![]() ![]() It has the advantage of being readable when the playback video deck is paused. VITC may be recorded as part of the video signal in an unused line, which is part of the vertical interval. You will rarely use this type of timecode when transferring audio-only data back and forth. This type of timecode is best suited for working with a Betacam or VTR device. Normally used by video machines to send or receive synchronization information from and to any type of VITC-compatible device. This is because these events are regulated by images that depict time passing, whereas music is regulated by bars and beats in most cases. For many nonmusical cues, such as sound elements that are not part of a musical arrangement but rather sound elements found on movie sound tracks (for example, Foley, dialogue, ADR, room tones, and sound effects), it's easier for humans to reference time in some absolute way (time-based) rather than musical beats at a certain tempo (music-based). On the other hand, MIDI Clocks and Song Position Pointers are based upon musical beats from the start of a song, played at a specific tempo (meter-based). MTC is essentially SMPTE (time-based) mutated for transmission over MIDI. MTC messages are an alternative to using MIDI Clocks (a tempo-based synchronization system) and Song Position Pointer messages (telling a device where it is in relation to a song). Normally used to synchronize audio or video devices to MIDI devices such as sequencers. This timecode is also known as SMPTE ( Society of Motion Picture and Television Engineers ), and it comes in three flavors: The postal worker reads the letter and makes sure it gets to the correct address, the same way a synchronizing device compares the timecode from a source and a destination, making sure they are all happening at the same time. ![]() Imagine that a postal worker delivering mail is the locking mechanism, the houses on the street are location addresses on the timecode, and the letter has matching addresses. This electronic signal then accompanies the media that needs to be in sync with others. The concept behind timecode is simple: It is an electronic signal used to identify a precise location on time-based media, such as audio, videotape, or in digital systems that support timecode. There are three basic concepts here: timecode, MIDI Clock, and Word Clock. There can only be one sender, but there can be many receivers to this sender. ![]() The idea behind synchronization is that there will always be a sender/receiver relation between the source of the synchronization and the recipient of this source. Timecode generator: 23.98, 24, 25, 29.Before we start looking at how Cubase handles synchronization, it is important to understand the different types of synchronization, its terminology, and the basic concepts behind these terms.SD video sync generator: 23.98 FPS, 24 FPS, PAL 25 FPS, NTSC 29.97 FPS.Internal timebase: 0.2 ppm accurate, temperature compensated crystal oscillator.DDS audio clock generator, jitter video reference input, accepts standard and HD tri-level signals.6 video sync outputs, individually configurable as standard video syncs or HD tri-level syncs.8 word clocks, 2 AES/EBU and 1 SPDIF reference outputs.We thank all customers for their confidence in our reliable clocking technology! Since 1999 Rosendahl Studiotechnik has been manufacturing the nanosyncs series.
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