User Manual

RECEIVE SYNC
963
Synchronizing with SMPTE
The first thing you should do when you get to the
studio is to “stripe” (i.e. record) one track of your
multi-track tape with an audio sync signal. For this
example, let’s assume you are using SMPTE time
code. Start striping the tape at time 0:59:00:00. We
recommend that you use 30 frames per second, non-
drop-frame code, unless you have a specific reason
to use one of the other frame rates. Continue for at
least 7 minutes; you should always have at least a
minute of time code on the tape prior to the start of
your song, and you should record plenty of extra
time code at the end in case you decide to lengthen
the song at some point. Many people stripe the
whole reel straight out of the box with one
continuous time code track. Striping may take
some time; get it started first thing upon arriving at
the studio, so that it will be finished by the time you
get everything else set up for recording.
Now, set up Digital Performer to play in sync with
the multi-track. Feed the time code from the tape
into your SMPTE to MIDI converter. Connect the
converter to the computer; some converters
connect directly, others have a MIDI Out which
must go to the MIDI In of an interface connected to
the computer. If you have a MIDI Express XT, no
additional connections are necessary beyond the
normal connection to the computer.
Use a converter that supports MIDI Time Code
and set the appropriate mode on the converter (to
lock to SMPTE). Choose Receive Sync from the
Setup menu. Choose the correct port (Sync to
port:) and MTC. Close the Receive Sync
preferences window.
Let’s start the song at time 1:00:00:00 on the tape
(this is a minute after the start of the time code).
Change the Chunk Start Time to 1:00:00:00 + 0
time code bits for the frame time. Set the other
values as you wish. OK the dialog box.
Set the frame rate correctly in Digital Performer in
the Receive Sync settings window. Choose the
correct frame rate; use 30 frames per second unless
you have a specific reason to use another format.
Enable Slave to External Sync in the Setup menu.
Press the play button in the transport; it will begin
to flash. At this point, Digital Performer should be
slaved to the tape. Display frame time in the
counter, and roll the tape from before the time
code. Make sure Digital Performer starts, stops,
and follows the tape when you wind through the
tape.
For overdubbing, you need to provide your players
with a reference mix of the song. You can have
Digital Performer sync live to the tape and send the
players a cue mix. Or, you might find it easier to
just place a scratch mix on one or two of the tracks
of the multi-track. That way, you won’t have to
worry about Digital Performer while recording. If
your session is spread out over several dates,
putting a scratch mix on the tape will save you
having to set up your computer and synthesizers
every time.
When you get to the final mix, you have two
choices. You can mix from Digital Performer
playing slaved to the tape. This provides better
sound quality, as the synthesizers are first recorded
on the master tape. On the other hand, you may
wish to record each synthesizer part on a separate
track of the multi-track. This has several benefits.
Since the tracks are recorded one at a time, each
track can use all of your synths to create a sound.
Blending several synthesizers together often
creates a more full-bodied sound. Also, if you have
limited outboard effects gear, you can record each
track with effects, allowing you to reuse what
equipment you have.
When recording a single part to tape, we
recommend you turn off the play-enable buttons in
the tracks window for all tracks except the one you