Steinberg Cubase Studio 4 Operation Manual Studio Manual

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Synchronization 
						

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Synchronization
Background
What is synchronization?
Synchronization is said to exist when you make two pieces 
of equipment agree on time or tempo and position info. 
You can establish synchronization between Cubase and a 
number of other types of devices, including tape recorders 
and video decks, but also MIDI devices that “play back”, 
such as other sequencers, drum machines, “workstation 
sequencers” etc.
When you set up a synchronization system, you must de-
cide which unit is the master. All other devices are then 
slaved to this unit, which means they will adjust their play-
back speed to the master’s.
Cubase as slave
When a synchronization signal is coming in to Cubase, 
from another device, this device is the master and Cubase 
is the slave. Cubase will adjust its playback to the other de-
vice.
Cubase as master
When you set up Cubase to transmit synchronization in-
formation to other devices, Cubase is the master and the 
other devices are the slaves; they will adjust their playback 
to Cubase.
Cubase – both master and slave
Cubase is a very capable synchronization device. It can 
operate as both a master and a slave at the same time. For 
example, Cubase might be slaved to a tape recorder trans-
mitting timecode, while at the same time transmitting MIDI 
Clock to a drum machine, acting as a master for that.
Synchronization signals
Basically there are three types of synchronization signals 
for audio: timecode, MIDI clock and word clock.
Timecode (SMPTE, EBU, MTC, VITC etc.)
Timecode appears in a number of guises. No matter which 
“format” it has, it always supplies a “clock on the wall” 
type of synchronization, that is, a synchronization related 
to hours, minutes, seconds and two smaller units called 
“frames” and “subframes”.
 LTC (SMPTE, EBU) is the audio version of timecode. This 
means that it can be recorded on the audio track of an audio 
or video recorder.
 VITC is the video format timecode, i.e. it is stored in the actual 
video image.
 MTC is the MIDI version of timecode, transmitted via MIDI ca-
bles.
 ADAT sync (Alesis) is only used with the ASIO Positioning 
Protocol, see “About the ASIO Positioning Protocol (APP)” on 
page 427.
For the ASIO Positioning Protocol, other high precision 
timecode formats may also be supported.
Format recommendations for timecode – without ASIO 
Positioning Protocol
 When synchronizing your system to external timecode, via a 
synchronizer, the most common timecode format is MTC. 
Contrary to some reports you might have heard, MTC delivers 
good precision for external sync. This is due to the fact that 
the operating system can “time stamp” incoming MIDI mes-
sages, which increases precision.
Format recommendations for timecode – with ASIO 
Positioning Protocol
 LTC and VITC are the formats with the highest precision and 
are recommended when available.
 MTC is the next best option and probably the most common 
choice, since few audio hardware solutions have built-in LTC 
or VITC readers. However, LTC and VITC offer even higher 
precision when available.
!For a description of the VST System Link feature 
(with which you can synchronize separate computers 
running Cubase or Nuendo for example), see “Wor-
king with VST System Link” on page 431. 
						

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Synchronization
MIDI Clock
MIDI Clock is a tempo-based type of synchronization sig-
nals, i.e. it is related to the number of “beats per minute”. 
MIDI Clock signals are suitable for synchronizing two de-
vices that agree on tempo, such as for example Cubase 
and a drum machine.
Word Clock
Word clock is basically a replacement for the sample rate 
clock in for example an audio card. Word clock hence 
runs at the same rate as the sample rate in the audio, 
44.1kHz, 48kHz etc.
Word clock does not contain any position information, it is 
only a “simple” signal for clocking the audio at its sample 
rate.
Word clock comes in many formats, analog on coaxial ca-
ble, digital as part of an S/PDIF, AES/EBU or ADAT audio 
signal, etc.
Synchronizing the transport vs. 
synchronizing audio
How timing is handled in a non-synchronized 
system
Let’s first look at the situation where Cubase is not syn-
chronized to any external source:
Any digital playback system has an internal clock that ulti-
mately affects the playback speed and stability, and PC 
audio hardware is no exception. This clock is extremely 
stable.
When Cubase is playing back with no external synchroni-
zation, all playback is internally synchronized to the inter-
nal digital audio clock.
