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1:08PM

How to Synchronise Devices For Multitrack Recording

Many musicians start out by making simple recordings, often on computers these days. However, things tend to get a bit technical when you step-up to 'proper' multitrack recording, as used in most studios and by many serious artists. In this environment, adding drum tracks and synths isn't done 'in the box', but by recording external drum machines and synths.

Multitrack RecorderWhen recording using more than one device, for example when using a drum machine and a digital multitrack recorder, you suddenly find youself needing to consider the issue of synchronisation. During any recording process it is normal practice to start laying down the drum or rhythm track, which will define the tempo and feel of your composition. However, you will generally use a separate drum machine/groove box for this. The next step is to look at overlaying audio, e.g. bass, guitar and vocals, etc.

One way to avoid synchronisation issues is simply to record the drum track onto your digital audio recorder, but this uses valuable storage space and eats up another audio track unnecessarily. However, for those who are a bit more limited with regards to their recording capabilities the foolowing guide to using Midi Clock and Midi Time Code techniques should prove useful.

Background

Synchronisation is simply the process wherein at least two discrete entities or products, for whatever reason, run in absolute time with one another. For multiple entities to synchronise there needs to be a master, which provides the time code that all the others synchronise or slave to. In music technology, although there are various reasons why units may be synchronised, there are only three main methods, namely Midi Clock, Midi Time Code and SMPTE. This article will focus upon Midi Clock and Midi Time Code.

Midi Clock (MC)

MC is form is essentially a midi click sent at a specific tempo. The rate or speed (Beats per minute or BPM) of the click determines the speed at which the synchronised units run together. The master unit in the chain will run on its own internal clock and provide the master MC signal to the slave units. Note that any midi product capable of sending MC will automatically do so if its Midi Clock setting is set to Internal or (INT). The slave units are to required to synchronise to the clock signal (MC) provided by the master unit. This can be achieved by setting the slave units to run on external clock (EXT), which refers to the incoming Midi Clock signal provided by the master, and is generally an option found within the Global or System menu screens. The next step is to connect the Midi out of the ‘master’ to the Midi in of the ‘slave’ via a Midi cable or lead.

Since Midi Clock operates around tempo, its general display time is in Beats per Minute, or BPM. As a result, MC can easily be used to display in bars and beats by specifying the timing signature (e.g.4/4), which is particularly useful from the perspective of musicians.

A typical application where Midi Clock becomes necessary is when trying to get a sequencer (or workstation) to synchronise to either an external drum machine or groove box, or even to sync up the arpeggiator of a synth so that they run in time with one another. Note that generally within any sequencer, software or hardware, there is a master or tempo track that can also be programmed by the user to facilitate tempo changes within a particular song at specific intervals.

For reference, most synthesizers, drum machines and sequencers are capable of generating and accepting Midi Clock. However, certain caution needs to be exercised around entry-level software sequencers (e.g. Pro Tools LE) which do not support any type of synchronisation.

Midi Time Code (MTC)

MTC is a linear time code displayed in absolute time, e.g. hours, minutes, seconds and frames. As a result, particularly from a composition perspective, MTC can be viewed as a little awkward since its time base cannot display in bars and beats. Note that musicians tend to function around bar numbers and movements (e.g. intro, chorus, and bridge) when recording not specific time intervals. Also, MTC and MC are not inter-changeable and to my knowledge there has never been and will never be a product capable of converting from MTC to MC, or vice versa, since they are two completely independent and unrelated timing protocols.

A typical application of MTC is slaving a digital recording desk, e.g. a Tascam DM4800 to a Digital Audio Workstation (DAW), say a computer based Pro Tools or Cubase recording set-up for synchronising mixing automation to recorded audio.

Note: MMC (Midi Machine Control) is not to be confused with the above, since MMC refers to specific Midi commands not synchronisation, e.g. Stop, Play, Record, Rew & FF.

Setup for Midi Clock or Midi Time Code

So, to link your multitrack recording set-up to a drum machine/groove box, connect the Midi out of the latter to the Midi in of the former. Then set your digital multitrack recorder to external sync. At this point, you will need to select external sync on the multitrack, in particular either Midi Clock or Midi Time Code, so it will be able to interpret the format of the incoming synchronisation code. All transport functions will need to be executed on the time code master, in this example the drum machine/groove box, and the recorder will slave to this device when it runs.

By Andy Atkins

The technical background for this article was kindly provided by Darren Cleugh of Soundslive. Darren is highly-respected in the music gear world, especially for his knowledge on electronic music and recording. He also happens to have a degree in Electronics Engineering, which gives him a bit of a head-start. You can find Darren on Google+

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