USB MIDI
™
User’s Guide for Macintosh
Front Matter Page 0 Tuesday, June 22, 1999 1:11 PM
Mark of the Unicorn License Agreement and Limited
Warranty on Software
TO PERSONS WHO PURCHASE OR USE THIS PRODUCT: carefully read all
the terms and conditions of this agreement before using this software package.
Using this software package indicates your acceptance of the terms and conditions
of this license agreement.
Mark of the Unicorn, Inc. (“MOTU”) owns both this program and its documentation.
Both the program and the documentation are protected under applicable copyright
laws. Your right to use the program and the documentation are limited to the terms
and conditions described herein.
License
YOU MAY: (a) use the enclosed program on a single computer; (b) physically
transfer the program from one computer to another provided that the program is
used on only one computer at a time and that you remove any copies of the
program from the computer from which the program is being transferred; (c) make
copies of the program solely for backup purposes.You must reproduce and include
the copyright notice on a label on any backup copy.
YOU MAY NOT: (a) distribute copies of the program or the documentation to
others; (b) rent, lease or grant sublicenses or other rights to the program; (c)
provide use of the program in a computer service business, network, time-sharing,
multiple CPU or multiple user arrangement without the prior written consent of
MOTU; (d) translate or otherwise alter the program or related documentation
without the prior written consent of MOTU.
Term
Your license to use the program and documentation will automatically terminate if
you fail to comply with the terms of this Agreement. If this license is terminated you
agree to destroy all copies of the program and documentation.
Limited Warranty
MOTU warrants to the original licensee that the disk(s) on which the program is
recorded be free from defects in materials and workmanship under normal use for
a period of ninety (90) days from the date of purchase as evidenced by a copy of
your receipt. If failure of the disk has resulted from accident, abuse or misapplication of the product, then MOTU shall have no responsibility to replace the disk(s)
under this Limited Warranty.
THIS LIMITED WARRANTY AND RIGHT OF REPLACEMENT IS IN LIEU OF,
AND YOU HEREBY WAIVE, ANY AND ALL OTHER WARRANTIES, BOTH
EXPRESS AND IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES
OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE
LIABILITY OF MOTU PURSUANT TO THIS LIMITED WARRANTY SHALL BE
LIMITED TO THE REPLACEMENT OF THE DEFECTIVE DISK(S), AND IN NO
EVENT SHALL MOTU BE LIABLE FOR INCIDENTAL OR CONSEQUENTIAL
DAMAGES, INCLUDING BUT NOT LIMITED TO LOSS OF USE, LOSS OF
PROFITS, LOSS OF DATA OR DATA BEING RENDERED INACCURATE, OR
LOSSES SUSTAINED BY THIRD PARTIES EVEN IF MOTU HAS BEEN
ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. THIS WARRANTY
GIVES YOU SPECIFIC LEGAL RIGHTS WHICH MAY VARY FROM STATE TO
STATE. SOME STATES DO NOT ALLOW THE LIMITATION OR EXCLUSION OF
LIABILITY FOR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION
MAY NOT APPLY TO YOU.
Update Policy
In order to be eligible to obtain updates of the program, you must complete and
return the attached Mark of the Unicorn Purchaser Registration Card to MOTU.
General
This License Agreement shall be governed by the laws of the Commonwealth of
Massachusetts and shall inure to the benefit of MOTU, its successors, administrators, heirs and assigns.
Copyright Notice
Copyright © 1999 by Mark of the Unicorn, Inc. All rights reserved. No part of this
publication may be reproduced, transmitted, transcribed, stored in a retrieval
system, or translated into any human or computer language, in any form or by any
means whatsoever, without express written permission of Mark of the Unicorn,
Inc., 1280 Massachusetts Avenue, Cambridge, MA, 02138, U.S.A.
Limited Warranty on Hardware
Mark of the Unicorn, Inc. and S&S Research (“MOTU/S&S”) warrant this
equipment against defects in materials and workmanship for a period of NINETY
(90) DAYS from the date of original retail purchase. This warranty applies only to
hardware products; MOTU software is licensed and warranted pursuant to
separate written statements.
If you discover a defect, first write or call Mark of the Unicorn at (617) 576-2760 to
obtain a Return Merchandise Authorization Number. No service will be performed
on any product returned without prior authorization. MOTU will, at its option, repair
or replace the product at no charge to you, provided you return it during the
warranty period, with transportation charges prepaid, to Mark of the Unicorn, Inc.,
1280 Massachusetts Avenue, MA 02138. You must use the product’s original
packing material for in shipment, and insure the shipment for the value of the
product. Please include your name, address, telephone number, a description of
the problem, and the original, dated bill of sale with the returned unit and print the
Return Merchandise Authorization Number on the outside of the box below the
shipping address.
This warranty does not apply if the equipment has been damaged by accident,
abuse, misuse, or misapplication; has been modified without the written
permission of MOTU, or if the product serial number has been removed or defaced.
ALL IMPLIED WARRANTIES, INCLUDING IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE, ARE
LIMITED IN DURATION TO NINETY (90) DAYS FROM THE DATE OF THE
ORIGINAL RETAIL PURCHASE OF THIS PRODUCT.
THE WARRANTY AND REMEDIES SET FORTH ABOVE ARE EXCLUSIVE AND
IN LIEU OF ALL OTHERS, ORAL OR WRITTEN, EXPRESS OR IMPLIED. No
MOTU/S&S dealer, agent, or employee is authorized to make any modification,
extension, or addition to this warranty.
MOTU/S&S ARE NOT RESPONSIBLE FOR SPECIAL, INCIDENTAL, OR
CONSEQUENTIAL DAMAGES RESULTING FROM ANY BREACH OF
WARRANTY, OR UNDER ANY LEGAL THEORY, INCLUDING LOST PROFITS,
DOWNTIME, GOODWILL, DAMAGE OR REPLACEMENT OF EQUIPMENT
AND PROPERTY AND COST OF RECOVERING REPROGRAMMING, OR
REPRODUCING ANY PROGRAM OR DATA STORED IN OR USED WITH
MOTU/S&S PRODUCTS.
Some states do not allow the exclusion or limitation of implied warranties or liability
for incidental or consequential damages, so the above limitation or exclusion may
not apply to you. This warranty gives you specific legal rights, and you may have
other rights which vary from state to state.
MIDI Timepiece, MIDI Express, micro express, ClockWorks and Mark of the
Unicorn are trademarks of Mark of the Unicorn, Inc.
This equipment has been type tested and found to comply with the limits for a class B digital device,
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection
against harmful interference in a residential installation. This equipment generates, uses, and can
radiate radio frequency energy and, if not installed and used in accordance with the instruction manual,
may cause harmful interference to radio communications. However, there is no guarantee that
interference will not occur in a particular installation. If this equipment does cause interference to radio
or television equipment reception, which can be determined by turning the equipment off and on, the
user is encouraged to try to correct the interference by any combination of the following measures:
• Relocate or reorient the receiving antenna
• Increase the separation between the equipment and the receiver
• Plug the equipment into an outlet on a circuit different from that to which the receiver is connected
If necessary, you can consult a dealer or experienced radio/television technician for additional
assistance.
PLEASE NOTE: only equipment certified to comply with Class B (computer input/output devices,
terminals, printers, etc.) should be attached to this equipment, and it must have shielded interface
cables in order to comply with the Class B FCC limits on RF emissions.
WARNING: changes or modifications to this unit not expressly approved by the party
responsible for compliance could void the user's authority to operate the equipment.
Front Matter Page 1 Tuesday, June 22, 1999 1:11 PM
User’s Guide
For MOTU USB MIDI Interfaces
MIDI Timepiece AV-USB
MIDI Express XT-USB
micro express-USB
Mark of the Unicorn, Inc.
1280 Massachusetts Avenue
Cambridge, MA 02138
Business voice: (617) 576-2760
Business fax: (617) 576-3609
Tech support fax: (617) 354-3068
Tech support email: techsupport@motu.com
Web site: http://www.motu.com
Front Matter Page 2 Tuesday, June 22, 1999 1:11 PM
SAFETY PRECAUTIONS AND ELECTRICAL REQUIREMENTS
WARNING: TO REDUCE THE RISK OF FIRE OR ELECTRICAL SHOCK, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR OTHER MOISTURE.
CAUTION: TO REDUCE THE RISK OF ELECTRICAL SHOCK, DO NOT REMOVE COVER. NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
WARNING: DO NOT PERMIT FINGERS TO TOUCH THE TERMINALS OF PLUGS WHEN INSTALLING OR REMOVING THE PLUG TO OR FROM THE OUTLET.
WARNING: IF NOT PROPERLY GROUNDED THE MOTU USB MIDI interface COULD CAUSE AN ELECTRICAL SHOCK.
The MOTU USB MIDI interface is equipped with a three-conductor cord and grounding type plug which has a grounding prong, approved by Underwriters' Laboratories and the Canadian Standards
Association. This plug requires a mating three-conductor grounded type outlet as shown in Figure A below.
If the outlet you are planning to use for the MOTU USB MIDI interface is of the two prong type, DO NOT REMOVE OR ALTER THE GROUNDING PRONG IN ANY MANNER. Use an adapter as
shown below and always connect the grounding lug to a known ground. It is recommended that you have a qualified electrician replace the TWO prong outlet with a properly grounded THREE prong
outlet. An adapter as illustrated below in Figure B is available for connecting plugs to two-prong receptacles.
Figure A
Figure B
Grounding lug
Screw
3-prong plug
Make sure this is connected
to a known ground.
3-prong plug
Grounding prong
Two-prong receptacle
Properly grounded 3-prong outlet
Adapter
WARNING: THE GREEN GROUNDING LUG EXTENDING FROM THE ADAPTER MUST BE CONNECTED TO A PERMANENT GROUND SUCH AS TO A
PROPERLY GROUNDED OUTLET BOX. NOT ALL OUTLET BOXES ARE PROPERLY GROUNDED.
If you are not sure that your outlet box is properly grounded, have it checked by a qualified electrician. NOTE: The adapter illustrated is for use only if you already have a properly grounded two-prong
receptacle. Adapter is not allowed in Canada by the Canadian Electrical Code. Use only three wire extension cords which have three-prong grounding type plugs and three-prong receptacles which
will accept the MOTU USB MIDI interface plug.
IMPORTANT SAFEGUARDS
1.
2.
3.
4.
5.
6.
7.
8.
Read instructions - All the safety and operating instructions should be read before operating the MOTU USB MIDI interface.
Retain instructions - The safety instructions and owner's manual should be retained for future reference.
Heed Warnings - All warnings on the MOTU USB MIDI interface and in the owner's manual should be adhered to.
Follow Instructions - All operating and use instructions should be followed.
Cleaning - Unplug the MOTU USB MIDI interface from the computer before cleaning and use a damp cloth. Do not use liquid or aerosol cleaners.
Overloading - Do not overload wall outlets and extension cords as this can result in a risk of fire or electrical shock.
Power Sources - This MOTU USB MIDI interface should be operated only from the type of power source indicated on the marking label.If you are not sure of the type of power supply to your location, consult your local power company.
Power-Cord Protection - Power-supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them. Pay particular attention to cords and plugs, convenience receptacles, and
the point where they exit from the MOTU USB MIDI interface.
9. Lightning - For added protection for the MOTU USB MIDI interface during a lightning storm, unplug it from the wall outlet.This will prevent damage to the MOTU USB MIDI interface due to lightning and power line surges.
10. Servicing - Do not attempt to service this MOTU USB MIDI interface yourself as opening or removing covers will expose you to dangerous voltage and other hazards. Refer all servicing to qualified service personnel.
11. Damage Requiring Service - Unplug the MOTU USB MIDI interface from the computer and refer servicing to qualified service personnel under the following conditions.
a. When the power supply cord or plug is damaged.
b. If liquid has been spilled or objects have fallen into the MOTU USB MIDI interface.
c. If the MOTU USB MIDI interface has been exposed to rain or water.
d. If the MOTU USB MIDI interface does not operate normally by following the operating instructions in the owner's manual.
e. If the MOTU USB MIDI interface has been dropped or the cabinet has been damaged.
f. When the MOTU USB MIDI interface exhibits a distinct change in performance, this indicates a need for service.
12. Replacement Parts - When replacement parts are required, be sure the service technician has used replacement parts specified by the manufacturer or have the same characteristics as the original part. Unauthorized substitutions
may result in fire, electric shock or other hazards.
13. Safety Check - Upon completion of any service or repairs to this MOTU USB MIDI interface, ask the service technician to perform safety checks to determine that the product is in safe operating conditions.
ENVIRONMENT
Operating Temperature: 10°C to 40°C (50°F to 104°)
AVOID THE HAZARDS OF ELECTRICAL SHOCK AND FIRE
Do not handle the power cord with wet hands. Do not pull on the power cord when disconnecting it from an AC wall outlet. Grasp it by the plug.
INPUT
Line Voltage: 100 - 120 volts AC, RMS (US and Japan) or 220 - 250 volts AC, RMS (Europe). Frequency: 47 - 63 Hz single phase. Power: 7 watts maximum.
CAUTION: DANGER OF EXPLOSION IF BATTERY IS REPLACED. REPLACE ONLY WITH THE SAME OR EQUIVALENT TYPE RECOMMENDED BYMANUFACTURER. DISPOSE OF USED BATTERY ACCORDING TO MANUFACTURER’S INSTRUCTIONS.
CHAPTER
Contents
Part I: For All Users
Part IV: Appendices
7
Packing List and
System Requirements
165
Glossary
9
Installing Your MOTU Interface
169
SMPTE Synchronization Basics
173
Troubleshooting and Customer Support
177
Index
19
Installing Multiple Interfaces
23
Installing the MOTU USB Software
31
Using Performer & Digital Performer
37
ClockWorks
45
Device Settings & Routing
55
Channel Map
57
Muting
59
Sync and MIDI Machine Control
69
SMPTE Reader
73
Utilities Menu
Part II: For XT & Micro Users
77
Working with Presets
85
Working with a Foot Pedal
91
Synchronization
97
MIDI Machine Control
Part III: For MTP AV Users
103
Using Front Panel LCD
119
Knobs and Pedals
127
Setups and Modifiers
133
Patches
137
MIDI Cannon
139
Synchronization with the AV
153
MIDI Machine Control with the AV
161
Synchronizing Pro Tools
III
IV
All Users
Part I
For All Users
All Users
Packing list Page 7 Tuesday, June 22, 1999 1:15 PM
CHAPTER 1
Packing List and
System Requirements
THANK YOU FOR CHOOSING MOTU
MIDI CABLES NOT INCLUDED
Thank you for purchasing a MOTU USB MIDI
interface. Please read the important information in
this chapter before using it.
To connect each of your MIDI devices to your
MOTU MIDI interface, you need MIDI cables,
purchased separately. Talk to your music dealer to
decide how many you need.
PLEASE REGISTER TODAY
Please send in the registration card included with
your MOTU MIDI interface. As a registered user,
you will be eligible to receive on-line technical
support email and announcements about product
enhancements as soon as they become available.
Only registered users receive these special update
notices, so please, complete and mail this
registration card!
SYSTEM REQUIREMENTS
Your MOTU MIDI interface will run with any
USB-equipped Macintosh running Mac OS 8.6 or
later. If you are attempting to use your MOTU USB
interface with an older Macintosh model equipped
with a USB adaptor card, contact Mark of the
Unicorn for compatibility.
MIDI SOFTWARE COMPATIBILITY
Thank you for taking the time to register your new
Mark of the Unicorn product!
Your MOTU USB MIDI Interface will work with
the following kinds of MIDI software:
PACKING LIST
■
All Mark of the Unicorn software products
■
All FreeMIDI-compatible software
■
All OMS-compatible software
Your MOTU USB MIDI Interface is shipped with
the items listed below. If any of these items are not
present when you first open the box, please
immediately contact your dealer or Mark of the
Unicorn.
■
MOTU USB MIDI Interface
■
Power cord
■
USB cable
■
CD with software drivers
■
Manual
■
Product registration card
GETTING STARTED
Follow the directions in the next few chapters of
this guide to successfully install and begin using
your new MOTU USB MIDI interface.
FAMILIARITY WITH MACINTOSH®
This manual assumes that your are familiar with
using a Macintosh computer. If you are not, you
should review your Macintosh User’s Guide before
proceeding.
VISIT OUR WEB SITE FOR SOFTWARE
UPDATES
Driver updates are posted on our web site as soon
as they become available, so check our web site for
the latest drivers: www.motu.com
7
Packing list Page 8 Tuesday, June 22, 1999 1:15 PM
8
P AC K I NG L I ST AND SY ST E M R E Q UI R E M E NT S
Installing Hardware Page 9 Wednesday, June 23, 1999 9:50 AM
CHAPTER 2
Installing Your MOTU Interface
FOR ALL MOTU INTERFACE MODELS
CONNECTING A USB MACINTOSH
For all MOTU interface models . . . . . . . . . . . . . . .9
Using the USB cable included with your MOTU
MIDI interface, put the Type A plug into a Type A
USB jack on the computer, the USB computer
keyboard, or any other USB device connected to
the computer that has an available Type A USB
jack. The USB cable allows the Mac to
communicate with all MIDI devices connected to
your MOTU MIDI interface.
Connecting a serial port Macintosh . . . . . . . . . . .9
Connecting a USB Macintosh. . . . . . . . . . . . . . . . .9
Connecting MIDI gear. . . . . . . . . . . . . . . . . . . . . .10
MIDI connections worksheet . . . . . . . . . . . . . . . .11
SMPTE Time Code sync connections. . . . . . . . .12
Connecting a pedal or foot switch . . . . . . . . . . . .13
Connecting an audio click source . . . . . . . . . . . .13
FOR MIDI TIMEPIECE AV USERS
If you have several MOTU interfaces, see chapter 3,
“Installing Multiple Interfaces” (page 19).
Connecting ADATs . . . . . . . . . . . . . . . . . . . . . . . . .14
The flat,“Type A” USB plug
connects to the computer.
Connecting Video . . . . . . . . . . . . . . . . . . . . . . . . . .14
Connecting Word clock . . . . . . . . . . . . . . . . . . . . .15
Connecting Pro Tools “SuperClock”. . . . . . . . . .15
Connecting an Alesis LRC. . . . . . . . . . . . . . . . . . .16
CONNECTING THE POWER CORD
Plug the power cord into your MOTU MIDI
Interface and then plug the other end into a
grounded power outlet. We recommend that you
leave the interface switched off while making cable
connections during installation.
You can use any available
Type A jack.
Figure 2-1: You can plug the Type A connector into a Type A jack
directly on the computer itself, a USB keyboard connected to the
computer, or any other USB device already connected to the
computer that has an available Type A USB jack.
CONNECTING A SERIAL PORT MACINTOSH
If you have an older Macintosh computer with
serial (modem and printer) ports instead of USB
ports, connect your MOTU MIDI interface to the
computer with an AppleTalk cable purchased
separately. Plug one end of the AppleTalk cable into
the MOTU MIDI Interface Mac port and plug the
other end into the modem port of the Macintosh. If
you have multiple MOTU MIDI interfaces, see
chapter 3, “Installing Multiple Interfaces”
(page 19) for further information about how to
connect them as a network.
The square,“Type B” USB plug
connects to the MIDI interface.
Figure 2-2: The square Type B plug goes into your MOTU interface.
9
Installing Hardware Page 10 Wednesday, June 23, 1999 9:50 AM
CONNECTING MIDI GEAR
Connect each MIDI device’s MIDI IN jack to a
MIDI OUT jack on your MOTU MIDI interface as
shown by Connection A below. Conversely,
connect the MIDI OUT jack on the MIDI device to
one of the MIDI IN jacks on your MOTU MIDI
interface as shown by Connection B.
MOTU
MIDI interface
rear panel
MIDI
OUT
Connection A
MIDI
IN
MIDI
cables
☛ MOTU MIDI interfaces do not require that
you use the same numbered MIDI IN and MIDI
OUT for each device, but experience shows that
your system will be easier to work with if you do.
Connecting additional gear with MIDI THRUs
If you use up all of the MIDI OUTs on your MOTU
MIDI interface, and you still have more gear to
connect, run a MIDI cable from the MIDI THRU
of a device already connected to the interface to the
MIDI IN on the additional device as shown below
in Figure 2-4. The two devices then share the same
MIDI OUT port on the MIDI interface. This means
that they share the same set of 16 MIDI channels,
so try to do this with devices that receive on only
one MIDI channel (such as effects modules) so
their receive channels don’t conflict with one
another.
Connection B
MIDI Device
MIDI MIDI
IN OUT
MOTU
MIDI interface
rear panel
Figure 2-3: Connecting a MIDI device to your MOTU MIDI interface. If
you are connecting a sound module or other device that does not
need to transmit MIDI data, you only need to make connection A
shown above. Conversely, if the device is a MIDI controller such as a
drum pad or guitar controller, you only need to make Connection B.
One-way MIDI connections
MIDI devices that do not receive MIDI data, such
as a dedicated keyboard controller, guitar
controller, or drum pad, only need Connection B
shown in Figure 2-3. Similarly, devices that never
send data, such as a sound module, only need
Connection A. However, if you plan to use editor/
librarian software with the sound module, or if you
need to get system exclusive bulk dumps from it,
make both connections. In general, make both
connections for any device that needs to both send
and receive MIDI data.
MIDI
OUT
MIDI Device
MIDI
IN
MIDI
THRU
MIDI
cable
MIDI IN
Additional device
Figure 2-4: Connecting additional devices with MIDI THRU ports.