Synchronizing Cubase’s playback
Let’s assume now that we use external timecode synchro-
nization with Cubase. For example, we might synchronize 
playback to a tape recorder.
Timecode coming from an analog tape recorder will al-
ways vary slightly in speed. Different timecode generators 
and different tape recorders will also supply timecode with 
slight differences in speed. In addition, the shuttling of 
tape mechanisms due to overdubs and re-recordings can 
cause the physical tape to wear and stretch, which affects 
the speed of the timecode.
If you use a synchronizer that generates word clock and set 
up Cubase to sync to incoming timecode, it will vary its 
overall playback speed to compensate for such fluctuations 
in the speed of the timecode – that’s the whole purpose of 
synchronization.
What happens with the digital audio?
The fact that Cubase’s playback is synchronized to the 
timecode does not affect the playback of the digital audio. 
It still relies on the perfectly stable, built-in clock in the au-
dio hardware.
As might be expected, problems will appear when the per-
fectly stable digital audio gets related to the slightly vary-
ing speed of a system synchronized to timecode.
The playback timing of each event will not be in total ac-
cordance with the tape or the MIDI playback, since the 
playback speed of the audio is determined by the digital 
audio hardware’s built-in clock.
Resolving to word clock
The solution to this problem is to use one external clock 
for all components in the system. One master clock is 
used to derive whatever type of clock signal each compo-
nent in the system needs. For example, something called a 
house clock can be used to generate sample rate clocks 
for the digital audio hardware and timecode for Cubase. 
This ensures that all components in the system use the 
same reference source for their timing.
Synchronizing digital audio to external clocks running at 
sample rate is often called “resolving” or “synchronizing to 
word clock”. 
!MIDI Clock is not suitable as a master sync source 
for an application like Cubase. Therefore Cubase will 
transmit MIDI Clock signals to other devices, but it 
will not receive MIDI Clock. 
						

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Synchronization
If you aim to perform synchronization to external signals, 
we strongly recommend that you obtain proper synchroni-
zation equipment. This encompasses:
 An audio card that can be slaved to external word clock.
 A synchronizer that can read timecode (and possibly house 
clock) and generate the required sync signals from that, such 
as the Steinberg TimeLock Pro.
or...
 An audio system with complete built-in synchronization possi-
bilities, preferably supporting the ASIO Positioning Protocol 
(see “About the ASIO Positioning Protocol (APP)” on page 
427).
Using timecode without word clock
Of course, it is possible to set up a synchronization system 
where you lock Cubase to timecode without using word 
clock. However, please note that the timing of audio vs. 
MIDI cannot be guaranteed and that fluctuations in speed 
in the incoming timecode will not affect the playback of au-
dio events. This means that synchronizing to timecode may 
work in the following situations:
When the timecode was originally generated by the au-
dio card itself.
When the source providing the timecode is extremely 
stable (such as a digital video system, a digital tape re-
corder or another computer).
When you remain synchronized to that same stable 
source throughout the entire process, both while record-
ing and playing back audio.
Making basic settings and 
connections
Setting the Frame Rate
The frame rate is the number of frames per second in a film 
or on a video tape. Just as there is always sixty seconds to a 
minute, there is always a certain number of frames to each 
second. However, the frame rate used varies with the type 
of media (film or video), which country the video tape has 
been produced in, and other circumstances.In the Project Setup dialog are two settings for frame rates:
The Frame Rate pop-up is automatically adjusted to the 
frame rate of the incoming timecode.
There is an exception to this when you are synchronizing Cubase to MIDI 
Timecode: If you have selected 29.97 fps or 30 dfps as Frame Rate in 
Cubase, this selection will be kept, since these frame rates are not in-
cluded in the MTC format.
The following frame rates are available:
The Display Format pop-up contains a number of for-
mats that when selected work as the “master” setting for 
the display format used in the various windows’ rulers and 
position displays.
The item “60 fps (user)” on this menu represents a user-definable frame 
rate. To make editing with frame accuracy correspond to the actual frame 
rate in an external sync source, you need to set this frame rate to the 
same value as the Frame Rate pop-up.
