connect different VST System Link applications on different platforms, you can take advantage of effect plug-ins and VST instruments that are specific to certain programs or platforms. Requirements The following equipment is required for VST System Link operation: •Two or more computers. These can be of the same type or use different operating systems – it does not matter. For example, you can link an Intel-based PC to an Apple Macintosh without problems. •Each computer must have audio hardware with specific ASIO drivers. •The audio hardware must have digital inputs and outputs. To be able to connect the computers, the digital connections must be compatible (i. e. the same digital formats and connection types must be available). •At least one digital audio cable must be available for each computer in the network. •A VST System Link host application must be installed on each computer. Any VST System Link application can connect to another. Additionally, use of a KVM switchbox is recommended. Using a KVM switchbox Whether you want to set up a multi-computer network or a small network in a limited space, it is a good idea to invest in a KVM (Keyboard, Video, Mouse) switchbox. With one of these you can use the same keyboard, monitor, and mouse to control each computer in the system, and you can switch between computers very rapidly. KVM switchboxes are not too expensive, and they are very easy to set up and operate. If you decide not to go this route, the network will function just the same, but you may end up doing a lot of jumping from one machine to the other while setting up!