10
I NST AL L I NG Y O UR M O T U I NT E R F AC E
Installing Hardware Page 11 Wednesday, June 23, 1999 9:50 AM
MIDI CONNECTIONS WORKSHEET
Here’s a suggestion. If you have more than a few
pieces of gear connected to your MOTU MIDI
interface, jot down which device is connected to
each input and output in the worksheet below.
Later on, you’ll enter this information into
FreeMIDI, which makes your MIDI devices appear
by name (rather than cable number) in the
software.
MIDI IN
MIDI OUT
1
1
2
2
3
3
4
4
5
5
6
6
7
7
8
8
11
I N STA LL I N G Y O U R M O TU I N TER FA C E
Installing Hardware Page 12 Wednesday, June 23, 1999 9:50 AM
SMPTE TIME CODE SYNC CONNECTIONS
Your MOTU MIDI interface is both a SMPTE time
code converter and generator. As a converter, it
locks (slaves) to incoming longitudinal SMPTE
time code (LTC) and converts it to MIDI Time
Code (MTC) and reshaped LTC. As a generator, it
produces both LTC and MTC time code, either
running under its own internal clock or while
slaved to external time code (or other time base).
When making the SMPTE time code connections
described in the following sections, do not pass the
signal through any type of signal processing
equipment. Use shielded quarter-inch audio
cables.
Connecting a SMPTE time code destination
Connect the SMPTE OUT port of your MOTU
MIDI interface to the SMPTE time code input of
any destination device that accepts SMPTE time
code as shown in Figure 2-6. For example, time
code can be recorded on an outside track of a
multitrack tape recorder so that everything can
subsequently be synchronized to the multitrack.
Other examples of a SMPTE time code destination
are systems that have the ability to slave to SMPTE
time code, such as stand-alone hard disk recording
systems, digital audio workstations, or automated
mixing consoles.
For a complete explanation of synchronization, see
chapter 15, “Synchronization” (page 91) or
chapter 22, “Synchronization with the AV”
(page 139).
MOTU MIDI Interface
SMPTE OUT
Shielded, quarter-inch audio cable
Connecting a SMPTE time code source
Connect any SMPTE time code source, such as the
SMPTE timecode track on an analog multitrack
tape deck, to the SMPTE IN port on your MOTU
MIDI interface as shown in Figure 2-5. (For
information about recording time code tracks, see
“Striping SMPTE” on page 93.)
Analog audio tape recorder
SMPTE or Audio in
Examples of a SMPTE
time code destinations
Analog audio tape recorder
Video tape recorder
Video tape recorder
Figure 2-6: Connecting a SMPTE time code destination.
Examples of a SMPTE
time code source
Audio or SMPTE out
Shielded, quarter-inch audio cable
MOTU MIDI Interface
SMPTE IN
Figure 2-5: Connecting a SMPTE time code source.
12
I NST AL L I NG Y O UR M O T U I NT E R F AC E
Installing Hardware Page 13 Wednesday, June 23, 1999 9:50 AM
CONNECTING A PEDAL OR FOOT SWITCH
CONNECTING AN AUDIO CLICK SOURCE
If you would like to use a foot pedal or foot switch
with your MOTU MIDI interface, connect it as
shown below in Figure 2-7. For more information
about how a pedal input can be used, see
chapter 18, “Knobs and Pedals” (page 119).
If you would like to convert an audio click to MIDI,
connect the audio click source to the Pedal input as
using a shielded, quarter-inch audio cable as
shown below in Figure 2-8. For more information
about converting an audio tempo source (such as a
click, bass drum, tape deck signal, or other audio
tempo source) to MIDI, see “Converting an audio
click to MIDI” on page 88 or “Using an audio click
as a tempo source” on page 123.
For a MIDI Timepiece AV,
you can connect a pedal or foot switch to
either the Pedal A port on the rear panel or
the Pedal B port on the front panel.
☛
On a MIDI Timepiece AV, only PEDAL A (on
the rear panel) can be used for
click-to-MIDI conversion.
Examples of
audio click sources
Shielded
quarter-inch
audio cable
For a MIDI Express XT-USB,
connect a pedal or foot
switch to the Pedal jack on
the front panel.
Drum machine
Click track
For a MIDI Timepiece AV, connect a pedal or foot
switch to the Pedal jack on the rear panel.
For a micro express USB, connect a pedal or foot
switch to the Pedal jack on the rear panel.
Figure 2-7: Connecting a foot switch or foot pedal.
For a MIDI Express XT-USB,
connect an audio click
source to the Pedal jack on
the front panel.
For a micro express USB, connect an audio click
source to the Pedal jack on the rear panel.
Figure 2-8: Connecting an audio click input. Only the Pedal A input
on the rear panel of the MIDI Timepiece AV can be used as a click
input.
13
I N STA LL I N G Y O U R MO TU I N TER FA C E
Installing Hardware Page 14 Wednesday, June 23, 1999 9:50 AM
CONNECTING ADATS
CONNECTING VIDEO
(For the MIDI Timepiece AV only)
The MIDI Timepiece AV can serve as an ADAT
sync master device, providing sample-accurate
address and phase lock to one or more ADATs (or
other ADAT sync-compatible devices). ADAT sync
provides sample-accurate synchronizing and
locating between the MTP AV and all devices on
the ADAT sync chain.
(For the MIDI Timepiece AV only)
The MIDI Timepiece AV can synchronize to any
incoming video signal, from a standard video tape
recorder (VTR) to distributed house sync
(blackburst). If your video source is a VTR of some
kind, the video signal from the VTR will need to be
distributed to both the MIDI Timepiece AV and
your video monitor. This can be accomplished
with the video thru jack found on some types of
video monitors as shown in Figure 2-11.
Using the ADAT sync cable supplied with your
ADAT, connect the ADAT SYNC OUT of the MIDI
Timepiece AV to the SYNC IN port of the ADAT as
shown below in Figure 2-9. Don’t worry about
setting the ADAT device ID: the MTP AV sets it
automatically.
Video out
Video tape recorder
Shielded BNC cables
Video in
Video thru
Video monitor
ADAT
MIDI Timepiece AV
Video sync in
ADAT
sync cable
SYNC
IN
Figure 2-9: Connecting an Alesis ADAT.
MIDI Timepiece AV
If you have several ADATs, you can chain the rest of
them to the one connected to the MIDI
Timepiece AV as shown below in Figure 2-10.
ADAT
MIDI Timepiece AV
ADAT
sync cable
Figure 2-11: Connecting video via the video thru of a video monitor.
If your video monitor does not support video thru,
use a video distribution amplifier to distribute the
source video signal to both the Timepiece AV and
the monitor as shown in Figure 2-12.
SYNC
IN
Video monitor
ADAT
SYNC OUT
port
ADAT
Sync In
Sync Out
ADAT
sync cables
Video out
Video tape recorder
Video distribution amp
Video in
Video in
Video out
Video out
Video sync in
Sync In
Sync Out
Sync In
Sync Out
etc.
MIDI Timepiece AV
Figure 2-12: Connecting video via a video distribution amplifier.
Figure 2-10: Connecting multiple ADATs.
14
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Installing Hardware Page 15 Wednesday, June 23, 1999 9:50 AM
CONNECTING WORD CLOCK
CONNECTING PRO TOOLS “SUPERCLOCK”
(For the MIDI Timepiece AV only)
The MIDI Timepiece AV can serve as a word clock
sync master device, providing sample-accurate
phase lock for any standard word clock device.
Word clock allows you to resolve hard disk
recorders, digital tape decks, digital mixers and
other digital audio devices to video, SMPTE time
code, MIDI time code, or the MIDI Timepiece AV’s
internal audio clock.
(For the MIDI Timepiece AV only)
The MIDI Timepiece AV can serve as a Digidesign
Pro Tools “superclock” (256x word clock) sync
master device, providing sample-accurate phase
lock for any Pro Tools system. Like word clock,
super clock allows you to resolve Pro Tools to
video, SMPTE time code, MIDI time code, or the
MIDI Timepiece AV’s internal audio clock.
In most situations, you’ll want to slave your word
clock device to the MIDI Timepiece AV with both
the word clock and SMPTE time code connections
shown below in Figure 2-13. In this scenario, the
word clock device follows the MIDI Timepiece AV
for transport control.
To slave your Pro Tools hardware to the MTP AV,
make the word sync connection shown below in
Figure 2-13.
MIDI Timepiece AV
WORD SYNC OUT
Shielded BNC cable
Word SYNC OUT
Shielded BNC cable
Word clock IN
SMPTE OUT
Shielded
audio cable
SMPTE IN
“SLAVE CLOCK’ IN or
SUPERCLOCK’ IN
Pro Tools audio interface
Figure 2-14: Connecting a word clock device.
Figure 2-13: Connecting a word clock device.
In the above example, if you wanted to use the
Yamaha 02R as the transport master, you would
reverse the SMPTE time code connection, feeding
SMPTE OUT of the mixer to SMPTE IN on the
MIDI Timepiece AV.
15
I N STA L L I N G Y O U R M O TU I N TER FA C E
Installing Hardware Page 16 Wednesday, June 23, 1999 9:50 AM
CONNECTING AN ALESIS LRC
(For the MIDI Timepiece AV only)
The Pedal B jack on the front panel of the MIDI
Timepiece AV can serve as an input for the
Alesis LRC™ remote controller, or any device that
emulates the LRC, such as the Fostex Model 8312™
controller. Doing so gives you control of the MIDI
Timepiece AV (and all devices slaving to it) from
the LRC transport controls.
Alesis LRC
or similar device
alleviates irregular timing problems that occur
when too much data is being transmitted (a
situation commonly referred to as MIDI logjam).
☛
Please note: one drawback of FAST mode is
that it can cause system exclusive transfers to fail
because of the extremely high data density in the
message. If you will be using editor/librarian
software, or if you will be doing system exclusive
transfers with your sequencer, don’t set the MIDI
Timepiece AV to FAST mode; instead, skip this
section, leave it set to 1 MHz, and set your software
to 1 MHz as well.
☛
Figure 2-15: Connecting an Alesis LRC remote controller (or any LRCcompatible MMC controller) to a MIDI Timepiece AV.
USING ‘FAST’ SERIAL MODE
(For the MIDI Timepiece AV only)
This section only applies to a MIDI
Timepiece AV connected to the computer via its
‘Mac’ serial port. ‘FAST’ mode does not apply a
MIDI Timepiece AV connected via USB.
☛
☛
Only follow this section if you have Performer,
Digital Performer or other MIDI software that
supports the MIDI Timepiece AV’s FAST mode,
and you would like to use FAST mode. Otherwise,
leave your MIDI Timepiece AV set to ‘1 MHz’
mode (its factory default setting) and proceed to
“What next?” on page 17.
When a serially connected MIDI Timepiece AV
communicates with software on the computer in
FAST mode, the MIDI Timepiece AV sends and
receives data as fast as the Macintosh can. This rate
can be between approximately 2 and 4 times faster
than MIDI speed, depending on the model of the
Macintosh. Since the Macintosh sets the limit in
FAST mode, a fast Macintosh produces higher
throughput. As a result, the MIDI Timepiece AV
can sustain greater data throughput to and from all
8 MIDI input and output cables. Fast mode
FAST mode can cause MIDI communication
problems between the MIDI Timepiece AV and
some Macintosh computers. If you experience
problems, try setting the MIDI Timepiece AV to
1 MHz.
To set the MIDI Timepiece AV to FAST mode:
1 Turn on the MIDI Timepiece AV.
2 Turn the WINDOW knob clockwise two clicks
to the right, or if necessary, turn it back and forth
until you see what is shown in Figure 2-16.
GLOBAL HARDWARE
SETUP
E
Figure 2-16
3 Once you see Figure 2-16 in the display, turn the
CURSOR knob clockwise one click.
Now you should see what is shown below in
Figure 2-17, and the word “1 MHz” should be
blinking to indicate that it can be changed with the
VALUE knob.
16
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Installing Hardware Page 17 Wednesday, June 23, 1999 9:50 AM
WHAT NEXT?
M A C SPEED
1MHZ
D xmit
to mac 1x E
Figure 2-17
4 Turn the VALUE knob clockwise one click, or if
necessary, turn it back and forth until you see the
word FAST as shown below in Figure 2-18.
M A C SPEED
Fast
D xmit
to mac 2x E
Figure 2-18
That’s it! The MIDI Timepiece AV will remember
this setting until you change it.
If you have several MOTU interfaces and need
to connect them all to the same computer...
MOTU’s latest line of USB interfaces can be mixed
and matched as a network using a standard USB
hub. If you have a MIDI Timepiece AV-USB, and
you also have an earlier model MIDI Timepiece,
you can connect it to your new MTP AV-USB as an
“expander”, doubling the number of MIDI inputs
and outputs. For details about networking
scenarios like these, turn to chapter 3, “Installing
Multiple Interfaces” (page 19).
If you don’t have multiple interfaces...
You’re ready to install software. Turn to chapter 4,
“Installing the MOTU USB Software” (page 23).
A Note about “xmit to Mac”
The MAC SPEED setting discussed in the previous
section controls how fast the Macintosh sends data
to the MIDI Timepiece AV. The “xmit to mac”
indicator tells you just the opposite: how fast the
MIDI Timepiece AV sends data back to the
Macintosh. “1x” means “one times the speed of
MIDI”. “2x” means “two times the speed of MIDI”
— or twice as fast as standard MIDI speed. These
settings are hard-wired, and cannot be adjusted
from the LCD front panel.
17
I N STA LL I N G Y O U R M O TU I N TER FA C E
Installing Hardware Page 18 Wednesday, June 23, 1999 9:50 AM
18
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Installing a Network Page 19 Tuesday, June 22, 1999 1:48 PM
CHAPTER 3
Installing Multiple Interfaces
OVERVIEW
CONNECTING MULTIPLE USB INTERFACES
The USB (Universal Serial Bus) specification allows
you to connect multiple MOTU interfaces to a
single Macintosh. You can mix and match any
combination of MOTU USB interfaces to suit your
needs.
The USB (Universal Serial Bus) specification allows
many USB devices — theoretically up to 127 — to
be connected to a single computer. However, many
USB devices, including all MOTU USB interfaces,
reserve USB bandwidth, so the theoretical and
practical limits for MOTU interfaces are
considerably fewer. In theory, the maximum
number of MOTU USB interfaces you can connect
to one Macintosh is just over 30 interfaces.
Practically speaking, regardless of how slow or fast
your USB-equipped Macintosh is, you should be
able to connect upwards of 10 or more MOTU USB
MIDI interfaces to the Mac and still enjoy just as
much performance from each one as if it were the
only one connected. Just don’t try to run your USB
scanner or digital camera while playing back and
recording MIDI!
The MIDI Timepiece AV has several unique
networking features (not available with the
Express XT or micro express). The MIDI
Timepiece AV has a Network (“NET”) serial port
that allows you to connect a second MIDI
Timepiece or a third-party serial MIDI device. The
second of two networked MIDI Timepieces can be
connected to a second Macintosh.
Connecting multiple USB interfaces. . . . . . . . . .19
Networking two MIDI Timepieces . . . . . . . . . . .20
Installing a MIDI Timepiece network. . . . . . . . .20
Networking a serial MIDI device . . . . . . . . . . . . .21
Connecting a 2nd Macintosh . . . . . . . . . . . . . . . .21
The flat,“Type A” USB plug on the
USB cable from each MOTU interface
connects to the USB hub.
Making network settings . . . . . . . . . . . . . . . . . . . .21
What next? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22
Standard USB Hub
USB
cables
Figure 3-1: An inexpensive, standard USB hub, such as the
machub4U™ shown above from Entrega, allows you to connect
multiple MOTU USB MIDI interfaces. You can even mix and match
different models of MOTU interfaces, using the combination that best
suites your needs for synchronization, number of MIDI ports, etc.
For further details about USB, visit www.usb.org.
19
Installing a Network Page 20 Tuesday, June 22, 1999 1:48 PM
To connect multiple MOTU interfaces to a
macintosh, you’ll need an inexpensive device called
a USB Hub (purchased separately from your
computer peripherals dealer). A USB Hub has
multiple Type A ports on it, usually between 4 and
7 ports, to which you connect multiple USB MIDI
interfaces as shown in Figure 3-1. Connect them to
the hub in the standard fashion, as if you were
connecting them directly to the computer. If
needed, you can connect multiple hubs to each
other to get enough USB ports for your multiple
MOTU USB interfaces.
NETWORKING TWO MIDI TIMEPIECES
(For the MIDI Timepiece AV only)
The MIDI Timepiece AV-USB has a ‘NET’ serial
port that allows you to connect a second MIDI
Timepiece to it. The MIDI Timepiece AV-USB
then operates as ‘Box 1-8’ (MIDI ports 1 through
8), while the second MIDI Timepiece operates as
‘Box 9-16’. The two networked MIDI Timepieces
then operate together as a single interface with 16
MIDI IN ports and 16 MIDI OUT ports. The two
interfaces also operate as a seamless MIDI
network, allowing to route MIDI data from any
MIDI input to any combination of outputs on
either interface. In the software, they appear as one
device with 16 MIDI INs/OUTs.
INSTALLING A MIDI TIMEPIECE NETWORK
(For the MIDI Timepiece AV only)
To network a second MIDI Timepiece to a MIDI
Timepiece AV-USB:
1 Connect the MIDI Timepiece AV-USB to your
computer via USB in the standard fashion, as
described in the previous chapter (or to a USB hub
as described in this chapter).
2 Connect the second MIDI Timepiece to the
‘NET’ serial port on the MTP AV-USB using a
standard AppleTalk serial cable (included with
your older model MIDI Timepiece or purchased
separately) as shown below in Figure 3-2.
USB-equipped
Macintosh
USB
cable
MIDI Timepiece AV-USB
Box 1-8
NET port
AppleTalk
Cable
You can network any model of MIDI Timepiece to
a MIDI Timepiece AV-USB. Here is a complete list:
■
MIDI Timepiece
■
MIDI Timepiece II
■
MIDI Timepiece AV
■
MIDI Timepiece AV-USB
MIDI Timepiece AV-USB, AV, II or I
Box 9-16
NET port
Figure 3-2: Net working a second MIDI Timepiece to a MIDI
Timepiece AV-USB via their network serial ports. The second MIDI
Timepiece can be an MTP AV, MTP I, MTP II or even another
MTP AV-USB. The Mac serial port on Box 9-16 can be optionally
connected to a serial port on a second Macintosh.
☛
Please note: never try to connect three
MTP AV’s directly to one another!
3 Proceed to “Making network settings” on
page 21, to make important network settings.
20
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Installing a Network Page 21 Tuesday, June 22, 1999 1:48 PM
NETWORKING A SERIAL MIDI DEVICE
CONNECTING A 2ND MACINTOSH
(For the MIDI Timepiece AV only)
If you have a third-party serial MIDI device instead
of a second MIDI Timepiece, you can connect it to
the NET serial port on your MIDI Timepiece as
shown below.
When two MIDI Timepieces are networked
together as shown in Figure 3-2 on page 20, the
2nd MIDI Timepiece (box 9-16) has a free Mac
serial port, which can be connected to a second
Macintosh. Both computers have access to any
cable in the network. MIDI software can run on
both computers at the same time, and both
programs can send and receive MIDI data on the
network at the same time. The second Macintosh
in a network is optional.
USB-equipped
Macintosh
USB
cable
To route data from one Mac to the other, see
“Computer port routing in a two-MTP setup” on
page 49.
MIDI Timepiece AV-USB
MAKING NETWORK SETTINGS
NET port
AppleTalk
Cable
serial port
(For the MIDI Timepiece AV only)
After you have networked two MTP’s together,
their network connections and box ID’s must be set
using the front panel controls.
A third-party MIDI serial device
Figure 3-3: Connecting a MIDI serial device to the NET port.
You can do this with any MIDI device that is
designed to connect to a Macintosh serial port,
such as:
■
a regular “1 MHz” 16-channel MIDI interface
■ a MIDI keyboard or sound module that has a
built-in serial port for direct connection to the Mac
When you connect devices like these to the NET
port on the MIDI Timepiece AV, the NET port
essentially serves as an additional pair of MIDI
input/output jacks.
☛
Be sure to set the NET PORT setting in the
LCD of the MIDI Timepiece AV to “MAC” instead
of “MTP”. For details, see “Making network
settings” on page 21.
Begin by following the procedure below on the
MIDI Timepiece AV-USB that is connected to the
computer (box 1-8). Then repeat the procedure
with the second MIDI Timepiece (box 9-16):
1 Switch on the MTP AV that is connected
directly to the computer (box 1-8).
When you switch on the MTP AV for the first time,
you’ll see the following in it’s LCD:
BASE-SETUP
BaseSetup 1
1
YE
Figure 3-4
2 Turn the WINDOW knob clockwise two clicks
to the right, or if necessary, turn it back and forth
until you see what is shown in Figure 3-5.
To route data to and from the Network port, see
“Making network port connections” on page 49.
21
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Installing a Network Page 22 Tuesday, June 22, 1999 1:48 PM
GLOBAL HARDW ARE
SETUP
E
Figure 3-5
3 Once you see Figure 3-5 in the display, turn the
CURSOR knob clockwise two clicks.
Now you should see what is shown below in
Figure 3-6, and the phrase “1–8” should be
blinking to indicate that it can be changed with the
VALUE knob.
THIS BOX ID 1-8
D NET
PORT=MAC
6 Turn the VALUE KNOB to the setting that
describes what is connected to the network port on
this MIDI Timepiece.