Proceed as follows:
1.Open the Preferences dialog (accessed from the File 
menu under Windows or the Cubase menu on the Mac) 
and select the Transport page.
2.Enter the desired frame rate under “User Definable 
Framerate”.
Either type in the desired value directly or use the arrow buttons to in-
crease/decrease the value. You can enter any value between 2 and 200.
3.When you’re done, click OK to close the dialog and 
save the settings.
The Frame Rate you specified will now be used in the Dis-
play Format pop-up.
Frame Rate Description
24 fps The traditional frame rate of 35mm film.
25 fps The frame rate used for all video and audio in Europe 
(EBU).
29.97 fps Straight 29.97 frames per second.
29.97 dfps “Drop frame” code running at 29.97 frames per second, 
most often used in the United States of America for work 
with color video.
30 fps Straight 30 frames per second. This is often used in the 
United States for audio only work.
30 dfps Very rarely used. 
						

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Synchronization
Making connections
The following connections are required for external sync 
via a synchronizer, including resolving of the audio card. 
For details on audio card and synchronizer settings and 
connections, see the manuals for these devices.
Route the master clock signal (LTC, VITC, etc.) to an in-
put on the synchronizer.
Connect the word clock output on the synchronizer to a 
word clock input on the audio card.
Connect the MIDI Timecode (MTC) output on the syn-
chronizer to the corresponding input on the computer.
Set up the synchronizer and make sure the frame rate 
settings are in accordance with the master clock.
A typical synchronization setup.
Synchronization settings
In the following sections you will find a description of how 
to set up your system for the different timecode sources:
Internal Timecode
In this mode, Cubase is the master. When working with 
MMC (see “Machine Control” on page 429), the external 
device gives the start and stop signals, but is synchro-
nized by Cubase.
Use the “MIDI Timecode Destinations” and “MIDI Clock 
Destinations” sections to specify which devices should be 
slaved to Cubase.
Synchronizing other Equipment to Cubase
You may have other MIDI devices that you want to syn-
chronize to Cubase. There are two types of synchroniza-
tion that Cubase can transmit: MIDI Clock and MIDI 
Timecode.
Transmitting MIDI Clock
If you transmit MIDI Clock to a device supporting this type 
of synchronization signal, the other device will follow Cu-
base’s tempo. The tempo setting in the other device is of no 
relevance. Instead, it plays at the same tempo as Cubase. If 
the device also reacts to Song Position Pointers (which 
Cubase transmits) it will follow when you wind, rewind and 
locate using the Cubase Transport panel.
ÖMIDI Clock transport commands include “Start”, “Stop” 
and “Continue”. However, some MIDI equipment (e.g. 
some drum machines) do not recognize the “Continue” 
command. If this is the case with your equipment, activate 
the option “Always Send Start Message” in the Project 
Synchronization Setup dialog (MIDI Clock Destinations).
When this is activated, only the Start command is used.
Activate “MIDI Clock Follows Project Position” if you 
want the other device to follow when you loop, jump and 
locate during playback.
When this is activated, the sent MIDI Clock signals will follow the se-
quencer time and tempo position at all times.
Transmitting MIDI Timecode
If you transmit MIDI Timecode to a device supporting this 
type of synchronization signal, the device will synchronize 
time-wise to Cubase, that is, the time displays on Cubase’s 
Transport panel and on the other device will agree. When 
you wind and locate Cubase and then activate playback, 
the other device will follow from the same position (if it has 
this capability and is set up for it!).
ÖIf you want to be able to loop, jump and locate during 
playback in Cubase and have the other device follow, ac-
tivate MIDI Timecode Follows Project Time.
When this is activated, the sent MIDI Timecode will follow the sequencer 
time position at all times.
!Please note that some external devices may not react 
smoothly to these repositioning messages. Espe-
cially when working with some older devices, it may 
take some time for them to synchronize accurately to 
the project time. 
						

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Synchronization
Setting Up
1.Connect the desired MIDI Outputs from Cubase to the 
device(s) that you plan to synchronize.
2.Open the Project Synchronization Setup dialog from 
the Transport menu.
3.Activate the sync outputs by using the corresponding 
checkboxes.
