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chance

Aqua Marine

Posts: 2,635 Member Since:30/01/2011

#21 [url]

Apr 9 17 5:06 PM

The prices of SMPTE boxes might have come down, but I occasionally look for a SMPTE reader to interface with my HDR's and those don't come down. Very useful in a clapboard for video shoots

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burns46824

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Posts: 267 Member Since:07/02/2011

#22 [url]

Apr 10 17 11:47 AM

waltzmastering wrote:
The price for the boxes needed to sync are super low now compared to where they used to be.
Had an Adam Smith Zeta 3 and remember them costing a few thousand.
then the Digidesign Sync, which worked good, but can be had used now for $100.
For mute automation, you might want to see if it will accept FSK or Midi Time Code as well. gl

It does accept MIDI Time Code, but doesn't that require that I be sync'd to a DAW?  (Which I am not)

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waltzmastering

Platinum Blonde

Posts: 1,623 Member Since:02/02/2011

#23 [url]

Apr 11 17 7:56 PM

burns46824 wrote:

waltzmastering wrote:
The price for the boxes needed to sync are super low now compared to where they used to be.
Had an Adam Smith Zeta 3 and remember them costing a few thousand.
then the Digidesign Sync, which worked good, but can be had used now for $100.
For mute automation, you might want to see if it will accept FSK or Midi Time Code as well. gl

It does accept MIDI Time Code, but doesn't that require that I be sync'd to a DAW?  (Which I am not)


SMPTE can be converted to MTC (MTC is basically SMPTE transmitted over MIDI),
but it seems you could lock the 2",  DAW and Console together if you are usuing a daw at all
Admittedly, I've blocked a lot of this stuff out.

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mikerivers

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Posts: 2,484 Member Since:13/10/2012

#24 [url]

Apr 11 17 8:43 PM

burns46824 wrote:
It does accept MIDI Time Code, but doesn't that require that I be sync'd to a DAW?  (Which I am not)


There are hardware boxes that convert between SMPTE and MIDI time code. The synchronization principles are the same, but the time code is actually different. MIDI time code isn't tied to standard video frame rates, so you don't have the drop-frame tricks to deal with, and you actually have better time code resolution with MIDI than with SEMPTE time code - except that if you're starting with SMPTE, the resolution can never be better than that.

A nice vintage JL Cooper PPS-100 will solve all of your problems. There are a a couple for sale here on Reverb dot com:

And you can read the manual here

I thought the straightforware MTC-SMPTE conver things were common enough so that eBay would be loaded with them for about $20 or so, but I didn't find anything of interest there, which suggests that I should continue to hang on to my Music Quest Framelock just in case.

But, really, you should just temporarily turn a computer into a time code generator with that on-line time code WAV file creator you found, play it into your tape deck, play your tape back into your console, and play around with the levels until you get reliable time code lock. 
 



For a good time, call mikeriversaudio.wordpress.com

Last Edited By: mikerivers Apr 11 17 8:46 PM. Edited 1 time.

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les ismore

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Posts: 745 Member Since:26/01/2011

#25 [url]

Apr 15 17 1:32 PM

Ah, smpte... all good advise hear. yes run a separate input and output line from track 24 directly to the reader. Don't even run it in the same snake. It is like in the movie Alien where the alien blood eats through the floor of the spaceship and down through the adjacent floor and on outward towards the outer hull of the ship. Smpte is Alien blood! Beware!

Yes test while recording and playing back through repro head to allow for lowest safe level. Always stripe your smpte before your session so as to minimize record bleed onto track 23, and then use 23 for click that is synced to smpte. That way you can use 23 later for overdubs of non-priority instruments and still have click "virtual" via sync to smpte. Sometimes I would bounce a room mic or high hat or something that could sit back in the mix to 23 when I was low on tracks. I wouldn't personally use 23 for bass because bass to me is an essential focus of a song. But often a hat or room mic is way back in the mix and it doesn't matter if you record it hot or not as any hiss is lost in the general mix.

If you print anything too hot to 23 it can cause the smpte on 24 to falter, so that's why I liked to bounce something over after the fact when I don't have the band playing dynamically live.

Last Edited By: les ismore Apr 15 17 1:36 PM. Edited 1 time.

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maarvold

Aqua Marine

Posts: 3,031 Member Since:23/01/2011

#26 [url]

Apr 17 17 9:11 AM

les ismore wrote:
...yes run a separate input and output line from track 24 directly to the reader. Don't even run it in the same snake. It is like in the movie Alien where the alien blood eats through the floor of the spaceship and down through the adjacent floor and on outward towards the outer hull of the ship. Smpte is Alien blood! Beware!

...If you print anything too hot to 23 it can cause the smpte on 24 to falter, so that's why I liked to bounce something over after the fact when I don't have the band playing dynamically live.

It's been so long I had forgotten about both of these, and they can both mess you up.  
 

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