If this is connected
Choose this
Nothing, a second computer, a third
party MIDI interface, or a serial port
device (such as a MIDI synth with a
serial port connector)
MAC
A MIDI Timepiece I, II, AV, or
AV-USB
MTP
You have completed the installation of a two-MTP
network.
WHAT NEXT?
E
You’re ready to install software. Turn to chapter 4,
“Installing the MOTU USB Software” (page 23).
Figure 3-6
4 Choose the appropriate setting (1-8 or 9-16) by
turning the VALUE knob.
If you are currently setting up the first MIDI
Timepiece AV-USB in the network, choose 1-8. If
you are setting up the second MIDI Timepiece,
choose 9-16. Make sure that the box ID’s on two
networked MIDI Timepieces are never the same.
One MIDI Timepiece should always be set to
Box 1-8 and the other to Box 9-16.
5 Once you have chosen the correct box ID above,
turn the CURSOR knob clockwise one click.
Now the word “MAC” flashes to indicate that it can
be edited with the VALUE knob.
22
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Installing Software Page 23 Tuesday, June 22, 1999 1:16 PM
CHAPTER 4
Installing the MOTU USB Software
OVERVIEW
WHAT DOES THE INSTALLER DO?
Running the MOTU USB installer. . . . . . . . . . . .23
The installer checks the computer to make sure it
satisfies the minimum system requirements for
your MOTU interface. If so, the installer creates a
Folder on the hard disk containing a copy of
ClockWorks, the control software for your MOTU
interface. The installer also adds Mark of the
Unicorn’s FreeMIDI system extension to your
Macintosh System Folder. ClockWorks requires
FreeMIDI.
What does the installer do? . . . . . . . . . . . . . . . . . .23
FreeMIDI or OMS? . . . . . . . . . . . . . . . . . . . . . . . . .24
FreeMIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24
OMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27
FreeMIDI and OMS separately. . . . . . . . . . . . . . .28
OMS, with FreeMIDI using OMS. . . . . . . . . . . . .28
Toggling FreeMIDI’s use of OMS. . . . . . . . . . . . .29
How the MOTU USB MIDI drivers work. . . . . .29
Where to go next . . . . . . . . . . . . . . . . . . . . . . . . . . .30
RUNNING THE MOTU USB INSTALLER
Your MOTU interface requires several software
drivers. It also includes ClockWorks™, a setup
program that gives you convenient access to your
MOTU interface’s numerous features. Install all of
this software as follows:
1 Temporarily disable all system Extensions,
including virus protection utilities, before you
begin.
These utilities can interfere with installation. You
can temporarily disable them by restarting the
computer and holding down the shift key until you
see the message “Extensions off ”, which appears
right after “Welcome to Macintosh”. They will turn
back on the next time you restart the computer.
2 Insert the MOTU USB MIDI CD-ROM and run
the installer. The installer is the icon called
“Double-click to install”. Just follow the directions
that the installer gives you.
Even though the installer does everything for you,
it may be useful for you to know what files are
installed and where they go. The following table
provides a summary of the primary components of
the install. The information in this table is subject
to change. Check the installer itself under the
Custom install option for further information.
MOTU USB
software item
What it is/does
ClockWorks™
An application that lets you to configure
and program your MOTU interface.
MOTU
USB Driver
A system extension that allows the Macintosh to talk to your MOTU interface.
MOTU FreeMIDI
USB Driver
Goes in the FreeMIDI Folder inside your
System Folder.
MOTU OMS
USB Driver
Goes in the OMS Folder inside your System
Folder.
FreeMIDI
System
Extension
This system extension is placed in your System Folder and serves as an integrated
MIDI operating system for all FreeMIDIcompatible software. It is required by
ClockWorks, even if you plan to use OMS
instead of FreeMIDI.
FreeMIDI Folder
This folder is placed in your System Folder
and contains files that are required by FreeMIDI.
FreeMIDI
Applications
Folder
This folder is placed on the top level of your
hard disk. It contains several programs that
help you configure FreeMIDI.
23
Installing Software Page 24 Tuesday, June 22, 1999 1:16 PM
FREEMIDI OR OMS?
FREEMIDI
FreeMIDI and OMS are industry standard MIDI
System Extensions for Mac OS. They allow MIDI
software to talk to your MOTU interface and the
devices connected to it.
FreeMIDI is included in your MOTU USB interface
software installation. OMS is available as a free web
download at www.opcode.com.
Which one should you use? If you are not sure, the
table below can help you decide:
If you use this
Choose this
MOTU software only
FreeMIDI only
Non-MOTU, OMS-compatible
software only
OMS only
Both MOTU and OMS-compatible
software, running separately
FreeMIDI and
OMS separately
Both MOTU and OMS-compatible
software, running together
OMS, with
FreeMIDI using
OMS
Regardless of what you decide, you’ll need to
configure FreeMIDI and/or OMS for your new
MOTU USB MIDI interface. Refer to the section
below that applies to you.
For existing FreeMIDI users
If you’re adding a new MOTU interface to a
USB-equipped Mac that already has FreeMIDI
installed, be sure to run the MOTU USB MIDI
software installer as described at the beginning of
this chapter to update FreeMIDI. Then simply run
FreeMIDI Setup. Your new MOTU USB interface
will automatically appear in your current
FreeMIDI configuration. If it doesn’t, make sure it’s
turned on and check cables.
For new FreeMIDI users
If you haven’t previously installed and used
FreeMIDI on your Macintosh, follow this simple
procedure:
1 Make sure that your MOTU interface is
connected and powered up.
2 Locate the FreeMIDI Setup program on you
hard drive. During installation, it is placed in the
FreeMIDI Applications folder on the top level of
your hard drive.
3 Double-click the FreeMIDI Setup application
icon to launch the program.
FreeMIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
OMS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
FreeMIDI and OMS separately . . . . . . . . . . . . . . 28
OMS, with FreeMIDI using OMS . . . . . . . . . . . . 28
4 If this is the very first time you’ve run a
FreeMIDI program on this computer, and you
happen to have OMS installed in the computer,
you’ll see the dialog below.
5 Since this is the procedure for using FreeMIDI,
click the FreeMIDI button.
24
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Installing Software Page 25 Tuesday, June 22, 1999 1:16 PM
After the initial splash screen, the Welcome to
FreeMIDI dialog box appears as shown below.
8 If you are in a hurry, you can just click Done and
proceed to the next section, “Saving the FreeMIDI
Configuration”.
6 Click Continue. The About Quick Setup dialog
appears.
Figure 4-2: An example of a bare-bones FreeMIDI Configuration —
with a MIDI Timepiece AV in this example. This is the minimum setup
you need to run ClockWorks and other FreeMIDI software with your
MOTU interface.
7 Click Continue again and you’ll see the Quick
Setup window below. You should see your MOTU
USB MIDI interface in the list on the right-hand
side.
9 If, however, you would like your Mark of the
Unicorn MIDI software programs to display the
names of the MIDI devices connected to your
MIDI interface, you can use the Quick Setup dialog
in Figure 4-1 to identify them by their
manufacturer and model names. If you can’t find
one of your devices by name in the pop-up menu
lists, just use the “other” designation for now. You
can rename the device in the next step. When you
are finished with the Quick Setup window, click
Done, and the FreeMIDI Configuration window
appears.
Figure 4-1: You should see your MOTU interface by name in the list on
the right.
25
I N STA LL I N G TH E M O TU U S B S O FTW AR E
Installing Software Page 26 Tuesday, June 22, 1999 1:16 PM
2 Use the suggested name “FreeMIDI
Configuration” or enter another name for your
configuration, if you like. Use the directory pop-up
menu to navigate to a disk and folder in which you
wish to save this configuration. Click Save or click
Cancel to cancel the operation.
Figure 4-3: A FreeMIDI Configuration window with MIDI devices. Click
a device name to change it. The devices here appear automatically in
various ClockWorks windows. To add a device, use the Create Device
or Quick Setup commands in the Configuration menu. To delete a
device, click it and press the delete key.
If you indicated what devices are connected to your
MOTU interface, your configuration will look
something like Figure 4-3 after you position the
MIDI device icons as desired.
Saving the FreeMIDI Configuration
Once you have a FreeMIDI configuration, you’ll
want to save it to disk so that you don’t have to
configure FreeMIDI for your studio again.
To save your configuration:
Quitting FreeMIDI Setup
Once you’ve saved your configuration file, you are
now ready to use the ClockWorks. You do not need
keep FreeMIDI Setup open. The only time you
need to open FreeMIDI Setup is when you would
like to make changes to your FreeMIDI studio
configuration. You can re-open FreeMIDI Setup at
any time.
Learning more about FreeMIDI
This chapter only covered FreeMIDI bare
essentials to get your MOTU interface running. If
you have Performer, Digital Performer, Mosaic,
FreeStyle, or Unisyn, consult their manuals to learn
more about the many other great FreeMIDI
features that support these programs.
Completing your MOTU interface installation
To complete your MOTU interface installation,
proceed now to “Where to go next” on page 30.
1 Choose Save from the File menu. Alternately,
you can type command-S on your Mac keyboard.
A standard Macintosh File Save dialog box opens.
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Installing Software Page 27 Tuesday, June 22, 1999 1:16 PM
OMS
The software installation for your MOTU USB
MIDI interface (described at the beginning of this
chapter) detects OMS if it is present in your system
and places the MOTU USB OMS driver in the
appropriate place. To activate your MOTU
interface in OMS, follow this simple procedure:
1 Launch OMS Setup.
2 If this is the first time you’ve run OMS Setup,
follow the directions it gives you to successfully
create a studio setup.
5 Click Search.
☛
On a USB Macintosh, you don’t need to check
either of the serial port check boxes in this window
because your MOTU USB interface is not
connected to a serial port.
Your MOTU Interface will appear in your Studio
Setup window, as demonstrated below.
☛
If your MOTU interface does not appear,
check power and cables and try again.
3 From the Studio menu, choose MIDI cards &
interfaces.
You’ll see the following alert.
Figure 4-4: A MOTU interface in the OMS studio setup window.
4 Click Update Setup.
6 Save your OMS Setup.
You’ll see the following dialog.
7 Add devices to your OMS interface in OMS
Setup.
Consult the on-line documentation included with
OMS for further information about adding devices
to your MOTU interface in the Studio Setup
window and other related tasks.
Completing your MOTU interface installation
To complete your MOTU interface installation,
proceed now to “Where to go next” on page 30.
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FREEMIDI AND OMS SEPARATELY
OMS, WITH FREEMIDI USING OMS
If you plan to use both FreeMIDI and OMS
separately, set up OMS as you normally would (see
OMS’s included on-line documentation for
assistance) and then follow this procedure for
FreeMIDI:
If you plan to use both FreeMIDI and OMS
together, set up OMS as you normally would (see
OMS’s included on-line documentation for
assistance) and then follow this procedure for
FreeMIDI:
1 Make sure that your MOTU interface is
connected and powered up.
1 Make sure that your MOTU interface is
connected and powered up.
2 Locate the FreeMIDI Setup program on you
hard drive. During installation, it is placed in the
FreeMIDI Applications folder on the top level of
your hard drive.
2 Locate the FreeMIDI Setup program on you
hard drive. During installation, it is placed in the
FreeMIDI Applications folder on the top level of
your hard drive.
3 Double-click the FreeMIDI Setup application
icon to launch the program.
3 Double-click the FreeMIDI Setup application
icon to launch the program.
4 If this is the very first time you’ve run a
FreeMIDI program on this computer, you’ll be
asked if you want to use FreeMIDI or OMS as
shown below.
4 If this is the very first time you’ve run a
FreeMIDI program on this computer, you’ll be
asked if you want to use FreeMIDI or OMS as
shown below.
5 Since this is the procedure for using FreeMIDI
separately from OMS, click FreeMIDI.
5 Since this is the procedure for OMS with
FreeMIDI using OMS, click the OMS button.
6 Proceed to Step 6 on page 25 and continue from
there to complete the FreeMIDI setup.
6 Go to “OMS” on page 27 and follow the
procedure for using OMS.
☛
If you don’t see the dialog above when you run
FreeMIDI Setup, refer to “Toggling FreeMIDI’s use
of OMS” on page 29.
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TOGGLING FREEMIDI’S USE OF OMS
HOW THE MOTU USB MIDI DRIVERS WORK
If you have OMS, you can make FreeMIDI use it or
stop using it as follows:
You don’t need to know this, but just in case you’re
wondering how your FreeMIDI and OMS
compatible software actually “talks” to your
MOTU USB interface, the diagram below
illustrates how. The FreeMIDI and OMS drivers
shown below belong in the FreeMIDI and OMS
folders in the System Folder. (The installer puts
them there.)
1 Launch FreeMIDI Setup.
2 Choose FreeMIDI Preferences from the File
menu.
3 Check or uncheck the OMS option as shown
below.
FreeMIDI compatible
MIDI software
OMS-compatible
MIDI software
FreeMIDI and
OMS talk to
your MIDI
programs.
The drivers
talk to OMS
and FreeMIDI.
The system extension talks to
the OMS and FreeMIDI drivers.
The hardware talks to
the system extension.
Figure 4-5: The USB drivers for your MOTU USB interface establish
communication between the interface hardware and your FreeMIDI
and OMS compatible MIDI software.
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WHERE TO GO NEXT
Where you go next depends, of course, on what
you would like to do.
If you want to learn the front panel controls...
Turn to the chapter below that applies to you:
For the MIDI Express XT or micro express, see
chapter 13, “Working with Presets” (page 77).
■
■ For the MIDI Timepiece AV, see chapter 17,
“Using Front Panel LCD” (page 103).
If you want to start using MIDI software with
your new MOTU interface...
All MOTU interfaces have factory default settings
that allow your FreeMIDI or OMS compatible
software to communicate with all MIDI devices
connected to the interface. So from here, you can
turn to your software documentation to get
started. If you haven’t created devices in your
FreeMIDI (or OMS) setup as demonstrated in
Figure 4-3 on page 26, do so now before you begin
using your MIDI programs.
If you want to program your interface with
ClockWorks...
ClockWorks is the software “front end” for the
features in your MOTU interface. It allows you to
configure and program the powerful MIDI routing
and processing features in the interface. You can
graphically make direct routings from inputs and
outputs, stripe SMPTE time code, create and save
interface setups (which consist of the entire internal
configuration of the interface), set up the pedal
inputs, or other tasks.See chapter 6, “ClockWorks”
(page 37) for details.
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CHAPTER 5
Using Performer & Digital Performer
OVERVIEW
MIDI INPUT AND OUTPUT
Performer and Digital Performer allow you to take
full advantage of the powerful MIDI I/O, synchronization, and MIDI Machine control features of
your MOTU MIDI interface/synchronizer.
Once you’ve configured FreeMIDI or OMS to use
your MOTU MIDI interface/synchronizer, and
you’ve created and saved a FreeMIDI or OMS
studio setup that shows all MIDI devices that are
connected to it as described in chapter 4,
“Installing the MOTU USB Software” (page 23),
those devices will appear in Digital Performer’s
MIDI input and output menus as shown below.
For clarity, the name Digital Performer will be used
in this chapter to refer to both Performer and
Digital Performer, except where otherwise noted.
IMPORTANT NOTE!
☛
Digital Performer 2.6 (and higher) has been
specially programmed to support the advanced
features of USB, including “hot-swapping”
(bringing devices off-line and on-line on the fly)
and expanded systems consisting of multiple
MOTU interfaces. If you are using an older version
of Digital Performer or Performer, keep your
MOTU USB interface turned on and connected at
all times to avoid problems with your older MOTU
software. Contact Mark of the Unicorn about
upgrading.
FOR ALL MOTU INTERFACE MODELS
MIDI input and output . . . . . . . . . . . . . . . . . . . . .31
Slaving Digital Performer to SMPTE . . . . . . . . .32
MIDI Machine Control (MMC) . . . . . . . . . . . . . .32
FOR MIDI TIMEPIECE AV USERS
ADAT sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34
Sample-accurate sync with a 2408 . . . . . . . . . . . .34
Word clock sync. . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Slaving Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . .35
Figure 5-1: The devices in your FreeMIDI or OMS studio setup
connected to your MOTU MIDI interface will automatically appear as
MIDI sources and destinations in Digital Performer’s MIDI I/O menus.
Using FAST mode . . . . . . . . . . . . . . . . . . . . . . . . . .36
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SLAVING DIGITAL PERFORMER TO SMPTE
To slave Performer or Digital Performer to SMPTE
time code (LTC) via your MOTU MIDI interface
and synchronizer:
central time code “hub” for all of the devices in
your studio, allowing you play, stop, and cue them
all directly from Digital Performer.
1 In Performer or Digital Performer, choose
Receive Sync from the Basics menu.
2 Make sure the Sync to port menu is set to Any
Port, or the name of the interface, or the serial port
the interface is connected to, if any.
Performer or Digital Performer
MIDI Time Code (MTC)
MIDI Machine Control (MMC)
3 Set the Type of Sync to MTC. Choose the SMPTE
frame format that matches the format you are
converting with your MOTU interface.
MOTU MIDI interface
MIDI Time Code (MTC)
SMPTE (LTC)
Examples of
devices that can
slave to time code
Akai DR8
Roland VS-880
Figure 5-3: Your MOTU MIDI interface/synchronizer can serve as a
time code “hub” while you control it from Digital Performer via MMC
transport commands.
How you configure Performer or Digital Performer
depends for MMC on what version you have. Refer
to the section below that applies to you.
Figure 5-2: In Performer’s receive sync dialog, choose MTC and
choose the SMPTE frame format that matches the setting in your
MOTU MIDI interface (which should also match the time code).
MIDI MACHINE CONTROL (MMC)
Performer (version 5.0 or higher) and Digital
Performer (version 1.5 or higher) both have the
ability to serve as a MIDI Machine Control
transport master for any MMC device in your
studio, allowing you to play, stop, and cue the
device from Performer’s transport controls.
Your MOTU MIDI interface/synchronizer has the
ability to serve as a MMC transport slave to Digital
Performer, while at the same time generating time
code for other devices in your studio. In doing so,
your MOTU interface/synchronizer becomes a
Performer 6.0/Digital Performer 2.0
Performer 6.0 (or later) and Digital Performer 2.0
(or later) automatically handle all of the MIDI
Machine Control window setup chores for your
MOTU MIDI interface/synchronizer when it is
detected in your FreeMIDI or OMS setup.
Turn on
MMC here.
Make sure the
MOTU interface/synchronizer is
Online.
Figure 5-4: Performer 6.0 and Digital Performer 2.0 (or later)
automatically configure their MIDI Machine Control window when a
MOTU MIDI interface/synchronizer is present in the current FreeMIDI
configuration. They automatically detect the interface/synchronizer’s MMC device ID.
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Performer 5.5/Digital Performer 1.71 or earlier
Performer 5.5 and Digital Performer 1.71 require a
few simple additional setup procedures. First, you
need to create an extra device in FreeMIDI as
shown in Figure 5-5 below that has the MMC
properties of your MOTU MIDI interface/
synchronizer. The only requirements for this
device are:
It must have the “MIDI Machine” property
assigned to it
■
It must be connected bidirectionally to one of
the ports on the MOTU interface (it doesn’t matter
which one)
■
It must match the Device ID of the MOTU MIDI
interface/synchronizer itself
■
In Performer or Digital Performer, make sure the
that MIDI Machine Control is turned on (with the
arrow button between the Mac and the tape deck)
and that the MOTU MIDI interface/synchronizer
device is Online.
Turn on
MMC here.
Make sure the
MOTU interface is Online.
Ignore this
message; it
doesn’t apply to
the interface.
Figure 5-6: Setting up the MOTU MIDI interface/synchronizer in the
MIDI Machine Control window of Performer 5.5 or Digital Performer
1.71 (or earlier). (If you have versions 6.0 or 2.0, respectively, or later,
see Figure 5-4.) Make sure that MIDI Machine Control is turned on
and that the MOTU interface/synchronizer device is Online. You don’t
need to assign any tracks to the MOTU MIDI interface/synchronizer
device.
MMC control of record functions
For information about setting up remote control of
the record functions of MMC devices connected to
the MOTU interface/synchronizer, see your
Performer or Digital Performer manual.
Figure 5-5: Important note: only use the setup shown here for
Performer 5.5 or Digital Performer 1.71 (or earlier). Don’t use it for
later versions. For Performer 5.5 or Digital Performer 1.71 (or earlier),
create a extra MOTU interface/synchronizer as shown here in
FreeMIDI that has the same MMC properties as the MOTU MIDI interface/synchronizer. The name of the device doesn’t matter. It must,
however, be connected bidirectionally to one of the MOTU interface
ports (it doesn’t matter which one). It also must have the MIDI
Machine property, and the Device ID must match the ID in the MOTU
interface itself. The MOTU interface’s factory default Device ID is 20.
Enabling MMC in Digital Performer
Once you have made the preparations outlined in
the previous sections, you are ready to enable
MMC control between Performer and the MOTU
MIDI interface/synchronizer. For complete details,
see your Performer Reference Manual. For
convenience, below is a brief summary. These
directions apply to any version of Performer and
Digital Performer discussed in this chapter:
1 Turn on the MMC control button as shown in
Figure 5-4 (or Figure 5-6).
2 As shown in Figure 5-2, open Performer’s
Receive Sync dialog (Basics menu) and prepare
Performer to slave to MIDI Time Code (MTC) at
the desired frame rate (which needs to match the
MOTU MIDI interface/synchronizer’s frame rate).
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3 Set the SMPTE start time for the sequence
(using the button in the main counter as usual).