You can output any combination of MIDI Timecode and MIDI Clock to 
any combination of outputs (however, you probably don’t want to send 
MTC and MIDI Clock to the same output).
4.Set the other device(s) to their “external synchroniza-
tion” mode (or some other mode with a similar name) and 
activate playback on them if necessary.
5.Activate playback in Cubase, and the other device(s) 
will follow.
MIDI Timecode
In this mode, Cubase is the slave and the timecode is sent 
by the MIDI Timecode Source specified in the correspond-
ing section. 
Setting up Cubase for external sync to timecode
1.In the Project Synchronization dialog, set Timecode 
Source to MIDI Timecode.
2.Use the pop-up menu in the MIDI Timecode Source 
section to select an input for the timecode.
3.Close the Project Synchronization Setup dialog and 
open the Project Setup dialog from the Project menu.
4.Use the Start value to set which frame on the external 
device (e.g. a video tape) should correspond to the begin-
ning of the project.
!Some MIDI interfaces will automatically send MIDI 
Clock to all MIDI outputs, regardless of the MIDI 
Clock Port selection in Cubase. If this is the case, 
you should only select one MIDI Clock Port (consult 
the documentation of the MIDI Interface if in doubt).
Timecode Source settings
MMC Master settings
MMC Slave settings
Sync to timecode activated
Outputs for 
MIDI Clock
Outputs for MIDI 
Timecode
Input port for MIDI 
Timecode
Input and Output for 
Master MIDI Machine 
Control messages
Set this to the time-
code position 
where you want the 
project to start. 
						

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Synchronization
You can also set this with the function “Set Timecode at 
Cursor” on the Project menu.
This is useful if you know that a certain position in your project coincides 
with a certain timecode position in the external device. Move the project 
cursor to the desired position, select “Set Timecode at Cursor” and 
specify the corresponding timecode position in the dialog that appears – 
the Start value is adjusted accordingly.
5.In the dialog that appears, you are asked if you want to 
keep the project content at its timecode positions. Select 
“No”.
This will make all events and parts keep their positions relative to the 
project start. 
6.Close the Project Setup dialog.
7.On the Transport panel, activate the Sync button (or 
select Use External Sync from the Transport menu).
8.Start the tape (or video, or other master device) that 
contains the timecode. Cubase starts playing when it re-
ceives timecode with a position “higher” than, or equal to, 
the project Start frame.
You can wind the device that sends the timecode to any 
position and start from there.
You should also take a look at the Sync Options, see 
“Sync Options” on page 431.
The Sync indicator
On the Transport panel you can check the status of in-
coming timecode by observing the sync indicator. It 
switches between “Offline” (not waiting for sync), “Idle” 
(ready for sync but no signal is coming in), and “Lock xx” 
(where xx indicates the frame rate of the incoming signal).
ASIO Audio Device
In this mode, Cubase is the slave and the synchronization 
signal can be received from another device connected to 
a digital interface of the audio hardware.
About the ASIO Positioning Protocol (APP)
The ASIO Positioning Protocol is a technology that ex-
pands on the type of sync described above and makes 
sample-accurate positioning possible.
When transferring audio digitally between devices, it is im-
portant that synchronization using word clock and timecode 
is completely correlated. If not, the audio will not be re-
corded at the exact intended (sample-accurate) position, 
which can cause various types of problems, such as inac-
curately positioned audio material, clicks and pops etc.
A typical situation is when transferring material from a dig-
ital multi-track tape recorder to Cubase (for editing) and 
then back again. If you do not have sample-accurate syn-
chronization set up, you cannot be sure that the material 
will appear in its exact original position, when transferred 
back to the tape recorder.
In order to take advantage of the ASIO Positioning Proto-
col, your audio hardware must be suitably equipped and 
the functionality must be included in the ASIO driver for 
the hardware.
An example of a system for doing sample-accurate trans-
fers, would be transferring audio tracks from an Alesis 
ADAT to Cubase. Here the ADAT will be the sync master 
(though it doesn’t necessarily have to be). It provides both 
the digital audio (with an inherent word clock) and position 
information (timecode) via its ADAT sync protocol. The 
master clock is generated by the ADAT itself.