Turn on
MMC here.
Make sure
the MTP AV
is Online.
Now, just cue Performer anywhere you like and
press play. This sends a play command to the
MOTU MIDI interface/synchronizer, which starts
the MMC slave device and begins sending time
code to Performer, syncing everything together.
You can stop, play, and cue anywhere you like in
Performer and your MMC slave device will chase,
play and record accordingly.
Figure 5-7: Performer 5.5 and Digital Performer 2.0 (or later)
automatically and continuously scan the AV’s ADAT Sync Out port for
any connected ADATs (or ADAT-compatible recorders).
Routing Time Code to Other Devices
Once you have successfully established MMC
control of the MOTU interface/synchronizer as
described in this chapter, you can route MIDI Time
Code (MTC) from the MOTU MIDI interface/
synchronizer to other devices in your studio to
control them remotely from Performer via the
interface, as shown in Figure 5-3 on page 32. For
more information, see “The MTC In and MTC Out
connections” on page 49.
MMC control of ADAT record functions
In Performer 5.5 (or later) and Digital Performer
2.0 (or later), you can remotely control MMC
features of ADATs in standard fashion as described
in the MIDI Machine Control chapter of your
Performer Reference Manual. For example, you
can record-enable ADAT tracks in the MIDI
Machine Control window and set auto punch
points via the AutoRecord button in Digital
Performer’s main transport controls.
ADAT SYNC
SAMPLE-ACCURATE SYNC WITH A 2408
(For the MIDI Timepiece AV only)
Performer 5.5 (or later) and Digital Performer 2.0
(or later) automatically and continually scan the
MIDI Timepiece AV for the presence of ADATs
(any model) or other ADAT SYNC-compatible
devices, such as the Fostex RD-8, connected to the
MIDI Timepiece AV’s ADAT Sync Out port. If
Digital Performer detects one, a row of eight
record-enable buttons automatically appears in the
MIDI Timepiece AV panel in the MMC window, as
shown below in Figure 5-7. These record buttons
give you remote control of the record-enable
functions of the ADAT. If Performer detects more
than one ADAT, it will add another row of 8 buttons
for each additional ADAT that it detects. Performer
continually scans for ADATs, so if you disconnect
one, Performer will adjust the buttons shown in the
MMC window after a moment or so.
These appear
automatically.
(For the MIDI Timepiece AV only)
For details about setting up your 2408 hard disk
recording system for sample-accurate synchronization between Digital Performer any ADATs
connected to the 2408, see “Slaving a MOTU 2408
system” on page 145. Sample-accurate sync allows
you to make digital transfers between Digital
Performer and ADATs (or any ADAT-SYNC
compatible devices connected to the MIDI
Timepiece AV). In other words, you can transfer
audio back and forth between Digital Performer
and ADATs as many times as you like and they
won’t drift by even one sample.
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Digidesign hardware slaves via the “superclock”
word clock connection between the MIDI
Timepiece AV and the Digidesign hardware.
To slave Digital Performer and Pro Tools to the
MIDI Timepiece AV:
1 Connect the “Word Sync out” of the MIDI
Timepiece AV to the “Slave Clock input” of your
Digidesign audio interface. as shown in
Figure 2-14 on page 15.
Figure 5-8: When you’re working with ADATs and a 2408 hard disk
recording system, use sample-accurate sync in Performer’s receive
sync dialog.
WORD CLOCK SYNC
(For the MIDI Timepiece AV only)
To synchronize Digital Performer with a word
clock device connected to the MIDI Timepiece AV,
make the connections shown in Figure 2-13 on
page 15. In this scenario, Digital Performer slaves
to MIDI Time Code (MTC) from the MIDI
Timepiece AV. So follow the directions earlier in
this chapter in “Slaving Digital Performer to
SMPTE” on page 32.
If the word clock device slaved to the MIDI
Timepiece AV also has the ability to slave to
SMPTE time code, you can set up Digital
Performer to be the transport master of the entire
rig as explained in “MIDI Machine Control
(MMC)” on page 32 and “Routing Time Code to
Other Devices” on page 34.
SLAVING PRO TOOLS
(For the MIDI Timepiece AV only)
If you have Digidesign hardware that can slave to
Digidesign’s “superclock”, such as Pro Tools III or
Pro Tools|24, you can achieve the highest quality
synchronization possible. In this scenario, Digital
Performer slaves to MIDI Time Code, while your
2 In the front panel LCD of the MIDI
Timepiece AV, use the WINDOW knob to go to the
SMPTE/SYNC menu, and use the CURSOR and
VALUE knobs to set the sample rate as desired
(44.1K or 48K) and set the clock format to DIGI
(instead of 1X).
3 Make the other settings in the SMPTE/SYNC
menu as desired.
You can slave your rig to VIDEO, LTC, MTC, or the
MIDI Timepiece AV’s INTERNAL clock. If you are
using INTERNAL, you’ll also need to set up MMC
control between your sequencer and the MTP AV
as described in “Using computer software as an
MMC controller” on page 156.
4 Slave Digital Performer to MTC as described in
“Slaving Digital Performer to SMPTE” on page 32.
5 Uncheck the Sync Audio to Timecode command
in the Basics menu.
This turns off Digital Performer’s software
synchronization, which is not necessary with the
hardware sync provided by the MIDI
Timepiece AV (which is far superior).
☛
When configuring DAE (in the Basics menu),
do not change the Sync mode option to Digital,
Leave it set to Internal! Your Digidesign hardware
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will automatically switch to Slave mode when you
connect the BNC word clock cable to its
“superclock” input.
USING FAST MODE
(For the MIDI Timepiece AV only)
☛ This section only applies to a MIDI
Timepiece AV connected to the computer via its
‘Mac’ serial port. ‘FAST’ mode does not apply a
MIDI Timepiece AV connected via USB.
If your MIDI Timepiece AV is connected to your
Macintosh via the modem or printer serial port,
you’ll want to take advantage of FreeMIDI’s
support for the MIDI Timepiece AV fast data
transfer rate. This provides better throughput from
Performer or Digital Performer running on the
Macintosh to all of the MIDI devices connected to
the MIDI Timepiece AV. For details, see “Using
‘FAST’ serial mode” on page 16.
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CHAPTER 6
ClockWorks
OVERVIEW
OPENING CLOCKWORKS
This chapter introduces ClockWorks™, the console
software for all MOTU MIDI interface/
synchronizer hardware products. ClockWorks lets
you configure and program your MOTU interface/
synchronizer, taking full advantage of its many
advanced features.
After setting up FreeMIDI or OMS as described in
chapter 4, “Installing the MOTU USB Software”
(page 23), follow the procedure below to ensure
that it has successfully established communication
with your MOTU interface.
FOR ALL USERS
Opening ClockWorks. . . . . . . . . . . . . . . . . . . . . . .37
If your MOTU interface doesn’t appear . . . . . . .38
The Device List window. . . . . . . . . . . . . . . . . . . . .38
ClockWorks basics . . . . . . . . . . . . . . . . . . . . . . . . .38
Obtaining the ROM version . . . . . . . . . . . . . . . . .41
Memory meter . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41
Working With Files . . . . . . . . . . . . . . . . . . . . . . . . .41
Device Settings & Routing . . . . . . . . . . . . . . . . . .45
Channel Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55
Muting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Sync and MIDI Machine Control. . . . . . . . . . . . .59
SMPTE Reader. . . . . . . . . . . . . . . . . . . . . . . . . . . . .69
Utilities Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73
FOR EXPRESS XT & MICRO EXPRESS USERS
☛
You might want to double-check to make sure
that your MOTU interface is switched on before
you launch ClockWorks. This ensures smooth
hand-shaking between ClockWorks and the
interface.
1 Double-click the ClockWorks icon.
After you launch ClockWorks, the software and
hardware perform a handshaking operation to
establish communication. This may take a brief
moment, and the lights on the front panel of your
MOTU interface will flicker during this period. If
the handshake is successful, ClockWorks will open,
and its menu bar appears with the File, Edit,
Windows, and Utilities menus. If this is the first
time you’ve opened ClockWorks, you should also
see the Device List window, as shown below in
Figure 6-1. If not, you can open it by choosing it
from the Windows menu.
Working with Presets . . . . . . . . . . . . . . . . . . . . . . .77
Working with a Foot Pedal . . . . . . . . . . . . . . . . . .85
FOR MIDI TIMEPIECE AV USERS
Knobs and Pedals . . . . . . . . . . . . . . . . . . . . . . . . .119
Setups and Modifiers . . . . . . . . . . . . . . . . . . . . . .127
Patches. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133
MIDI Cannon. . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Figure 6-1: The Device List window shows what MOTU interface were
detected by ClockWorks when it opens.
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ClockWorks Basics Page 38 Tuesday, June 22, 1999 1:19 PM
IF YOUR MOTU INTERFACE DOESN’T
APPEAR
If your MOTU interface doesn’t show up in the
Device List, check the following things:
Your MOTU interface is turned off. Power it up
and choose Verify Network from the Utilities menu.
■
■ A MOTU interface is not connected to the Mac,
or it is connected improperly. Make sure your cable
connection(s) to the interface match Figure 2-1
and Figure 2-2 on page 9. Then click Try Again.
■ Open FreeMIDI Setup or OMS Setup and make
sure that the interface is present in your current
studio setup. If not, scan for it as explained in
2 If you make any adjustments to your hardware,
choose Verify Network from the Utilities menu to
make the ClockWorks scan the network again.
Working with several MOTU devices
ClockWorks serves as the control center for all
MOTU interface and synchronizer products,
including the Digital Timepiece synchronizer. If
you have several MOTU devices, they will all
appear in the Device List (once ClockWorks has
established communication with them).
When you’re working with several MOTU devices,
ClockWorks needs to know which device you want
to work with at the moment. You indicate this by
opening the Device List from the Windows menu
and clicking the name of the device you want to
control. This make the windows and menus of
ClockWorks apply to the currently selected device.
If a menu item or other item does not apply to the
device, it becomes grayed out.
Alternately, you can press command-N. You can
continue to make adjustments and verify the
network until the Device List window matches
your MOTU interface setup.
3 Once you have verified the presence of your
MOTU interface/synchronizer, you are ready to
begin using the other features in ClockWorks.
THE DEVICE LIST WINDOW
ClockWorks serves as the “control center” for your
MOTU interface. The Device List window is one of
the most important windows because it shows you
the current state of communication with your
MOTU interface.
If ClockWorks has detected and established
normal communication with your interface, it
appears by name as shown in Figure 6-1 on
page 37.
If your MOTU interface is off-line (switched off or
temporarily disconnected), its icon will become
grayed out.
Figure 6-2: The Device List lets you control which device you are
working with in ClockWorks when you have several pieces of Mark of
the Unicorn gear. Click the name of device to select it. The settings of
the currently selected device appear in all of ClockWork’s windows.
CLOCKWORKS BASICS
In explaining how to use ClockWorks, this chapter
assumes that you are already familiar with the
standard Macintosh user interface conventions,
such as how to select options using check boxes
and radio buttons, how to type and edit text, and so
forth.
Overall look and feel
The ClockWorks “look and feel” is modeled after
Mark of the Unicorn’s award-winning Performer
sequencing program. Several aspects of this
interface, including mini-menus, are explained
later in this chapter. Even if you are familiar with
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Performer’s conventions and appearance, we
suggest that you skim this chapter to learn about
features that are unique to ClockWorks.
The following sections cover several important,
unique characteristics about ClockWorks.
Windows
Most of the features in ClockWorks are presented
to you in windows opened from the Windows
menu. The Utilities menu contains several
additional commands which are described in
chapter 12, “Utilities Menu” (page 73).
After you open a window, you can position it
anywhere on the screen. It will remember this
location. In several windows, the name of the
current base setup or modifier is displayed in
parentheses in the title bar of the window to clearly
indicate which base setup the settings apply to.
Mini-menus
Most of the ClockWorks windows have minimenus, which are located in the title bar of the
window at the left-hand side next to the close
triangle. A mini-menu acts just like a Macintosh
main menu except that it provides commands that
are specific to its own window.
Radio buttons
Although ClockWorks radio buttons look unique,
they behave just like standard Macintosh radio
buttons. Radio buttons work such that you can
only select one of the given choices; if you click a
new button, the previously chosen one will
deselect.
Figure 6-4: ClockWorks radio buttons.
Check boxes
Check boxes are also a bit different. You can select
any combination of them.
Figure 6-5: A ClockWorks check box.
Push buttons
ClockWorks push buttons look different from but
function the same way as standard push buttons.
Check box grid
The Event Muting window displays an entire grid
of check boxes, like this:
Figure 6-3: A mini-menu
Buttons
Every time you click a button in a ClockWorks
window, ClockWorks sends a corresponding
command to your MOTU interface/synchronizer.
Therefore, the buttons in the window always reflect
the state of the interface hardware.
Figure 6-6: A check box grid.
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The grid consists of check boxes placed edge to
edge in rows and columns. The rows and columns
are arranged into groups of four for clarity. A check
box in the grid represents a connection between its
row and column numbers.
For example, if you want to set up the Pedal A input
of your MIDI Timepiece AV, you need to select that
MIDI Timepiece in the Device List window before
you go to the Pedals & Knobs window to make your
settings. The currently selected device highlights.
Check boxes in a grid function the same way as
regular check boxes. In addition, we have added
several shortcuts that you will find extremely useful
when using the grids. To select several adjacent
boxes, click and drag. To select an entire column,
click the column number. Similarly, to select an
entire row, click the row name.
Working with a MIDI Timepiece I or II
If you have a MIDI Timepiece I or II networked to
your MIDI Timepiece AV, you can use ClockWorks
to access virtually all of the original MIDI
Timepiece’s features. To do so, click the icon of the
MIDI Timepiece AV in the Device List window and
then use the features in ClockWorks’s windows to
do what you need to do.
To deselect an entire row or column, click the name
or number again. The row will only deselect if all
boxes in it are selected.
Text boxes
There are text boxes throughout ClockWorks for
typing in things like MIDI channel numbers, etc.
However, in addition to typing in the standard
fashion, ClockWorks also lets you drag vertically to
change the value. Just click on the current number
in the box and drag vertically.
Using ClockWorks with multiple interfaces
ClockWorks provides many windows that control
various aspects of a single MOTU interface.
When you have two or more MOTU interfaces
connected to your Mac, you need to choose which
one you are controlling with the software. There
are two ways to choose:
■ Click the MIDI Timepiece icon in the Device List
window.
OR
■ Choose the MIDI Timepiece name using the Box
Select command in the Utilities menu.
☛
When an original MIDI Timepiece is selected
in the Device List window, features that are not
supported by it (such as freewheeling in the
SMPTE Controls window) are greyed out to
indicate that they are not available. To reactivate
them click on a MIDI Timepiece AV or other
interface that supports those features in the Device
List window.
Understanding the interaction between the
software and hardware
ClockWorks always reflects the current state of
your MOTU interface/synchronizer. At least, it
should. If, at any time, you suspect that the
windows in the software don’t accurately reflect
what’s going on in the hardware for some reason,
choose Verify Network from the Utilities menu.
Doing so reestablishes communication between
the software and hardware, and the software gets
updated to the current state of the hardware.
When communication is successfully established,
changes you make in ClockWorks are immediately
reflected in the hardware.
Likewise, when you select a preset (or MIDI
Timepiece AV base setup) from the front panel,
your MOTU interface updates the software on the
computer, as long as the software is the currently
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active application. This is actually a handy way to
run through all of your user presets (or MIDI
Timepiece AV base setups and patches) to inspect
each one’s settings in the software. If ClockWorks is
not the active application on the computer, a
system exclusive message is sent to whatever
application is currently active. If this application is
recording incoming MIDI, these sysex messages
get recorded as well.
☛
Other changes you make in the LCD of a
MIDI Timepiece AV, such as changing a specific
parameter, are not reflected in the ClockWorks. To
update the software, choose Verify Network from
the Utilities menu.
OBTAINING THE ROM VERSION
To obtain the ROM version of any MOTU
interface/synchronizer connected to your
computer, look in the Device List window. The
ROM version is displayed to the right of each
interface in the list.
On a MIDI Timepiece AV, the ROM version is also
displayed in the LCD when the unit is first powered
up.
MEMORY METER
The Memory meter window can be opened by
choosing its name from the Windows menu or by
pressing command-M.
Figure 6-7: The Memory meter.
This window displays the amount of the
computer’s random access memory (RAM)
available to ClockWorks. Ideally, this window
should display at least 100,000 bytes. Normally, it
won’t get much lower than this. If it does get lower,
quit ClockWorks and increase the memory
partition in the Get Info window. (Highlight the
ClockWorks icon and choose Get Info from the
File menu.) You may also want to do this if you
create and use many modifiers.
WORKING WITH FILES
ClockWorks lets you save the entire contents of
your MOTU interface’s memory, including base
setups, modifiers, and patches (which are
explained in later chapters) as a file on disk. The file
can later be opened and modified at any time. This
allows you to store an unlimited number of MOTU
interface setups.
ClockWorks handles file saving, opening, and
closing in the normal Macintosh fashion. You can
save a file, open it, make changes to it, save the
changes, or save them as a different file under a
different name with the Save As command.
☛
ClockWorks is unique, however, when you
close a file. In most Macintosh programs, when you
close a file, windows associated with the file close as
well. In ClockWorks, none of the windows
“belong” to a specific file, so any windows that are
open will remain open after you close.
Creating a new file
To create a new file, just open ClockWorks. When
you open ClockWorks, it loads the entire contents
of the MOTU interface memory into the computer.
It is stored in RAM until you save it as a file, which
is explained in the next section.
Saving files
As you work with ClockWorks, the settings it is
currently displaying are stored in you MOTU
interface’s memory. If you create an operating
configuration that is either important to you or
somewhat time-consuming to recreate, we strongly
recommend that you also save it as a file on your
computer’s hard disk. This will allow you to easily
restore it at a later time, if necessary, by simply
opening it in ClockWorks.
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Here’s the basic procedure to save a file:
1 Choose the Save command from the File menu.
2 If you are saving the file for the first time, a
dialog box will appear prompting you for a name.
Type in the name of your file and click Save.
After you save, any changes you make will not be
saved with the file until you save again.
Reverting to a previously saved version is useful
when experimenting with a file. You can quickly
remove any changes by using this command. Make
sure that you save the file in the state you want it
before beginning to experiment.
Opening an existing file
To open an existing file:
1 Double-click on the file icon.
Saving a file under a different name
The Save As command is used to save a file under a
different name or to a different disk:
You can also click once on the file and choose Open
from the File menu. This will start ClockWorks and
bring up the selected file.
1 Choose Save As from the File menu.
To open an existing file from within ClockWorks:
The Save As dialog box will appear.
1 If a file is already open, close it by selecting Close
from the File menu. You are given the option of
saving changes in this file.
2 Type in the new name for the file.
3 Click Save.
Your file is saved on the disk in its current state
under the new name.
Reverting to a previously saved version
If you’ve made unwanted changes to a file, you can
undo the changes you’ve made by returning to the
last saved version. This operation is identical to
closing the file without saving changes and opening
it from the disk again.
1 Choose Revert to Saved from the File menu.
A dialog box asks you to confirm this choice.
2 Click on OK to confirm your choice.
Reverting to the last saved version of the file means
that all changes you’ve made since you opened or
last saved the file will be lost.
2 Select Open from the File menu.
A dialog box appears containing a list of files on the
selected disk. To see the files on a disk in a different
drive, click the Desktop button. To view files on
another disk which is not currently in a drive, click
on the Eject button and insert the other disk.
3 Click on the name of the file you wish to open.
4 Click on the Open button.
The file you selected will be opened. Doubleclicking on the name of the file will also open the
file.
Checking to see what file is currently open
To determine which file you currently have open in
ClockWorks, if any, check the Close command in
the File menu. If a file is open, the Close command
will read Close ‘Filename’, where the name of the
file is displayed in parentheses after the word Close.
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Closing a file
To close a file, choose Close ‘filename’ from the File
menu, where filename is the name of the currently
open file. If you have made changes in ClockWorks
windows that are not yet saved, you will be asked if
you want to save them before closing.
☛ All ClockWorks windows that are currently
open will remain open after you close the current
file. If you wish to make further changes to the file,
you will need to reopen it first (with the Open
command) in order to be able to save them.
Quitting ClockWorks
Quitting ClockWorks returns you to the Macintosh
desktop.
■
Choose Quit from the File menu.
A dialog box may appear asking you if you want to
save changes made to the file. To save the changes,
press Save. If you don’t want to save changes, press
Don’t Save. To withdraw the Quit command and
return to your ClockWorks file, press Cancel.
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CHAPTER 7
Device Settings & Routing
OVERVIEW
DEVICE SETTINGS & ROUTING WINDOW
The Device Settings & Routing Window in
ClockWorks provides an easy and powerful way for
you to route MIDI data from any device connected
to your MOTU interface to any other device
connected to it. This window provides you with
complete control over the flow of MIDI data
through the interface (or a two-MTP network).
If you created a bare-bones FreeMIDI or OMS
setup as shown in Figure 4-2 on page 25 or
Figure 4-4 on page 27, you’ll see the generic names
(Cable 1, Cable 2, etc.) shown below in Figure 7-1.
Device Settings & Routing window for the MIDI Timepiece AV
Device Settings & Routing window. . . . . . . . . . .45
Naming devices with FreeMIDI or OMS . . . . . .46
Making a connection . . . . . . . . . . . . . . . . . . . . . . .46
Connecting one input to multiple outputs. . . . .47
Selecting a connection . . . . . . . . . . . . . . . . . . . . . .47
Deselecting all connections. . . . . . . . . . . . . . . . . .47
Breaking a connection . . . . . . . . . . . . . . . . . . . . . .47
Device Settings & Routing window for the MIDI Express XT
Breaking one of several connections. . . . . . . . . .47
Specifying channels in a connection. . . . . . . . . .48
Making computer connections. . . . . . . . . . . . . . .49
Making network port connections . . . . . . . . . . .49
Computer port routing in a two-MTP setup . . .49
The MTC In and MTC Out connections . . . . . .49
The ADAT ports. . . . . . . . . . . . . . . . . . . . . . . . . . . .51
ADAT port settings . . . . . . . . . . . . . . . . . . . . . . . . .51
Device Settings & Routing window for the micro express
The MMC Out and MMC In ports . . . . . . . . . . .52
Figure 7-1: The Device Settings & Routing window provides graphic
access to all of your MOTU interface’s MIDI routing, merging and
splitting capabilities. If you have two MIDI Timepieces networked
together, you’ll see 16 cables instead of 8.
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NAMING DEVICES WITH FREEMIDI OR OMS
MAKING A CONNECTION
If you configured your FreeMIDI or OMS setup to
accurately reflect the names of the devices
connected to your interface, you’ll see device
names as shown below in Figure 7-2. These device
names are also displayed in other windows
throughout ClockWorks, including the Channel
Mapping, Event Muting, Knobs & Pedals, Patch
List, MIDI Cannon, and Setups & Modifiers
windows.
To connect any MIDI device to another in the
network:
Figure 7-2: FreeMIDI or OMS provides names for the MIDI device
connected to each input and output. Choose Edit FreeMIDI Configuration from the Utilities menu to open FreeMIDI Setup or OMS Setup
and create device names. If you have multiple devices connected to a
MIDI port, the console displays the term ‘multipledevices’.
Use FreeMIDI Setup or OMS Setup to add, remove,
or change device names. To launch FreeMIDI
Setup or OMS Setup from within ClockWorks,
choose Edit FreeMIDI Configuration from the
Utilities menu in ClockWorks. Then refer to the
information below.
To do this
Do this
Add a device
FreeMIDI
Use the Create Device or Quick Setup
commands in the Configuration
menu.
OMS
Use the New Device command in the
Studio menu.
Delete a device
Click it to select it and press the delete
key.
Rename a device
Click its name to edit the text.
1 Click the source cable icon on the left and drag
to the destination cable icon on the right as shown
below in Figure 7-3.
In the example below, the Alesis QS8 keyboard
controller is being connected to the Roland
JV-2080 sound module.
Figure 7-3: Routing MIDI data from one piece of gear to another.
2 When you release the mouse, the connection
appears in the window as shown in Figure 7-4,
along with an activated pop-up box on top of the
connection with the word all in it.
Figure 7-4: Setting the MIDI channels when making a connection.
The “all” box means that all channels on the QS8
are currently routed to all channels on the JV-2080.
If you want to connect specific MIDI channels, see
“Specifying channels in a connection” on page 48.
(Note: the original MIDI Timepiece I does not
support routing by channels in this manner.
Therefore, if you connect the input of an original
MTP to an MIDI Timepiece AV output, there will
be no channel box.)
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3 Press return to confirm the cable connection.
DESELECTING ALL CONNECTIONS
To deselect all connections, click anywhere in the
middle of the window between the two columns of
cables.
Figure 7-5: A completed cable connection.
Figure 7-8: Click anywhere on the background to deselect all connections. A deselected connection appears as a thin line.
CONNECTING ONE INPUT TO MULTIPLE
OUTPUTS
BREAKING A CONNECTION
To connect an input to more than one output,
make each connection separately as described in
the previous section. As a shortcut, shift-drag from
the input cable on the left over to the first output,
and then drag directly to each additional output on
the right. As you “touch” each output, it highlights
and a connection is made.
To break a connection:
1 Select the connection by clicking its cable icon.
2 Press the delete key, or choose Clear from the
Edit menu.
BREAKING ONE OF SEVERAL CONNECTIONS
Often, a device will be connected to several other
devices, like this:
And you’ll want to only remove one of the
connections. To do so:
Figure 7-6: Connecting one input to several outputs.
1 Redraw the connection you want to break.
SELECTING A CONNECTION
To select a connection, click the connection’s input
cable icon on the left or any one of its output cable
icons on the right.
2 Press the return key to get past the channel
pop-up.
Figure 7-7: Selecting a connection.
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Figure 7-9: Specifying a single MIDI channel in a Device Settings &
Routing connection. To do so, click the input device and then pop-edit
the box shown.
3 Press the delete key to remove the highlighted
connection. If you click on the device again, the
connection will be gone:
SPECIFYING CHANNELS IN A CONNECTION
Your MOTU interface lets you specify channels
when you make a connection from one piece of
gear to another.
For example, you can specify that channel 2 on the
input is to be connected to channel 2 on the output.
The input and output channel will always be the
same in a connection. (To change channels on
input or output, you can use the Channel Map
window.)
3 Type in the desired MIDI channel in the text box
and press return to confirm your choice.
If you want, you can type in several channels as
shown below. This is useful if you are using a
keyboard split on your controller and you want to
send the splits to different channels of the same
synth. In Figure 7-10, the QS8 keyboard is split
into three parts, transmitting on channels 1, 2, and
3, which are being connected to channels 1, 2, and
3 on the Emulator E4xt, as well as a few other
synths. In each connection, channel 1 is being
mapped to channel 1, channel 2 is being mapped to
channel 2, etc. If you want all channels to be
connected, type “a” for “all” (connect all channels).
Multiple connections from the same device can
have different channel assignments. For example,
you could make a connection from your controller
to channel 1 on one synth, and then make a second
connection to channel 5 on another synth.
To specify the channel to be routed:
1 Click the MIDI cable icon of either the input
device or output device.
Figure 7-10: Specifying multiple channels when making connections.
2 Click the text box on the connection.
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☛
Note: channel remapping cannot be done in
this window. For example, you cannot route
channel 3 on the QS8 to channel 5 on the E4. To
accomplish this, see chapter 8, “Channel Map”
(page 55).
MAKING COMPUTER CONNECTIONS
When your MOTU interface ships from the
factory, it is set up so that anything connected to
the interface can talk to the computer, and the
computer can talk to anything connected to the
interface. These connections are represented by the
lines connected to the Computer icons in the
Device Settings & Routing window.
Figure 7-12: Make NET port connections on a MIDI Timepiece AV with
the Network ports circled above using the techniques already
described in this chapter. To route MIDI data to the NET port, use the
Network port on the right. To route MIDI data from the NET port, use
the Network port icon on the left.
COMPUTER PORT ROUTING IN A TWO-MTP
SETUP
If you have a second MIDI Timepiece connected to
the network port, the network port icon changes to
a second computer icon, since it refers to the Mac
port on the second MIDI Timepiece (box 9-16).
Figure 7-11: Editing computer connections. To route MIDI data to the
computer, use the computer icon on the right. To route MIDI data
from the computer, use the computer icon on the left.
Edit these connections in the same manner as
described earlier in this chapter.
MAKING NETWORK PORT CONNECTIONS
(For the MIDI Timepiece AV only)
As described in “Networking a serial MIDI device”
on page 21, you can connect a regular 16-channel
MIDI interface or other serial device (such as a
keyboard or sound module with a Mac serial port
on it) to the Network port of the MIDI
Timepiece AV. If you have done so, you can make
routings to and from the network port device with
the Device Settings & Routing window.
The Device Settings & Routing window displays
the NET port for the MIDI Timepiece AV as shown
below.
Figure 7-13: The Mac serial port on box 9-16 in a two-MTP network.
THE MTC IN AND MTC OUT CONNECTIONS
The MTC In and MTC Out connectors represent
MIDI Time Code (MTC) routing to and from the
interface itself. If you would like to send MIDI
Time Code from your MOTU interface to devices
connected to its MIDI Out ports, create a
connection from the MTC Out port to the desired
devices, as shown in Figure 7-14.
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Routing MTC to an MTP AV Net port (AV only)
If you have a MIDI Timepiece AV, you can route
MIDI Time Code to a device connected to the
Network port as shown below (but not if the
network port is connected to a second MIDI
Timepiece).
Figure 7-14: To send MIDI Time Code (MTC) generated by the MIDI
Timepiece AV to other devices in your network, make a connection
from the MTC Out port (on the left) to the desired devices on the right
as shown here. In this example, the MOTU interface (an Express XT in
this example) is programmed to send MTC to the Roland VS-880 hard
disk recorder (and the computer, too, of course).
Routing MTC to your MOTU interface
If you would like to slave your MOTU interface to
MIDI Time Code generated by another device,
make a connection from the device (on the left) to
the MTC In port (on the right). If you have a MIDI
Timepiece AV, you’ll also need to set the MASTER
SYNC mode to MTC or MTC/VIDEO. (Please note
that MTC mode is not recommended because
other forms of SMPTE provide a more stable time
base. For details, see “Advice about choosing a time
base master” on page 140.)
Routing MTC to the computer port
From the factory, your MOTU interface is
programmed to send MTC to the computer port,
as shown below in Figure 7-15. This connection is
required by any MIDI software that needs to slave
to MTC generated by the interface.
Figure 7-16: Sending MIDI Time Code to a device connected to the
network port. (Note: see Figure 7-17 if a second MIDI Timepiece is
connected to the network port.)
Routing MTC to a 2nd MTP AV Mac port
(AV only)
If you have a second MIDI Timepiece (box 9-16)
with a computer connected to it, you can route
time code to it from box 1-8 as shown below in
Figure 7-17.
It is not necessary to route MIDI Time Code to
ADATs connected to the MIDI Timepiece AV’s
ADAT Sync Out port. The MIDI Timepiece AV
synchronizes ADATs using a proprietary sync
protocol that is “hard-wired”; it is therefore not
represented graphically in the Device Settings &
Routing window. The ADAT ports have no impact
on the AV’s synchronization control over ADATs.
Figure 7-15: From the factory, your MOTU interface is programmed to
send MIDI Time Code to the computer as shown here by the selected
connection. This connection is necessary for slaving software to MTC
generated by the interface.
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wired” and is therefore not represented graphically
in the Device Settings & Routing window. The
ADAT ports have no impact on the AV’s control
over ADATs.
ADAT PORT SETTINGS
(For the MIDI Timepiece AV only)
If you click on either ADAT icon in the Device
Settings & Routings window, the ADAT port
settings dialog appears:
Figure 7-17: Routing MTC to a second computer connected to a
second MIDI Timepiece.
THE ADAT PORTS
(For the MIDI Timepiece AV only)
The ADAT ports in the Device Settings & Routing
window allow other devices in your studio—or
computer software, such as a “soft BRC” console—
to communicate with ADATs connected to the
MIDI Timepiece AV’s MIDI Sync Out port. If you
have software that needs to communicate back and
forth with the ADATs for purposes other than
standard MMC transport control (which is
handled by the MIDI Timepiece AV), all you need
are the factory default connections to the ADAT
ports shown below.
Figure 7-19: ADAT port settings.
These settings help you manage how the MIDI
Timepiece AV interacts with your ADAT device.
Enable automatic device detection
When this option is checked (the default setting),
the MIDI Timepiece AV continuously polls its
ADAT port for the presence of an ADAT. If you plug
one in and turn it on, the AV will detect it and
perform its routine handshake with the ADAT (or
any ADAT device on the ADAT sync chain).
Some ADAT-sync compatible devices do not
respond well to this sort of continuous polling. If
your ADAT device or ADAT sync chain is not
behaving normally, try unchecking this box.
Figure 7-18: These factory default connections between the ADAT
ports and the computer allow software, such as a “soft BRC” console,
to communicate with ADATs connected to the AV’s ADAT Sync Out
port. These connections are not required, however, for MMC transport control of the ADATs, which is handled by the MIDI Timepiece AV.
Synchronization and transport control between
the MIDI Timepiece AV itself and ADATs
connected to its ADAT Sync Out port is “hard-
Offset entire ADAT chain by _hours
When ADATs run under ABS time, the time span
on an ADAT tape is from zero to 45 minutes.
Sometimes, however, the MIDI Timepiece AV
needs to be working at a timecode offset that starts
in another hour besides zero. For example, many
SMPTE time code cues start at 1 hour and go from
there. If you are working with a similar situation,
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you can simply type in a 1-hour negative offset here
in the Port settings dialog. Then, when the MIDI
Timepiece AV goes to 1 hour, 13 minutes, for
example, the ADATs connected to your AV will go
to 13 minutes.
triggered as the Time Code source. Note also that
this connection is not necessary, however, if you
intend to send MMC transport commands directly
from computer software (or a MMC hardware
device) to a MMC device.
Here’s another example. If the time code you are
working with is in the 10-hour range (10:00:00:00),
you would type in a 10-hour negative offset.
MMC In and MMC Out port connections only
involve MMC transport commands; they do not
route MMC record functions, such as recordenable or auto punch-in/out. To route MMC
record functions, make connections between the
Device Settings & Routing Window’s MIDI ports
and computer icon as needed.
☛
This ADAT chain offset affects the time
readout of each individual ADAT in the Sync/
MMC window. For example, if the ADAT chain
offset is -1 hour, the individual ADAT offset (in the
ADAT’s panel) will be 1:00:00:00.
Send ADAT commands when no ADAT is
detected
When this option is checked, the MIDI
Timepiece AV will send sync commands to its
ADAT SYNC OUT port, regardless of whether an
ADAT device has been detected or not.
If you have a MIDI Timepiece AV, it is not
necessary to connect the MMC Out port to either
ADAT port; MIDI Timepiece AV control over
ADATs connected to its ADAT Sync Out port is
“hard-wired” and therefore not represented
graphically in the Device Settings & Routing
window.
When this option is unchecked, the MIDI
Timepiece AV only sends sync commands to the
ADAT port when an ADAT device is detected. If no
ADAT device is detected, it sends nothing.
Check this option when you have connected the
MIDI Timepiece AV ADAT SYNC OUT port
directly to a MOTU PCI-324 card SYNC IN port,
with no ADATs in between.
THE MMC OUT AND MMC IN PORTS
The MMC Out and MMC In ports provide routing
of MIDI Machine Control (MMC) transport
commands to and from your MOTU interface
itself. For example, if you would like to send MMC
transport commands generated by (or
redistributed by) your MOTU interface itself to
another device, create a connection from the MMC
Out port to the desired device as shown below in
Figure 7-20. Usually, you will only have one such
connection at a time, as only one device would be
Figure 7-20: When you want to trigger another MMC device with your
MOTU MIDI interface, or if you want the interface to redistribute MMC
transport commands from your sequencer or an Alesis LRC, connect
the MMC Out port to any device you wish to control. Note that these
MMC connections involve MMC transport commands only. For MMC
record functions (play-enable, punch-in, etc.), use the regular MIDI
ports and computer connections.
Routing MMC from the Mac to the interface
The MMC In port in the Device Settings & Routing
window represents MIDI Machine Control input to
your MOTU interface itself. In other words, the
interface “listens” to MMC transport commands
from any devices (or computer software)
connected to this port.
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For MMC transport control of the interface from
the computer, make the connection shown below
in Figure 7-21.
Connecting an MMC controller
If you would like to control your MOTU interface
from a MMC controller connected to one of its
MIDI inputs, connect the device’s input cable to the
MMC In port as demonstrated below.
Figure 7-21: The selected connection shown above is required when
you want to control your MOTU interface — and any devices slaving
to it — from your sequencer or other MMC software on the computer.
Direct MMC versus redistributed MMC
When the connection shown in Figure 7-21 is
made, your MOTU interface “swallows” all MMC
transport commands sent by MMC software
running on the computer, regardless of the MMC
device the messages are intended for (as
determined by the MMC device ID embedded in
the messages). If you want to control a MMC
device from your computer, you have two choices:
Figure 7-22: To control your MOTU interface from a MMC controller
such as JLCooper’s CuePoint, connect it to the MMC In port.
☛
An Alesis LRC controller does not require any
routing in the Device Settings & Routing window
because of its special connection to the LRC Input
on the MIDI Timepiece AV’s front panel. For
details, see “Using an Alesis LRC” on page 158.
1. bypass the interface’s MMC features,
2. or send the MMC transport commands to the
MOTU interface instead and have it redistribute
them to the other MMC device(s)
If you would like to bypass the interface and
control a MMC device directly from your
computer software (choice #1 above), remove the
highlighted connection shown in Figure 7-21.
If you plan to use choice #2 above, make the
connection shown in Figure 7-21, and also make
connection shown in Figure 7-20 (which routes
your MOTU interface’s MMC Out port to the other
MMC device).
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CHAPTER 8
Channel Map
The Channel Map window controls the
channelizing of MIDI data on all MIDI IN and
MIDI OUT cables. With complete flexibility, this
window can switch data from its current MIDI
channel to any other channel immediately when
the data either enters or exits your MOTU
interface.
On a MIDI IN port, data enters on a given channel.
But before it goes anywhere else, either to the
Macintosh or to a MIDI OUT cable, the Channel
Map window can switch the data to a different
MIDI channel.
On a MIDI OUT cable, data exits the interface. But
before it does, the Channel Map window can
switch the data to a different channel.
USING CHANNEL MAPPING
Figure 8-1: Use the pop-up menus to choose the MIDI device input or
output you would like to remap. Then change the MIDI channel
numbers as desired. Click the Default button to restore all mappings
to their default state (channel 1 to channel 1, 2 to 2, etc.)
Channel Mapping like this is useful in many
different situations. For example, you may have a
MIDI keyboard that only transmits data on MIDI
channel 1. If you want to transmit its data on a
different channel, you can map channel 1 on the
keyboard’s MIDI IN cable to any other MIDI
channel. To the rest of the network, it will then
appear as if the keyboard is transmitting on the
new, destination channel.
BASICS
MUTING AND REMAPPING
A simple way to think of channel mapping is this:
imagine that each MIDI IN or MIDI OUT port
connected to your MOTU interface has a filter just
inside the socket. MIDI data enters the filter on one
channel and as it passes through the filter, it gets
switched to a different channel.
For information about when muting occurs before
channel mapping and vice versa, see “Muting and
remapping” on page 58.
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CHAPTER 9
Muting
OVERVIEW
The Event Muting window is a sophisticated MIDI
data filter that controls what types of data will be
sent and received by each MIDI OUT and MIDI IN
cable. You can filter out any type of MIDI data on
any channel on any cable. In addition, each MIDI
channel can have its own unique muting setup. The
Event Muting window shows the muting status for
each type of data on all MIDI channels and all
cables at once, giving you immediate feedback on
the state of your interface.
Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57
Muting data on a single channel . . . . . . . . . . . . .58
receiving the data on that port. However, the data
does get muted. (On output, however, since muted
data doesn’t actually get sent, the light does not
blink.)
Whenever you would like to mute data, begin with
the following procedure:
1 If you have more than one MOTU interface,
select the box you want to mute in the Device List
window in ClockWorks. See “The Device List
window” on page 38 for details.
2 From the Windows menu, open the Event
Muting window.
Muting a data type on all channels . . . . . . . . . . .58
Muting on all channels, all cables. . . . . . . . . . . . .58
Unmuting data. . . . . . . . . . . . . . . . . . . . . . . . . . . . .58
Muting MIDI beat clocks. . . . . . . . . . . . . . . . . . . .58
Muting and remapping . . . . . . . . . . . . . . . . . . . . .58
BASICS
A simple way to think of data muting is this:
imagine that each MIDI IN or MIDI OUT cable on
your MOTU interface has a filter just inside the
socket. A MIDI data stream enters the filter and
then continues on past the filter with certain types
of data removed. The filter has simply “swallowed”
the data types that are being muted.
On a MIDI IN cable, data is muted before it enters
the interface. On a MIDI OUT cable, data gets
muted just before it gets transmitted out of the
interface.
Figure 9-1: The pop-up menus at the top of the window let you
choose the type of data to be muted and whether you are muting
MIDI inputs or outputs. Click the desired check box(es) in the grid;
each check box represents a MIDI channel (by column) for a device
(by row). When the check box is checked, the data is muted.
3 Select the type of data to be muted from the
Mute pop-up menu.
4 Choose Input or Output from the pop-up menu.
Doing so makes the check box grid control muting
for either MIDI IN ports or MIDI OUT ports.
☛
When data is muted on a MIDI IN port, the
light on the front panel still blinks when the data is
received on the port. Don’t be concerned. The light
blinks to let you know that the interface is indeed
Now you are ready to click check boxes in the grid
to mute data.
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MUTING DATA ON A SINGLE CHANNEL
To mute data on a single MIDI channel for a device,
click the appropriate check box in the grid. Its
channel number is labeled by column across the
top of the grid; its device is labeled by row along the
left side of the grid.
MUTING A DATA TYPE ON ALL CHANNELS
To mute a data type on all 16 channels for a device,
click the device name at the left edge of the check
box grid. Doing so will select all check boxes in the
row, selecting all channels for muting.
MDI IN
Muting filter
Channel mapping filter
MOTU interface data bus
Channel mapping filter
MUTING ON ALL CHANNELS, ALL CABLES
To mute a data type on all channels and all devices,
click the Input button and click Set All. This sets
the grid to all MIDI IN cables and select all the
check boxes in the grid. Similarly, click the Output
button and click Set All again. This sets the grid to
all MIDI OUT cables and selects all the check
boxes.
UNMUTING DATA
To unmute data on a single channel, deselect its
check box. To unmute data on all channels and
cables, click Clear.