!When the master device with the timecode is 
stopped, you can use the Cubase transport controls 
as you normally do, when it is not synchronized. 
The Sync indicator
!This option is only available if your hardware is com-
patible with the ASIO Positioning Protocol.
!ASIO Positioning Protocol requires audio hardware 
with specific ASIO drivers. 
						

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Synchronization
Hardware and software requirements for APP
 Your computer audio hardware (in the example above this 
would be an ADAT card in your computer) must support all 
the functionality required for the ASIO Positioning Protocol. 
That is, it must be able to read the digital audio and the corre-
sponding position information from the external device.
 There must be an ASIO 2.0 driver for the audio hardware.
 For resolving to external timecode, the audio hardware must 
have an integrated timecode reader/generator.
 For information about which audio hardware models currently 
support APP, see the Steinberg web site (www.steinberg.net).
Setting up the audio card for external synchronization
1.Open the Device Setup dialog from the Devices menu 
and, on the VST Audio System page, select the name of 
your audio interface.
2.Click the Control Panel button to open the card’s pro-
prietary setup dialog.
If this card is accessed via a special ASIO driver (as opposed to MME or 
DirectX), this dialog is provided by the card, not by Cubase. Hence the 
settings vary with the card brand and model.
3.Adjust the settings as recommended by the card man-
ufacturer, then close the dialog.
The dialog may also contain various diagnostic tools that allow you to 
verify for example whether word clock is arriving correctly.
4.From the Clock Source pop-up, select the input to 
which you routed the word clock signal.
This pop-up may not be used if you selected an input in the Control 
Panel dialog instead.
You can now set up the synchronization:
1.Open the Project Synchronization Setup dialog and 
set the Timecode Source to “ASIO Audio Device”.
2.Make the desired settings in the dialog.
For information on the different sections, click the Help button in the dia-
log.
3.Close the Project Synchronization Setup dialog.
4.Open the Project Setup dialog from the Project menu 
and use the Start value to set which frame on the external 
device (e.g. a video tape) should correspond to the begin-
ning of the project.
!The ASIO Positioning Protocol exploits the specific 
advantage of having an audio card that has an inte-
grated timecode reader. With such a card and the 
ASIO Positioning Protocol, you can achieve constant 
sample-accurate synchronization between the audio 
source and Cubase.
The ASIO Audio Device is selected as Timecode Source
Outputs for 
MIDI Clock
Input and Output for 
MIDI Machine Control 
messages
Set this to the time-
code position 
where you want the 
project to start. 
						

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Synchronization
You can also set this with the function “Set Timecode at 
Cursor” on the Project menu.
This is useful if you know that a certain position in your project coincides 
with a certain timecode position in the external device. Move the project 
cursor to the desired position, select “Set Timecode at Cursor” and 
specify the corresponding timecode position in the dialog that appears – 
the Start value is adjusted accordingly.
5.A message appears, asking you whether you want to 
keep the project content at its timecode positions. Select 
“No”.
This will make all events and parts keep their positions relative to the 
project start. 
6.Close the Project Setup dialog.
7.On the Transport panel, activate the Sync button (or 
select “Use External Sync” from the Transport menu).
8.Start the tape (or video, or other master device) that 
contains the timecode. Cubase starts playing when it re-
ceives timecode with a position “higher” than, or equal to, 
the project Start frame.
You can wind the device that sends the timecode to any 
position and start from there.
You should also take a look at the Sync Options, see 
“Sync Options” on page 431.
The Sync indicator
On the Transport panel you can check the status of in-
coming timecode by observing the sync indicator. It 
switches between “Offline” (not waiting for sync), “Idle” 
(ready for sync but no signal is coming in), and “Lock xx” 
(where xx indicates the frame rate of the incoming signal).
VST System Link
Machine Control
Cubase can control external tape transports and similar 
devices via MIDI Machine Control. This allows you to op-
erate an external tape transport from Cubase’s Transport 
panel. That is, Cubase can make the tape recorder locate 
to a certain position, start, stop, rewind etc.
About sync and machine control
Controlling tape transports is a two-way process:
 Cubase sends out machine control commands to the tape re-
corder, asking it to locate to a certain position and activate 
playback etc.