MUTING MIDI BEAT CLOCKS
When MIDI beat clocks are transmitted to your
MOTU interface (via a MIDI device or the
Macintosh) they are echoed to all cables. If you do
not want MIDI beat clocks sent to all your MIDI
devices, mute Real-time data on the output cables
for those devices.
MUTING AND REMAPPING
On the MIDI IN ports, muting occurs before
channel remapping. On the MIDI OUT ports,
channel remapping occurs before muting, as
shown in Figure 9-2.
Muting filter
MDI OUT
Figure 9-2: How muting and remapping interact with each other.
If you did this on a MIDI IN port, channels 1-8
would get muted, and the data on channels 9-16
would get mapped to channel 16. If you did this on
a MIDI OUT port, all data on all channels would be
sent out on channel 16, since all channels are
mapped to channel 16 before the muting occurs on
channels 1-8.
Here’s another example: Let’s say you are mapping
all channels to channel 1, and you are muting
channels 1-8.
On input, only channels 9-16 will get
rechannelized to channel 1, because channels 1-8
get muted first. On output, no data would be sent
because all channels are mapped to channel one
first, and then channel 1 is muted.
For example, let’s say that on one of the MIDI
ports, you are muting channels 1-8, and you are
also remapping all channels (1-16) to channel 16.
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CHAPTER 10
Sync and MIDI Machine Control
OVERVIEW
TRANSPORT CONTROLS
The Sync/MMC window in ClockWorks gives you
control over your MOTU interface’s sync and
MMC transport control features. This chapter
provides a brief overview of this window. For more
information, see chapter 15, “Synchronization”
(page 91) or chapter 22, “Synchronization with the
AV” (page 139).
The transport controls are just like standard tape
deck transports. From left to right, they are:
rewind, stop, play, pause and record. These buttons
control the time code generated by your MOTU
interface when it is in Internal mode.
Rewind Stop Play Pause Record
Transport controls . . . . . . . . . . . . . . . . . . . . . . . . .59
SMPTE Readout . . . . . . . . . . . . . . . . . . . . . . . . . . .59
Locate Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60
Time Base and Frame Rate Settings . . . . . . . . . .60
The Record settings . . . . . . . . . . . . . . . . . . . . . . . .60
VTR Recording options . . . . . . . . . . . . . . . . . . . . .61
FreeMIDI Sync. . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
Extra settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61
LTC and MTC Settings . . . . . . . . . . . . . . . . . . . . . .62
Word Clock settings (MTP AV only). . . . . . . . . .63
MMC ID . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
LTC Output Level . . . . . . . . . . . . . . . . . . . . . . . . . .64
ADAT List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64
ADAT preferences . . . . . . . . . . . . . . . . . . . . . . . . . .66
Sony 9-pin calibration . . . . . . . . . . . . . . . . . . . . . .67
Figure 10-2: ClockWorks transport controls.
SMPTE READOUT
The SMPTE Readout provides a running update of
the time code being generated or converted by your
MOTU interface. This running update is made
possible by MIDI Time Code (MTC) generated by
your MOTU interface and routed to the Macintosh.
If the SMPTE Readout is not responding, make
sure the Device Settings & Routing window has the
connection shown in Figure 7-14 on page 50.
The SMPTE readout shows your MOTU interface’s
current frame location in hours: minutes: seconds/
frames. You can also type in any frame location you
wish into the SMPTE Readout to cue your MOTU
interface to a specific frame location.
Mini-menu with device preferences
Transport controls
SMPTE Readout with offset
Time Base and Frame Rate settings
Record settings
VTR recording options
(Only available with the Digital
Timepiece synchronizer)
Locate buttons
Set Locate controls
Extra settings button
FreeMIDI Sync button
An ADAT (this feature is only available
with a MIDI Timepiece AV)
ADAT List
(MIDI Timepiece AV only)
Figure 10-1: The Sync/MMC window
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When your MOTU interface is set to slave to an
external time code source, you can click the offset
button as shown below in Figure 10-3 to type in a
global SMPTE offset for your MOTU interface.
Figure 10-3: Click the button as shown to type in a global SMPTE
offset for your MOTU interface.
TIME BASE AND FRAME RATE SETTINGS
The Time Base and SMPTE Frame rate settings let
you choose the overall time base and SMPTE
frame rate for your MOTU interface. These settings
are the same as the SMPTE and TIME BASE
settings on the front panel LCD of a MIDI
Timepiece AV. For a complete explanation of Time
Base modes and SMPTE frame rates, see
chapter 22, “Synchronization with the AV”
(page 139).
LOCATE BUTTONS
You can set the eight locate buttons to any SMPTE
frame location you wish and then cue your MOTU
interface (and all connected devices) as desired by
clicking the appropriate Locate button.
Time Base
setting
SMPTE
Frame
rate
Figure 10-7: The Time Base and SMPTE frame rate settings.
Figure 10-4: The Locate buttons.
THE RECORD SETTINGS
The Set Locate controls provide two ways to
program a locate button as shown in Figure 10-5.
Click here to Load the
current frame displayed
in ClockWorks’ main
SMPTE readout.
The recording settings let you control exactly when
recording will occur in MMC devices being
controlled by your MOTU interface.
Click here to type in any
desired SMPTE frame.
Record settings
Figure 10-8: The record settings.
Figure 10-5: The Set Locate controls. Click the lower arrow to load the
SMPTE frame currently displayed in the SMPTE Readout. You can even
do so on the fly. Click the upper arrow to type in the desired SMPTE
frame.
Click the upper arrow to type in the desired
SMPTE frame. Use the tab key to move from field
to field as shown in Figure 10-6 and press return to
confirm the SMPTE location you type in.
The left-hand record menu has three choices: safe,
rehearse, and record.
Safe
No recording can occur in any MMC device.
Rehearse
This mode causes MMC devices to act as if they are
recording, punching in, punching out, etc. but no
recording actually occurs.
Figure 10-6: Typing in a SMPTE frame for a locate button.
Locate points are saved with ClockWorks files.
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☛
Make sure that your MMC device supports
rehearse mode before attempting to use this record
feature. If it doesn’t, rehearse mode may actually
record. Consult the manual for your MMC device
for details.
Record
This mode allows recording on the currently
record-enabled track(s) for any MMC device. To
actually record, press the record button in
ClockWorks’ transport controls (Figure 10-2 on
page 59).
ClockWorks only / Any application
The right-hand menu has two choices: ClockWorks
only and Any application. When ClockWorks only
is chosen, recording will only occur when
ClockWorks is the active application. This mode is
useful for preventing accidental recording when
you switch to your sequencer (or other
MMC-compatible software) on the Macintosh.
When Any application is chosen, ClockWorks still
controls whether or not recording will occur, but
you can initiate recording from other FreeMIDI
compatible programs, such as Performer or Digital
Performer, that you may have running at the same
time as ClockWorks. First, make sure that
FreeMIDI Sync is enabled. Then press the record
button in ClockWorks to allow recording. When
you switch to another FreeMIDI application, such
as Performer, ClockWorks’ record button will
remain on. If you then hit play in the other
program (e.g. Performer), recording will happen.
If you want to control record functions entirely in
Performer, turn off FreeMIDI Sync so that
ClockWorks doesn’t interfere with Performer.
VTR RECORDING OPTIONS
The VTR recording options determine how the
Sony 9-pin compatible video tape recorder (VTR)
will respond when it is put into record. This feature
is only available in the MOTU Digital Timepiece
synchronizer. It is grayed out when you are using a
MOTU MIDI interface.
FREEMIDI SYNC
When the FreeMIDI Sync option is checked,
ClockWorks’ transport buttons will control the
transport functions (play, stop, rewind, and locate)
of other FreeMIDI applications running in the
background.
☛
FreeMIDI Sync should be turned off whenever
any FreeMIDI application is slaving to MIDI Time
Code. For example, when you are using Performer
or Digital Performer, you are most likely slaving
them to MTC from your MOTU interface. In this
case, be sure to turn off FreeMIDI Sync.
EXTRA SETTINGS
The Extra Settings button shown below in
Figure 10-9 opens an additional pane in the Sync/
MMC window.
Extra settings button
Figure 10-9: Click the Extra Settings button shown here to display
more synchronization settings.
Some options in the Extra Settings pane may grey
out depending on which MOTU interface you have
and which time base mode you select. Only options
that apply to the currently selected time base mode
remain active. You can see how this works by
opening the pane and successively choosing
different time base modes from the time base popup menu (as shown in Figure 10-7 on page 60). As
you change modes, you’ll see options grey out and
become active.
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If the Frame lock option is turned on (checked),
and your MOTU interface detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it will
stop converting altogether.
Figure 10-10: The Extra Settings pane for the MIDI Express XT and
micro express.
Figure 10-11: The Extra Settings pane for the MIDI Timepiece AV.
The following sections provide a brief explanation
for all of the options in the Extra Settings pane.
LTC AND MTC SETTINGS
Several settings in the Sync/MMC window apply to
the MTC, LTC or LTC QuikLock modes. These
options pertain to when your MOTU interface is
converting time code (MTC or LTC) from an
external source.
Frame lock
The Frame lock check box is only available when
your MOTU interface is locking to external
SMPTE time code (in any form — MTC, LTC or
VITC). It is not available when your MOTU
interface is the time code address master (any time
base mode that includes the word Internal in its
name).
To understand the Frame lock option, you first
need to know that your MOTU interface
continuously monitors incoming time code to
detect any possible discontinuity in the frame
times as they advance. If your MOTU interface
detects more than five frames in a row that are not
continuous with respect to previous frames
received, then it does one of two things, depending
on whether the Frame lock option is turned on
(checked) or off (unchecked).
If the Frame lock option is turned off (unchecked),
and your MOTU interface detects more than five
frames in a row that are not continuous with
respect to previous frames received, then it begins
to perform a kind of “pseudo jam sync”. In this
mode, it continues to convert an uninterrupted
stream of continuous time code, while at the same
time clocking off of the incoming time code. Even
though the frames it is generating no longer match
the frames it is reading, it will continue to remain
in sync with the incoming time code.
In other words, when the Frame lock option is off,
your MOTU interface ignores discontinuous
jumps in incoming time code by continuing to
clock itself off of the incoming time code without
stopping (or pausing). In doing so, it continues to
convert a continuous, uninterrupted stream of
frame times based on the time code to which it first
locked.
Turn on Frame lock when you want your MOTU
interface’s frame times to match incoming frame
times, and you want it to stop converting altogether
if there are jumps in incoming time code.
Turning off Frame lock can be a life saver if you find
yourself in a situation where you have time code on
tape (or other source) but the frame locations jump
around to different times (because of overlapping
SMPTE striping, edits, or whatever). By turning off
Frame lock, you can sync continuously to this type
of time code without glitching or stopping. If the
SMPTE on your tape jumps around as described,
you are likely to experience brief drop-outs at the
points where it jumps. If so, just increase your
MOTU interface’s freewheeling to cruise past
them.
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Enable still-frame sensitivity
This option lets you control how many frames in a
row your MOTU interface needs to receive to
consider incoming SMPTE as being parked on a
single frame. While lowering this value makes your
MOTU interface more responsive when you pause
your video deck, it is also more likely to
misinterpret ordinary transport shuttling. So make
this value as low as you can, but raise it if you start
getting improper frame locations when shuttling
your deck.
Generate signal when stopped
This option applies to situations in which your
MOTU interface is converting time code and the
source time code continues even when it is parked
on a frame. The most common case is when your
MOTU interface is locked to VITC, and the video
deck is paused. In this situation, the Generate
signal when stopped option, when checked, makes
your MOTU interface continues to output time
code (LTC, MTC and VITC), even while the video
is parked on a single frame in pause mode. It will
continue to do so as long as the video head is
engaged and VITC lines can be scanned.
Auto-detect input frame rate (MTP AV only)
This option is only available for the MIDI
Timepiece AV. When this option is checked, your
MOTU interface will automatically detect the
frame rate of incoming SMPTE time code (VITC,
LTC or MTC). In most situations, this is desirable
because it ensures that your MOTU interface is
properly interpreting and synchronizing to the
time code. If, however, you find yourself in a
situation where you would like to set the frame rate
manually, uncheck this option and set the frame
rate using either ClockWorks (in the MMC/Sync
window) or your MOTU interface front-panel
controls.
Freewheel _ frames
This option lets you set the number of frames your
MOTU interface will freewheel over when it
encounters a time code drop-out. For a complete
explanation of freewheeling, see your MOTU
interface User’s Guide.
“One time” jam sync
Choosing this option is like choosing “infinite
freewheel”. When you choose this option, your
MOTU interface begins generating time code on its
own indefinitely as soon as it stops receiving
incoming time code. And it will continue to do so
until you stop it with the STRIPE button on the
front panel. You can also stop it by changing the
master sync mode or by enabling the Freewheel
option in ClockWorks.
WORD CLOCK SETTINGS (MTP AV ONLY)
This option is only available for the MIDI
Timepiece AV. The word clock settings set the
digital audio word clock rate for your MOTU
interface. There are six possible word clock rates:
normal, pull-up, and pull-down for both 44.1kHz
and 48kHz. These settings correspond to the
settings in the front-panel LCD of the MIDI
Timepiece AV. These settings are grayed out if your
MOTU interface is in a time base mode where it
should determine the word clock rate on its own,
such as when it is slaving to an external word clock
as a time base.
Figure 10-12: ClockWorks’ word clock settings.
Enable Superclock (MTP AV only)
This option is only available for the MIDI
Timepiece AV. The Enable Superclock option
changes the MIDI Timepiece AV word clock output
to Digidesign 256x “superclock” instead of
standard 1x word clock. Use superclock with Pro
Tools systems.
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Lock Word Clock to (MTP AV only)
This option is only available for the MIDI
Timepiece AV. The Lock Word Clock to option has
two choices: internal or video. Use the video option
when you would like the MIDI Timepiece AV to
derive its time base from a video signal present on
its VIDEO IN connector. This is equivalent to
choosing one of the three VIDEO timebase modes
in the MIDI Timepiece AV’s front panel LCD.
MMC ID
The MMC ID option lets you change the MMC
(MIDI Machine Control) device ID of your MOTU
interface. The factory default ID of your MOTU
interface is 20. The only situation in which you
really need to change it is if you are connecting two
MOTU interfaces together. Otherwise, just leave it
set to one, and make sure that your MMC transport
master controller device or computer software
knows that your MOTU interface’s ID is 20.
ADAT LIST
(For the MIDI Timepiece AV only)
The ADAT list shows a list of all of ADATs (or other
ADAT-sync compatible devices) connected to the
ADAT port on a MIDI Timepiece AV. The MIDI
Timepiece AV automatically detects any ADATtype devices connected to it and continuously
reports that information to ClockWorks, which
displays the ADATs in the list. The MIDI
Timepiece AV continuously polls for devices, so
the list will update within a few seconds whenever a
change occurs. For example, if your ADAT is
currently switched off, and you then turn it on, it
will appear in ClockWorks’ ADAT list after a few
seconds — after the MIDI Timepiece AV powers
up and detects the ADAT during the next regular
polling cycle.
If you change your MOTU interface device ID for
some reason, make sure that it does not match the
ID of another device connected to it.
If you are experienced with using MMC, you may
be thinking, “But don’t I have to at least assign
Device IDs for my ADATs connected to my MIDI
Timepiece AV?” The answer is no: you don’t have
to worry about this because the AV sets the device
IDs of all ADATs connected to it automatically. For
more information, see “Setting MMC device ID’s”
on page 154.
ADAT
panel
Figure 10-13: ADATs connected to a MIDI Timepiece AV.
LTC OUTPUT LEVEL
This row of buttons allows you to adjust the overall
gain of the SMPTE time code from your MOTU
interface LTC output jack. Click towards the left to
reduce the level; click towards the right to increase
it. This level control affects LTC output in all sync
modes, including LTC, MTC, etc.
ADAT device panels
Each ADAT is displayed in the list as a panel, which
provides status information about the ADAT, such
as the current state of its transports, its current
SMPTE location, and whether or not it currently
has a tape in it. The panel also provides settings for
the ADAT as shown in Figure 10-14, such as a
unique SMPTE offset (each ADAT can have its own
offset) and even individual track offsets.
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Device Record Transport Current SMPTE
icon source Status Location Display
Device
name
and
MMC ID
Monitor
mode
buttons
Track
record
enable
buttons
SMTPE
Offset
Track
offset
buttons
On line/
Off line
button
Transport status
The transport status area of the ADAT panel as
shown in Figure 10-14 shows you the current status
of the transports of the ADAT. The chart below
explains each possible transport status icon.
Eject
tape
button
Transport icon Name
Figure 10-14: Here is an example of an ADAT panel. It presents status
information and settings for the ADAT.
Device icon
The device icon merely serves as a graphical identification for the ADAT. It is for display purposes
only.
Record source
This drop down menu lets you choose between the
digital or analog inputs on the ADAT.
Figure 10-15: To choose the record source (either the analog or digital
inputs on the ADAT), choose the desired source from the pop-up
menu as shown.
Current SMPTE location display
The current SMPE location display shows the
current transport location of the ADAT. Except in
unusual circumstances, this number will exactly
match the number displayed on the front panel of
the ADAT, even if you have programmed a SMPTE
offset for the ADAT in ClockWorks.
☛
Some ADATs, such as the ADAT XT, display
hundredths of a second instead of frames in their
front panel. But the SMPTE display in ClockWorks
will always show hours: minutes: seconds: and
frames, since ClockWorks derives its SMPTE
display from MIDI Time Code, which only
provides information in frames (not hundredths of
a second).
What it means
Stop
The ADAT is stopped, and the
tape head is disengaged.
Play
The ADAT is playing.
Fast forward
The ADAT is cuing forward.
Rewind
The ADAT is rewinding.
Pause
The ADAT is paused and the
tape head is still engaged.
Eject
The tape in the ADAT is ejected.
Variable
play
You probably won’t see this
icon.
Search
This icon is blue, while the fast
forward icon is green.
Shuttle
You probably won’t see this
icon.
Step
You probably won’t see this
icon.
Step completed
You probably won’t see this
icon.
Unrecognized command
This means that ClockWorks
did not recognize the command
sent from the ADAT. Rare.
Means that the last operation
was not completed successfully.
You’ll probably never see this.
SMPTE Offset
The SMPTE Offset button as shown in
Figure 10-14 lets you program a SMPTE offset for
the ADAT. This means that each ADAT can have its
own separate offset. To program the offset, click
the offset button and then type in the desired offset
amount. Use the tab key to move from field to field
and press return to confirm your choice. You can
also change numbers by dragging up or down on
them. Notice also that you can offset by subframes, as shown below in Figure 10-16.
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Click here
to choose a
positive or
negative
offset
Click here
to enter an
offset.
Figure 10-16: Each ADAT can have its own individual SMPTE offset.
Notice that the offset includes sub-frames in hundredths of a frame.
On Line / Off Line
When the ADAT is on line, it will respond to the
MIDI Timepiece AV’s transport control. When the
ADAT is off line, it will not respond to the MIDI
Timepiece AV.
Monitor mode buttons
These buttons let you set the monitor mode of the
ADAT. All monitors all track input. Auto monitors
record-enabled tracks only. Auto mode overrides
All.
Track record-enable buttons
The track record-enable buttons allow you to arm
tracks on the ADAT for recording. When you click
the button, it will flash green if ClockWorks is
currently set to Rehearse or Safe modes, or it will
flash red if ClockWorks is set to Record mode. The
button will turn solid when recording actually
begins.
When you then press the record button in
ClockWorks (or your MMC-compatible sequencer
or other software — with ClockWorks’ record
mode set to Any application), the ADAT will begin
recording on the track(s) you’ve armed.
Track offset buttons
ADATs have the ability to offset individual tracks
by a number of samples. The Track offset buttons
below each record button as shown in Figure 10-17
allow you to set each track offset from within
ClockWorks. You can either type in a number of
samples or simply drag vertically on the number to
change it. The range of samples for ADATs is 0 to
8191.
Figure 10-17: To enter a track offset, click the track offset button as
shown and then enter the desired number of samples by typing or by
dragging vertically on the number.
ADATs provide this feature in samples as apposed
to frames. Below is a conversion chart to help you
work in frames.
SMPTE
unit
Samples
at 44.1kHz
Samples
at 48kHz
1 frame @ 30 fps
1470
1600
1 frame @ 29.97 fps
1470*
1600*
1 frame @ 25 fps
1764
1920
1 frame @ 24 fps
1837
2000
1/4 frame @ 30 fps
367
400
1/4 frame @29.97 fps
367*
400*
1/4 frame @ 25 fps
441
480
1/4 frame @ 24 fps
459
500
* This value is based on a pull-down rate.
ADAT PREFERENCES
(For the MIDI Timepiece AV only)
The Sync/MMC window has a mini-menu (as
shown in Figure 10-1 on page 59) in its title bar.
The menu has a command called Set Machine
Preferences. To set the preferences for a ADAT:
1 Click anywhere on the panel of the ADAT you
wish to set preferences for.
2 Choose Set Machine Preferences from the Sync/
MMC window mini-menu.
The Machine Preferences window opens.
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When the Wait for device on play option is
unchecked, the MIDI Timepiece AV may,
depending on the situation, begin generating or
converting time code while the ADAT is still cueing
to catch up to the current playback location. The
device will begin playing as soon as it catches up.
Figure 10-18: To set machine preferences, click the panel of the ADAT
you want to set preferences for and choose the Set Machine Preferences command from the mini-menu in the title bar of the window.
MMC device settings
The window shows the icon, name and MMC
device ID of the selected ADAT. It lets you change
the number of tracks for the ADAT, as well as the
MMC device ID.The MIDI Timepiece AV
automatically assigns device IDs to ADATs chained
off its ADAT Sync out port. Under routine circumstances, each ADAT will automatically be set to its
own unique ID (this is a requirement of MMC and
ADAT sync) and you won’t have to fuss with this
setting. If you do need to adjust it for some reason,
make sure the number you type in is not being
used by any other device on the ADAT chain.
Deferred play
The Wait for device on play option, when checked,
causes the MIDI Timepiece AV to wait for the
ADAT to cue to the current playback location
before it begins generating or converting time
code.
Turning this option on for all ADATs will ensure
that they all begin playing at the same time. But the
trade-off is that you will have to wait for all of them
to cue before playback begins. Here are some other
reasons why you might want to turn this option off
for a device:
■
The device is particularly slow.
■ You just don’t want to have to constantly wait for
a particular device to catch up.
You have several random-access systems that
can cue instantly, along with one device that has a
tape transport, and you don’t want to wait for the
one tape transport device.
■
SONY 9-PIN CALIBRATION
The Sync/MMC window mini-menu (shown in
Figure 10-1 on page 59) has an item called Sony
9-PIN calibration. This feature is only available in
the MOTU Digital Timepiece synchronizer. It is
grayed out when you are using a MOTU MIDI
interface.
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CHAPTER 11
SMPTE Reader
OVERVIEW
THE SMPTE READER WINDOW
As a smaller, more compact version of the upper
portion of the Sync/MMC window, the SMPTE
Reader window provides a running update of the
time code being generated or converted by your
MOTU interface. Status information is
continuously fed to the SMPTE Reader from your
MOTU interface via MIDI Time Code. It also
provides valuable status information about your
MOTU interface itself.
The SMPTE Reader provides a running update of
the time code being generated or converted by your
MOTU interface. This running update is made
possible by MIDI Time Code (MTC) generated by
your MOTU interface and routed to the Macintosh.
If the SMPTE Reader is not responding, make sure
the Device Settings & Routing window has the
connection shown in Figure 7-14 on page 50.
The SMPTE Reader window . . . . . . . . . . . . . . . . .69
SMPTE Reader status display . . . . . . . . . . . . . . . .70
The SMPTE Reader shows your MOTU interface’s
current frame location in hours: minutes: seconds/
frames.
Time base status . . . . . . . . . . . . . . . . . . . . . . . . . . .70
Frame lock/freewheel status . . . . . . . . . . . . . . . . .70
Timebase measure. . . . . . . . . . . . . . . . . . . . . . . . . .71
Actual Frame Rate. . . . . . . . . . . . . . . . . . . . . . . . . .71
Video Out Phase Lock . . . . . . . . . . . . . . . . . . . . . .71
Output phase lock . . . . . . . . . . . . . . . . . . . . . . . . . .71
Input frame phase lock . . . . . . . . . . . . . . . . . . . . .72
Input quarter frame phase lock . . . . . . . . . . . . . .72
External time code detect . . . . . . . . . . . . . . . . . . .72
Figure 11-1: The SMPTE Reader provides a running update of your
MOTU interface while it is generating or converting time code.
If you click the triangle in the lower left-hand
corner of the window, an additional status display
appears at the bottom of the window. This area
shows what state your MOTU interface is in at any
given time.
Word clock stable . . . . . . . . . . . . . . . . . . . . . . . . . .72
Opens the separate status
window shown in Figure 11-3
on page 70.
Figure 11-2: The triangle along the left-hand side of the window
opens and closes the status display at the bottom of the window.
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SMPTE READER STATUS DISPLAY
The SMPTE reader status display can be opened by
clicking the triangle in the lower left-hand corner
of the SMPTE Reader, as shown in Figure 11-2.
The status area provides detailed information
about what state your MOTU interface is in as a
synchronizer. The following sections provide a
brief explanation of each term.
The sync status area of the SMPTE Reader can also
be opened as a separate window by clicking the
question mark icon shown in Figure 11-2.
Has Timebase
This status indicator means that your MOTU
interface has established a stable time base. You’ll
see this indicator when one of the following is true:
■
your MOTU interface is in Internal mode
your MOTU interface is set to receive external
sync (MTC, LTC, word clock, etc.) and it has
successfully achieved lockup with the external sync
source.
■
Getting Time base
This status indicator is displayed briefly while your
MOTU interface is in the process of establishing
lock-up to an external time base. It is an
intermediate state and you’ll only see it briefly.
FRAME LOCK/FREEWHEEL STATUS
This line in the status display tells you if your
MOTU interface is frame-locked or if it is currently
freewheeling. The terms you will see here are:
Figure 11-3: To open the Sync Status window, click the question mark
icon shown in Figure 11-2.
TIME BASE STATUS
The time base status readout tells you whether or
not your MOTU interface is currently locked to a
time base. The terms you will see here are:
■
Needs Timebase
■
Has Timebase
■
Getting Timebase
Needs Timebase
This status indicator means that your MOTU
interface is waiting to receive incoming signal from
an external time base source from which it will
derive a time base. When it successfully achieves
lockup, it then displays Has Timebase.
■
Frame-locked
■
Jam
Frame-locked
This status indicator means that your MOTU
interface is successfully locked to an external time
base and that it is also successfully generating or
converting SMPTE time code.
Jam (MIDI Timepiece AV only)
This status indicator means that the MIDI
Timepiece AV has been successfully locked to
external SMPTE time code in one of its video
modes, but that it has also detected that the SMPTE
time code has drifted out of frame-lock with video
for more than five frames in a row or the time code
has dropped out completely.
The primary reason for the Jam indicator is to alert
you to SMPTE time code on a video tape that is not
frame-locked — that is, the time code drifts in
relation to the actual video frames.
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Here is a great way to put this feature to good use
and to ensure trouble-free video sessions: if you get
a video tape that has time code already on it, and
you have no way of verifying how the time code
was recorded, you should slave the MIDI
Timepiece AV to it (in LTC/VIDEO mode) from
start to finish once before you begin working with
it. If you do not get the Jam indicator at any time,
you know that the SMPTE time code is framelocked and does not drift in reference to video
frames. If you do get the JAM status indicator, you
are alerted that the SMPTE time code is not framelocked, and you can take appropriate action with
the MIDI Timepiece AV to fix the tape. By
connecting the video signal from your VCR to the
video-in jack on the MIDI Timepiece AV,
connecting the SMPTE-out jack to one of the audio
tracks on your video deck, and selecting
INTERNAL/VIDEO as the sync mode, you can restripe the tape with frame-lock accuracy.
If it doesn’t really matter to you that the time code
is not frame-locked, you can simply lock the MIDI
Timepiece AV to the SMPTE time code in LTC
mode (instead of LTC/VIDEO), which will provide
consistent, reliable sync.
ACTUAL FRAME RATE
(For the MIDI Timepiece AV only)
This status indicator shows how far off the current
SMPTE frame rate output of the MIDI
Timepiece AV is from the current frame rate
setting (as shown by the LEDs on the front panel of
the MIDI Timepiece AV). This is an easy way to
check the accuracy of external timebases. It also
helps avoid pull up/down problems that can
inadvertently arise.
You can also use this to differentiate between 30 fps
and 29.97 fps (non-drop) coming from an external
source. Normally the MIDI Timepiece AV will
automatically switch to the frame rate that it
detects, but it is not possible to differentiate, for
example, between 29.97 non-drop coming from an
accurate time base and 30 fps coming from a
timebase that is running slightly slow. If you know
whether your sync source is generating 29.97 or 30
fps, you should set the MIDI Timepiece AV frame
rate appropriately. If you are not sure which frame
rate is correct, the time base adjust display can give
you an idea. For example, if the MIDI
Timepiece AV is set to 30 fps and the actual frame
rate display shows 29.97, it is likely that the actual
received frame rate is 29.97 fps.
TIMEBASE MEASURE
(For the MIDI Timepiece AV only)
This status indicator shows the actual sample rate
being generated by the MIDI Timepiece AV based
on the current external time base. This display
shows the number of samples being generated per
second. It allows you to measure how accurate
external time base sources are (such as video or
LTC). It is also affected by the sample rate settings
in the MIDI Timepiece AV, so it can help you chase
down discrepancies with pull-up and pull-down
sample rates.
VIDEO OUT PHASE LOCK
(For the MIDI Timepiece AV only)
When this status indicator is illuminated, it means
that the video out signal of the MIDI Timepiece AV
is in sync with the correct time base.
OUTPUT PHASE LOCK
When this status indicator is illuminated, it means
that time code generated by your MOTU interface
(MTC and LTC) is in sync with the current time
base.
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INPUT FRAME PHASE LOCK
EXTERNAL TIME CODE DETECT
When this status indicator is illuminated, it means
that your MOTU interface has successfully
achieved lockup with incoming LTC/MTC full
frame messages.
When this status indicator is illuminated, it means
that your MOTU interface has successfully
detected external time code (MTC, LTC).
WORD CLOCK STABLE
INPUT QUARTER FRAME PHASE LOCK
When this status indicator is illuminated, it means
that your MOTU interface has successfully
achieved lockup with incoming LTC/MTC quarter
frame messages.
When this status indicator is illuminated, it means
that your MOTU interface has successfully
achieved a stable time base rate from its internal
time base or by determining the external time base
rate.
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CHAPTER 12
Utilities Menu
INTERFACE SETTINGS
REESTABLISH COMMUNICATION
Use the Interface Settings command in the Utilities
menu to open the Interface Settings dialog box.
This dialog box is the same dialog box that appears
in other FreeMIDI applications and will control
FreeMIDI’s access to the serial ports of your
Macintosh for all FreeMIDI applications. This
dialog box allows you to enable and disable the two
serial ports for MIDI.
This command makes ClockWorks perform a
handshake with the MOTU interface currently
being controlled with ClockWorks — without
polling it for all of its current settings. As a result,
this command is faster than the Verify Network
command. Reestablish Communication is grayed
out unless ClockWorks has detected that one of
your pieces of MOTU hardware has gone off line.
EDIT FREEMIDI CONFIGURATION
SEND DATA TO
The Edit FreeMIDI Configuration command in the
Utilities menu launches the FreeMIDI Setup
application (or switch to FreeMIDI Setup if it is
already open) and display the current FreeMIDI
Configuration. There is a Return command in
FreeMIDI Setup (command-R) that will switch
back to ClockWorks, if you entered FreeMIDI
Setup using the Edit FreeMIDI Configuration
command.
This command sends all of the current settings in
ClockWorks to your MOTU interface (or the
currently selected Mark of the Unicorn hardware in
the Device List window.) This command is useful if
your MOTU hardware has been turned off or
disconnected while you were working with
ClockWorks. This command updates the internal
state of the hardware so that it matches what you
have done in the software on the computer.
If you are running OMS, this command launches
the OMS Setup application.
SET MTP 1 DEFAULT
SELECT
If you have other Mark of the Unicorn hardware
connected to your Macintosh, such as multiple
MIDI interfaces or a Digital Timepiece, this
command lets you choose which piece of gear you
want to be editing in the windows and menus of
ClockWorks. This feature is similar to highlighting
a device in the Device List window.
VERIFY NETWORK
Causes ClockWorks to poll for Mark of the
Unicorn MIDI interfaces and Digital Timepieces to
detect what units are connected and obtain their
basic hardware configuration.
This command is grayed out unless an original
MOTU MIDI Timepiece is currently on-line and
selected in the Device List window. If so, it restores
the MIDI Timepiece to its factory default state.
AUTOTECH™ ASSISTANT
When AutoTech™ assistant is turned on (checked),
ClockWorks will monitor the settings in all Mark of
the Unicorn MIDI interfaces connected to your
Mac to detect and resolve conflicting settings.
AutoTech will detect problems such as conflicting
MMC device IDs, other conflicting MMC settings
and sysex muting settings that will interfere with
the interface’s ability to communicate with other
MIDI devices and hardware. We strongly
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recommend that you keep this feature turned on,
especially if you are using a Digital Timepiece or
multiple MOTU interfaces.
ALL NOTES OFF
The All Notes Off command causes FreeMIDI to
send out All Notes Off messages to all devices. In
addition, it sends out a MIDI note off command for
every note on every channel. As you can imagine,
this is a lot of data, and it will take FreeMIDI a
moment to transmit all of it! Just watch the frontpanel LED’s, and when they finish flickering, then
the operation is done.
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XT& Micro Users
Part II
For XT & Micro Users
XT& Micro Users
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Express XT/micro Presets Page 77 Tuesday, June 22, 1999 1:23 PM
CHAPTER 13
Working with Presets
OVERVIEW
FACTORY VERSUS USER PRESETS
This chapter describes your MOTU Express
interface’s eight factory presets and explains how
to:
Your Express interface provides eight factory
presets and eight more user presets. Factory presets
are “hard-wired” and cannot be permanently
changed. If a factory preset is the current preset,
changes you make to your Express interface’s
settings will not be remembered unless you save
them to one of its eight user presets.
■ Select a factory preset or one of eight user presets
from the front panel
■
Create your own user presets
■
Use the Presets window in ClockWorks
■ Select presets using patch changes from any
MIDI source (such as a keyboard controller or
sequencer)
Factory versus user presets . . . . . . . . . . . . . . . . . .77
Selecting a preset on an Express XT . . . . . . . . . .77
Selecting a preset on a micro express . . . . . . . . .77
Factory Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . .78
User Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80
The Presets window in ClockWorks . . . . . . . . . .80
Switching presets using a patch change . . . . . . .81
Modifying a preset . . . . . . . . . . . . . . . . . . . . . . . . .82
The eight user presets can be configured any way
you wish, and they can be stored in the interface
hardware itself for later recall.
SELECTING A PRESET ON AN EXPRESS XT
To select a preset from the front panel:
1 If you have a MIDI Express XT, press the BANK
button as needed to choose either the factory
preset bank or user preset bank. The Factory Preset
or User Preset LED will become lit.
2 Repeatedly press the SELECT button until the
LED below the program you want lights up.
As you repeatedly press the button, the LED cycles
through the eight programs.
SELECTING A PRESET ON A MICRO EXPRESS
To select a preset from the front panel:
1 Repeatedly press the SELECT button until the
LED for the program you want lights up.
2 The SELECT button cycles through both the
factory and user presets, as indicated by the red
User LED and the green Factory LED.
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FACTORY PRESETS
The eight factory presets provide you with
optimum cable routing, SMPTE, and other settings
for various common situations in which you will
use your Express interface. The eight factory preset
settings are listed on the front panel as shown
below:
MIDI Express XT front panel preset controls
micro express front panel preset controls
Figure 13-1: The eight factory presets on the front panel of the
Express XT and micro express.
Each factory preset is described in the following
sections, including situations in which you would
find it useful.
Sequencer 30 fps
This preset is designed for MIDI software,
especially sequencing software, that supports
multi-cable interfaces such as your Express
interface. Use this preset if you have Performer,
Vision, Cubase, Logic, or any other MIDI software
that supports multi-cable interfaces.
This preset connects all inputs and outputs to the
computer. In addition, it sets the SMPTE sync
settings for lockup and striping at 30 frames per
second (fps).
Sequencer 25 fps
This preset is identical to the Sequencer 30 fps
above except that the frame rate is set to 25 frames
per second (fps) for converting and striping at
25 fps.
Live Keyboards
Use this preset when you want to route any
controller connected to a MIDI IN to all MIDI
outputs. This preset is ideal for quickly routing a
controller to a sound module and for using a MIDI
controller without a computer. If you have
connected both the MIDI IN and MIDI OUT of
your keyboard controller to your Express interface,
it is best to match the input/output MIDI port
numbers on your MOTU interface. For example, if
the controller is connected to MIDI IN port 3,
connect it to MIDI OUT port 3 as well. If you do so,
this preset prevents troublesome MIDI feedback
loops, which happen when the controller sends
data back to itself via your Express interface. This
preset avoids this problem by not sending data to
the port that has the same number. For example,
MIDI IN port 3 routes data to all MIDI OUT ports
except MIDI OUT number 3.
Merge All
With this preset, any device connected to a MIDI
IN will send data to all devices connected to your
Express interface outputs, including the computer.
This preset is ideal for troubleshooting because it
routes everything to everywhere; any incoming
data will be sent to all outputs. For example, if you
are not getting sound from a sound module when
you play notes on your controller, you can
eliminate MIDI routing as the cause of the problem
by temporarily using this preset. You can rest
assured that your Express interface is routing the
data to the module correctly, and you can then
focus your efforts on other possible causes, such as
bad MIDI cables, volume settings, etc.
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Use this troubleshooting technique if you cannot
successfully record data into your sequencer on the
computer.
6, 7 and 8. Input 7 routes MMC to the MIDI
Express XT only. Input 8 does a combination of
inputs 6 and 7.
Merge Some
The Merge Some preset is similar to the Merge All
preset, except that it divides the inputs into two
groups: inputs 1-4 (1-2 on the micro express) are
routed to the computer only, while inputs 5-8 (3-4
on the micro express) are routed directly to all
outputs (but not the computer).
MIDI Machine/for the micro express
This preset provides MIDI data, time code, and
MIDI Machine Control settings for using MIDI
Machine Control between devices without a
computer.
Dual Split
The Dual Split preset is similar to the Live
Keyboards preset, except that it splits the interface
into two sets of inputs and outputs.
For the micro express, input 1 is routed to outputs
1-3. Input 3 is routed to outputs 4-6.
For the Express XT, input 1 is routed to outputs
1-4. Input 5 is routed to outputs 5-8.
MIDI Machine/for the Express XT
This preset provides MIDI data, time code, and
MIDI Machine Control settings for using MIDI
Machine Control between devices without a
computer.
Inputs 1-4 are reserved for non-MMC devices
being routed to outputs 1-5, as well as the
computer.
Input 5 is also routed to the computer but not to
any of the MIDI outputs.
MIDI outputs 6, 7 and 8 are reserved for MIDI
Machine devices, as these ports are programmed
to receive MIDI Time Code and MMC transport
commands from the MIDI Express XT.
MIDI inputs 6, 7 and 8 are intended for MMC
controller devices, and they are each programmed
slightly differently to accommodate three different
scenarios. Input 6 routes MIDI data only to outputs
Inputs 1-2 are reserved for non-MMC devices
being routed to outputs 1-4, as well as the
computer.
Input 3 is also routed to the computer but not to
any of the MIDI outputs.
MIDI outputs 5 and 6 are reserved for MIDI
Machine devices, as these ports are programmed
to receive MIDI Time Code and MMC transport
commands from the micro express.
MIDI inputs 3 and 4 are intended for MMC
controller devices, and they are each programmed
slightly differently to accommodate several
different scenarios. Input 3 routes MMC to the
micro express only. Input 4 routes MIDI data only
to output 6.
Direct
This preset causes your Express interface to
function like a simple 1 IN/8 OUT or 1 IN/ 6 OUT
MIDI interface, respectively. All of the extra
routing, merging, muting, rechannelizing, and
running status features are disabled. Your Express
interface applies no processing whatsoever to
MIDI data as it is sent to and from the computer.
This mode is referred to as Direct Connect mode
through this manual.
Input 1 connects to the computer, and the
computer connects to all 8 (or 6) outputs. But none
of the inputs are connected directly to the outputs.
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This preset can be used effectively to solve
problems with non-standard MIDI data transfers.
For example, some samplers transmit sample
dumps in a way that won’t work when your Express
interface’s MIDI processing features are enabled.
This mode disables the processing features, which
solves the problem. If you experience trouble with
sysex, try this preset.
☛
ClockWorks cannot communicate with your
Express interface when it is in Direct mode. To
restore communications, use the front panel
controls to choose another preset.
USER PRESETS
Your Express interface provides eight user presets,
which you can configure any way you wish. From
the factory, these eight user presets match the eight
Factory presets described earlier in this chapter. To
change one of the eight user presets, use
ClockWorks as described in the next few sections
to modify and save the user preset in your Express
interface itself. Optionally, you can also save it on
your computer hard disk.
The status strip shows
what preset is currently
being loaded or saved.
THE PRESETS WINDOW IN CLOCKWORKS
The Presets window in ClockWorks (as shown in
Figure 13-2) gives you an overview of information
about all the presets. It lets you:
■
View an itemized description of each preset
■
Change the names of the eight user presets
■ Assign a MIDI patch change number to each
preset so that it can be called up from a sequencer,
controller, or foot switch
■
Make modifications to the preset settings
Selecting a preset
One of the presets is always highlighted as shown in
Figure 13-2, and the currently highlighted preset
always matches the currently selected preset on the
front panel of your Express interface.
To switch to a different preset, choose it from your
Express interface front panel or click the preset
name in the Presets window.
MIDI patch change numbers for each
preset. If you want to change a number,
click the text box and type the desired
number. The range of values is 0 to 127.
The script for (description of) the
current preset. This list tells you all of
the settings for the preset, such as
cable routing and SMPTE settings.
The current preset
Click the name of the preset
to select it in the MIDI interface itself. The current
preset name is highlighted.
Figure 13-2: The Presets window.
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Viewing the preset script
The preset script is an itemized list of settings for
the currently selected preset. The script is shown in
the right-hand portion of the window with the
name of the current preset shown at the top, as
shown in Figure 13-2 on page 80.) The script is a
comprehensive list of all of the interface settings for
the preset.