 The tape recorder locates to the requested position, starts 
and delivers timecode back to Cubase, to which Cubase is 
synchronized.
Even though it appears as if Cubase is controlling the tape 
recorder completely, it is important to remember that in 
this setup, Cubase is still being synchronized to the exter-
nal tape transport, not vice versa.
Also note that the two processes of sync and machine 
control are completely separated, in terms of protocols 
used. You can for example synchronize to MTC while 
sending out transport commands via MMC.
MIDI Machine Control (MMC)
This is a standard MIDI protocol for controlling tape trans-
ports. There are a number of tape recorders and hard disk 
recording systems on the market that support this protocol. 
Cubase allows you to control the transport of an external 
MMC device and arm tracks for recording (Cubase only).
Machine Control commands can be sent using MIDI Ma-
chine Control (MMC):
1.Set up and test basic timecode synchronization, as de-
scribed earlier in this chapter.
2.Connect a MIDI Out on your MIDI interface to a MIDI 
In on the tape recorder (or similar device).
If you have not already done so (when setting up for MIDI Timecode), 
also connect a MIDI cable from the MIDI Output on the tape recorder to 
a MIDI In on the computer.
3.Make sure you have timecode recorded on the tape 
recorder, and that it is set up to use MMC.
!When the master device with the timecode is 
stopped, you can use the Cubase transport controls 
as you normally do, when it is not synchronized. 
!For a description of the VST System Link feature 
(with which you can synchronize separate computers 
running Cubase or Nuendo for example) see “VST 
System Link” on page 429. 
						

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Synchronization
4.Open the Project Synchronization Setup dialog via the 
Transport menu in Cubase.
5.In the Master Machine Control Device section, acti-
vate the “MC Master Active” checkbox.
6.Select the correct MMC Inputs and Outputs from the 
respective pop-up menus.
7.Make sure that the MMC Device ID corresponds to 
the ID of the controlled device.
If more that one machine is connected or if you do not know the Device 
ID, this can be set to “All”, the “Broadcast” device ID.
8.Set the “Number of Audio Tracks” setting to the num-
ber of tracks on the external tape recorder (Cubase only).
9.Open the Preferences dialog from the File menu (on 
the Mac, this is located on the Cubase menu), 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 re-
corder “replies” to the MMC messages it receives from Cubase). By fil-
tering out Sysex Thru, you ensure that these MMC System Exclusive 
replies are not echoed back to the tape recorder.
10.Close the Preferences and open the Project Setup di-
alog from the Project menu.
11.As when synchronizing without using transport con-
trol, use the Start value to specify which frame on the tape 
should correspond to the beginning of the project.
12.Close the Project Setup dialog.
How to proceed from here depends on whether you are 
using Cubase or Cubase Studio:Cubase:
13.Pull down the Devices menu and select MMC Master.
The MIDI Machine Control master transport panel appears.
It is now possible to control the external tape recorder in-
dependently or together with Cubase:
If you activate the Online button on the MMC Master 
panel you can use the transport buttons on the panel to 
control the transport of the device.
You can also use the buttons to the left on the MMC 
Master panel to arm tape tracks for recording.
The number of record arm buttons depends on the “Number of Audio 
Tracks” setting in the Master Machine Control Device section of the 
Project Synchronization Setup dialog.
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 sup-
ported.
If you activate the Sync button on the Transport panel, 
the MMC Master transport buttons (or the buttons on the 
main Transport panel) will control the external tape re-
corder and Cubase in sync.
14.On the Transport panel, activate the Sync button.
15.Try to Stop, Fast Forward and Rewind from Cubase 
and activate Play from different positions in the project. 
The tape transport should follow.
To turn off the synchronization between the tape re-
corder and Cubase, simply deactivate Sync on the Trans-
port panel.
Cubase Studio:
16.On the Transport panel, activate the Sync button.
17.Try to Stop, Fast Forward and Rewind from Cubase 
Studio and activate Play from different positions in the 
project. 
The tape transport should follow.
Turn off the synchronization between the tape recorder 
and Cubase Studio, simply deactivate Sync on the Trans-
port panel.
MIDI Machine Control activated