To add or change an item in the list, go to the
appropriate window in the ClockWorks windows
menu and make the change. The change will be
automatically saved when you quit ClockWorks or
switch to a different preset. (See “Modifying a
preset” on page 82 for a complete explanation of
how to modify a preset.)
Renaming user presets
The factory preset names (the first eight presets in
the list) cannot be changed since they should
always match the names of the front panel of your
Express interface. Any user preset name, however,
can be changed.
SWITCHING PRESETS USING A PATCH
CHANGE
Each preset has a MIDI patch change number
assigned to it; the patch change number is
displayed in a text box to the right of the preset in
the Presets window as shown in Figure 13-2 on
page 80. You can call up a preset using a MIDI
controller or sequencer by sending a MIDI patch
change event to your Express interface with the
corresponding patch number value. For example, if
you wanted to call up the Live Keyboards factory
preset shown in Figure 13-2, you would send a
MIDI patch change event with a value of 10.
If you want to change the patch change number for
a preset, click the text box and type in the new
number.
To get your Express interface to respond to the
preset patch changes, you need to indicate where
the patch change will be sent from. We’ll call this
the preset trigger source: the MIDI channel your
Express interface will “listen to” for preset patch
changes.
To change the name of a user preset:
To specify the preset trigger source:
1 Double-click the name to pop-edit it.
A pop-up box appears in which you can edit the
text.
1 Choose Set preset trigger source from the Preset
menu.
2 When the Set Trigger Source dialog box
appears, indicate the MIDI or serial port you would
like to send the patch changes from.
Figure 13-3: Naming a user preset. Factory preset names can’t be
changed.
2 Type the desired name.
3 Press return to confirm the new name or press
command-period to cancel.
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Your Express interface preset select message is as
follows:
F0 00 00 33 08 22 00 00 xx F7
The “xx” byte specifies the preset number. Use the
value shown in the table below. For example, to
select the Live Keyboards preset, plug in “0B” in the
message to get:
Figure 13-4: The Set Trigger Source dialog lets you indicate the source
of patch change messages that will call up your Express interface
presets.
If you are going to use a MIDI controller, choose it
from the input cable device pop-up menu. If you
are going to change Express interface presets from
computer software, check the computer box. The
foot switch option lets you switch presets using
patch change events sent by a foot switch. For
information, see “Switching presets with the pedal”
on page 88. Be sure to indicate the MIDI channel
you will be transmitting the patch change on, too.
Sending patch changes from the Mac
As you can see by the serial port options in the Set
Trigger Source dialog box, your Express interface
can receive patch changes from software running
on the Macintosh. You should be careful, however,
when choosing to do so because you can
inadvertently switch the current preset. For
example, you might have a patch change event in a
sequencer track that you intended to call up a patch
on a sound module. But if the patch number is the
same as your Express interface preset, your Express
interface will respond to it as well.
To avoid this problem, you can use system
exclusive data instead of patch change events to
make Express interface preset changes from the
computer. Your Express interface has a “preset
selection” system exclusive message, which you can
program into your sequencer instead of a patch
change.
F0 00 00 33 08 22 00 00 0B F7
When you send this message to your Express
interface, it will switch to the Live Keyboards
preset.
Preset
Hex number (“xx”)
Sequencer 30 fps
09
Sequencer 25 fps
0A
Live Keyboards
0B
Merge All
0C
Merge Some
0D
Dual Split
0E
MIDI Machine
0F
Direct
10
User Preset 1
01
User Preset 2
02
User Preset 3
03
User Preset 4
04
User Preset 5
05
User Preset 6
06
User Preset 7
07
User Preset 8
08
MODIFYING A PRESET
You can change any settings of the currently
selected preset in any window in ClockWorks. For
example, you could add or delete a connection in
the Device Settings & Routing window, change a
setting in the SMPTE Controls window, or mute
something in the Event Muting window.
If a user preset is selected at the time you make the
modification, the change is automatically saved
with the preset. (Saving occurs when you switch to
a different preset or when you quit ClockWorks.)
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If a factory preset is selected when you make the
modification, the change remains in effect until
you switch to a different preset. Since the
modification can’t be saved with the factory preset
(factory presets can’t be modified), ClockWorks
presents you with a window asking you if you
would like to save the current state of the interface
as one of the eight user presets:
Select one of the eight user presets from the pop-up
menu, type in a new name for it if you like, and
click OK. The modified factory preset gets saved as
a user preset.
You can invoke the Save Preset dialog shown above
at any time by choosing Save Preset from the
Presets menu.
Figure 13-5: Saving the current state of your Express interface to one
of the eight user presets.
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CHAPTER 14
Working with a Foot Pedal
OVERVIEW
PEDAL WINDOW BASICS
This chapter explains how you can use a foot pedal
with your Express interface to:
The pedal input is controlled by the Pedal window,
which can be opened from the Windows menu.
This window lets you indicate the type of input you
are using (click input or foot switch). It also lets you
choose what type of data will be generated.
■ Generate MIDI data, such as notes, controllers,
patch changes, pitch bend, and system exclusive
data using a foot switch
■ Use the foot switch to step through a series of
MIDI data events (or groups of events)
■ Use the foot switch to change the current
Express interface preset or step through a series of
presets
Convert an audio tempo source (such as a click
track) into MIDI data to slave MIDI hardware or
software to the audio tempo source
■
Pedal window basics . . . . . . . . . . . . . . . . . . . . . . . .85
Switching presets with the pedal . . . . . . . . . . . . .88
Converting an audio click to MIDI . . . . . . . . . . .88
Figure 14-1: The Pedal window.
Saving pedal settings as part of a user preset
As with other ClockWorks windows, the settings
you make in this window affect the current preset
in your Express interface, and they will remain in
effect until you change them or switch to a different
preset. In addition, you can save these settings as
part of one of the eight user presets. Each one of the
eight user presets can have its own, unique pedal &
click settings. For example, you could set up user
preset 1 to handle a foot switch, while preset 8
could be set up for click-to-MIDI conversion.
To save pedal and click settings with a user preset:
1 Select the preset.
2 Make the settings you wish in the Pedal window.
The settings will be automatically saved when you
quit ClockWorks or switch to a different preset.
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Using a foot switch
You can use any standard momentary foot switch
with your Express interface. Note, however, that
your Express interface does not support
“expression” foot pedals, which generate a
continuous stream of data.
Pedal setup overview
Here is an overview of how to set up your Express
interface to use a foot switch:
1 Be sure the foot switch is connected to your
Express interface as shown in Figure 2-7 on
page 13.
☛
There are several types of momentary foot
switches. Some are “on” when they are pressed;
others are on when they are released. For
simplicity, in this manual we refer to the type where
“on” is pressed.
A momentary foot switch triggers one MIDI event
(or set of events) at a time, either when you press
down on it or when you release it. With your
Express interface, you can even program the foot
switch to step through a series of MIDI events. For
example, you might set up a series of MIDI patch
changes that call up different sounds on your
synths and then use the foot switch to step through
them during a live performance, calling up the next
sound each time you press the foot switch.
Consecutive events don’t have to be the same type
of event. For example, you could send a patch
change event to call up a sound, followed by a
controller #7 with a value of zero to mute an
instrument.
The foot switch can even send more than one MIDI
event at a time. For example, you could press the
foot switch at the beginning of a new song during a
live performance to have it select a sound (patch
change event), set the correct volume (volume
controller), and zero out pitch bend to begin at the
correct pitch (pitch bend event of zero).
The foot switch can also trigger a panic hit, sending
note-offs to all output cables.
2 Open the Pedal window by choosing it from the
Windows menu.
3 Choose Foot Switch from the Pedal type menu.
4 Set up the data to be sent using the controls in
the bottom portion of the window. This is covered
in detail in the next section, “Setting up the foot
switch output data”.
5 In the Device Settings & Routing window, make
connections from the foot pedal icon to the desired
MIDI out port icons and computer icons.
Figure 14-2: Routing pedal data.
MIDI data that you generate with the foot switch
can be sent to any device connected to your
Express interface, including the computer (serial
port A) and serial port B.
6 When you have finished setting up the data, you
are ready to use the foot switch.
See “Sending data with the foot switch” on page 87.
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Setting up the foot switch output data
If you choose “Foot Switch” from the “Pedal type”
pop-up menu, the window displays the data for the
foot switch as shown in Figure 14-1 on page 85.
The data sequence list lets you build a series of
MIDI data events. Here is a summary of what you
can do:
To do this
Do this
To add a MIDI event that you
want sent when you press the
pedal down (on)
Press on the arrow on the
left-hand side of the Pedal On
column.
To add a MIDI event that you
want sent when you release the
pedal (off)
Press on the arrow on the
left-hand side of the Pedal Off
column.
To add another MIDI event to
either column
Press on the arrow on the
left-hand side at the bottom of
the list.
To edit the settings of an event
Double-click the setting you
wish to change.
To add a new event that will be
grouped with the event above it
Press on a arrow anywhere in
the group where the event
should be inserted. The event is
inserted where the arrow
points.
To delete an event
Click the event to select it and
press the delete key.
To delete an entire row or
group
Click the square icon to the left
of the row to select it and press
the delete key.
To add a “panic” hit
Press on a triangle and choose
the PANIC item.
Sending “pedal off” data
So far, we’ve only discussed sending “pedal on”
data. That is, data which is sent when you press
down on the foot switch. Your Express interface can
also send “pedal off ” data when you release the foot
switch. In fact, you can program the list of data for
both pedal on and pedal off data. Each time you
press down, you send a pedal on event, and when
you release you send a pedal off event. Keep in
mind, however, that this could be a little awkward
because––depending on what you are doing––you
may be required to hold your foot down for a while
before sending the next event.
To program pedal off data, add it to the Pedal Off
column as discussed in the previous section,
“Setting up the foot switch output data”. The Pedal
Off list can have up to 47 bytes of pedal off data,
just like the pedal on data, giving you a total of 94
bytes worth of foot switch data.
Grouping data
You can set up the list so that the pedal sends
several MIDI events all at once. After you create the
first event, press on the arrow to its right to add a
second event to the group. You can continue to add
more events to the group by clicking the right-hand
arrow of any event in the group. The new event you
insert will always be inserted just below the arrow
you press on.
Click here to
add another
event to the
group.
Figure 14-3: An example of grouping data events. In this example, the
Pedal On group, a C major triad (notes C-E-G), is sent when the pedal
is pressed a first time. When the pedal is pressed again, Note-Off
events are sent to silence the chord. (Note-off events are denoted by a
grayed out note icon.) The status bar above the list indicates 18 bytes
worth of pedal on data.
Sending data with the foot switch
Once you have made the preparations described in
the previous section, you are ready to use the foot
switch. Just press it and release it. With each press,
it will send out a group of MIDI events. When you
press it again, it sends out the next event or group
in the list. When you reach the last event or group,
your Express interface returns to the beginning to
step through the list again.
If you have programmed “pedal off ” events, it will
send a MIDI event or group each time you release
the foot switch as well, alternating between the
Pedal On and Pedal Off data lists. Using both pedal
on and pedal off events is an effective way to step
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through a series of events quickly. Rather than
having to press down for each event, which
involves two motions (up and down), you can use
just one motion––a quick press or release.
3 Check the Foot switch option, choose a MIDI
channel, and click OK.
SWITCHING PRESETS WITH THE PEDAL
4 Back in the Presets window, make note of the
patch number for the preset you want to select with
the foot switch.
The foot switch can be used to change to a different
preset. For example, you might set up the eight user
presets for various controller routings for a live
show and then use the foot switch to step through
the presets at various points during your live
performance.
5 Go to the Pedal window and add a Pedal On or
Pedal Off MIDI patch change event with a patch
change number that matches the preset you want.
Also make sure the MIDI channel number
matches.
Another benefit of this feature is that it when you
switch to a different preset, the new preset can have
a completely different list of foot switch data events.
You could then step through them and at the end of
the list switch to yet another preset with yet another
list of events to step through. This is a great way to
break the 94-bytes-per-preset limit on foot switch
MIDI data. Each preset can have 94 bytes (47 pedal
on bytes plus 47 pedal off bytes), and you can step
through eight presets, which gives you a total of 752
consecutive bytes you can step through with a foot
switch.
To switch presets with a foot switch:
1 Open the Presets window.
2 Choose Set Trigger Source from the Presets
window mini-menu.
The Set Trigger Source dialog box appears.
See “Setting up the foot switch output data” on
page 87 for details.
When you reach the patch change event in the list,
you’ll switch to the new preset.
☛ Make sure your preset patch change is the last
event in the foot switch data list for the preset you
are currently programming because when you
switch to the new preset, the foot switch data list
will change to the new preset’s list.
CONVERTING AN AUDIO CLICK TO MIDI
Your Express interface can convert an audio click
into any MIDI event. For example, the audio click
can be played back from a tape deck or generated
live by a drummer. This feature can be used for
many purposes. Below are a few ideas:
■ Recording the click’s tempo map into a
sequencer
■
Slaving a sequencer to a click track
■
Triggering drum samples
This feature can be used with Mark of the Unicorn’s
Performer program to slave a sequence to
prerecorded music on tape while referenced to
SMPTE time code. For more information, please
refer to the Performer User’s Manual.
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To convert an audio click into MIDI:
1 Be sure that the audio click source is connected
to the PEDAL phone jack on your Express interface
as shown in Figure 2-7 on page 13.
You have three categories here: Note, Controller,
and Hex. The hex option lets you enter any MIDI
event in its raw, hexadecimal form as shown below,
with a status byte followed by data byte 1 and data
byte 2.
2 Open the Pedal window from the Windows
menu in ClockWorks.
3 Under Pedal Type, select Click-to-MIDI.
The click-to-MIDI options appear.
Figure 14-5: Entering click-to-MIDI data in hexadecimal.
6 Make the desired output assignment for the
MIDI click data using the pedal icon in the Device
Settings & Routing window as demonstrated in
Figure 14-2 on page 86.
7 Check to make sure that your Express interface
is successfully reading the click.
Figure 14-4: The click-to-MIDI options.
4 Adjust the Threshold and Decay options as
needed as you experiment with the response.
The decay and threshold settings are meant to
prevent doubled attacks. The decay is the amount
of time your Express interface will wait before it
begins scanning for another click. The decay can
be set from 1 to 15. Set the decay as high (long) as
possible to prevent false attacks, but low (short)
enough so that it won’t miss the next true click. Fast
tempos require a low decay; you can afford to use a
higher decay for slow tempos.
5 Under “Convert click to:”, choose the data type
you wish to generate from the click.
Observe the green MIDI OUT LED’s on the front
panel to see if they flash in sync with the click. If
they miss a beat, or if they seem to flicker or stutter
with a doubled attack, try adjusting the input level
of the click; also try adjusting the decay.
Click input hints
If your Express interface reads the audio click
erratically, such as generating doubled attacks, try
adjusting the decay value. If you still have trouble,
try attenuating the audio signal. The pedal input is
purposefully sensitive so that it can detect a lowamplitude signal. Also try adjusting the Threshold
and Decay settings in the Pedal window.
If you are creating the click that your Express
interface will convert, set the audio level fairly high
(at around 0 dB). Also, record a short, transient
click sound with no reverb or other effects. A short
and precise click sound will produce the best, most
reliable results.
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CHAPTER 15
Synchronization
OVERVIEW
IF YOU ARE NEW TO SMPTE SYNC
This chapter explains how to use your MOTU
Express interface to synchronize computer
software and other devices to an audio tape
recorder (ATR), video tape recorder (VTR), or
other time code sources using SMPTE time code. It
also explains how to generate SMPTE (a process
commonly referred to as striping).
If you are not familiar with the process of
synchronizing with SMPTE time code, see
Appendix B, “SMPTE Synchronization Basics”
page (169)before reading this chapter. It provides a
definition of SMPTE time code and an explanation
of how it is used for synchronizing MIDI devices to
audio and video equipment.
This chapter also explains how to:
ACCESSING SMPTE SETTINGS
Slave your Express interface and other devices to
MIDI Time Code
■
■ Measure incoming time code to see how fast or
slow it is
■
Solve various SMPTE synchronization problems
If you are new to SMPTE Sync . . . . . . . . . . . . . . .91
Accessing SMPTE settings. . . . . . . . . . . . . . . . . . .91
Syncing your Express interface to SMPTE. . . . .91
Striping SMPTE. . . . . . . . . . . . . . . . . . . . . . . . . . . .93
LTC mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94
MTC Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .96
You can access the sync settings in your MOTU
interface via ClockWorks in the Sync/MMC
window. See chapter 10, “Sync and MIDI Machine
Control” (page 59), for details about the settings in
this window.
SYNCING YOUR EXPRESS INTERFACE TO
SMPTE
Your Express interface ships from the factory ready
to lock the computer to SMPTE time code via the
MIDI Time Code (MTC) routing shown in
Figure 7-14 on page 50. When this MTC routing is
present, your Express interface will send MIDI
Time Code to the computer as soon as it locks up.
Any software running on the computer can then
slave to the time code. (Make sure the software is
set up to lock to MIDI time code.)
When your Express interface locks to the time
code, the green “LOCK” LED on the front panel
glows steadily and the red “TACH” LED blinks
regularly. In addition, the green computer OUT
LED glows steadily, indicating that MIDI time code
(MTC) is being sent to the computer.
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Red TACH light
Green
computer OUT
light
Green
LOCK light
Figure 15-1: Converting time code. When your Express interface
converts incoming time code, the red TACH light blinks, the green
LOCK light glows steadily, and the green computer OUT light glows
steadily as well. For the micro express, the lights on the front panel
are arranged slightly differently than what is show here on the XT, but
they perform in an identical fashion.
If the LOCK and TACH lights do not behave as
described, your Express interface is not
successfully locking to the SMPTE time code. This
could be a problem with the audio connections
between the tape deck and your Express interface.
It could also be that the SMPTE level is not high
enough. See Appendix C, “Troubleshooting and
Customer Support” page (173).
If the LOCK and TACH lights look OK, but the
green computer OUT LED is not glowing, this
means that your Express interface settings have
been altered somehow such that it is not sending
MIDI time code to the computer. To correct the
settings, see Figure 7-15 on page 50.
Getting a running update of SMPTE
You can get a running update of SMPTE in the
ClockWorks SMPTE Reader and Sync/MMC
windows. For details, see chapter 10, “Sync and
MIDI Machine Control” (page 59).
SMPTE Offset
When reading time code, there may be times when
you need to offset your Express interface a certain
amount from the time code you are feeding it. See
Figure 10-3 on page 60 for details.
Routing MIDI Time Code to other devices
At times, you may need to route MIDI Time Code
to a device connected to one of your Express
interface’s MIDI OUTs. Similarly, you may have the
need to route MTC to serial port B on your Express
interface. For example, serial port B might be
connected to a Macintosh, which you need to slave
to time code. To make time code routings such as
these, see “The MTC In and MTC Out
connections” on page 49.
Freewheeling to avoid time code dropouts
When your Express interface encounters a dropout —a series of missing or unreadable frames—in
the SMPTE time code, it “freewheels” past them,
pretending that they were not missing by briefly
generating its own code to make up for the missing
frames. The default freewheel value is 4 frames.
This means that your Express interface will
continue to generate time code for four more
frames after it stops receiving time code. If it does
not receive any more time code after four frames, it
will stop converting.
The factory default base setups have the
freewheeling feature set to 4 frames for fastest
response when you stop the tape deck. The
Freewheel amount can be adjusted up to 32 frames.
This allows your Express interface to maintain
lockup even over lengthy SMPTE drop outs.
If you encounter a time code drop out that causes
your Express interface to stop converting for a
moment, try increasing the freewheel amount in
the Sync/MMC window. Try adding just a few
frames at a time when adjusting the amount. (For
details on the “one time jam sync” option, see
“Regenerating fresh time code (‘jam syncing’)” on
page 95.)
your Express interface freewheels at the frame rate
it is reading at the time it begins freewheeling —
except for 29.97 drop and non-drop. If you intend
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on reading 29.97 SMPTE, be sure to manually set
the SMPTE format to 29.97 so that freewheeling
will occur at the proper rate.
When you increase the freewheel amount, you also
increase the amount of time that your Express
interface keeps converting when you stop tape. To
make your Express interface as responsive as
possible, only raise the freewheel amount as high as
necessary to overcome the drop-out(s) you are
encountering.
Synchronizing to discontinuous time code
your Express interface has the ability to stay in sync
with discontinuous time code — that is, time code
that has no gaps in it but does have jumps in its
frame locations. For details about how to do this,
see “Frame lock” on page 62.
Slaving Performer to your Express interface
To slave Performer to your Express interface:
1 In Performer, select the appropriate options in
the Receive Sync dialog box in the Basics menu.
5 Click on the Play or Record button in the
Controls window.
The Play button will begin flashing (or turn grey on
a black and white monitor), meaning that
Performer is waiting for sync information to start.
6 To start Performer, start the external device.
When Performer is locked and playing, the Play
button will turn blue (or solid black on a black and
white monitor). Once locked, Performer will
follow, start, stop and rewind under control of the
master.
7 To terminate the lock up with the master, click
on the Stop button.
Clicking on the Stop button will stop Performer
and remove it from the master’s control. This can
be done at any time. To return to normal operation,
turn off Slave to External Sync by selecting it again
from the Basics menu.
Specify the port to which your Express interface is
connected by clicking either the modem or printer
port button. Also, choose MTC as the “Type of
sync.”
With your Express interface, it is not necessary to
click Play in Performer before you roll tape. You
can click the Play button in Performer even with
the tape rolling and Performer will jump right into
sync within a second or so.
2 Set the frame rate and click OK.
STRIPING SMPTE
3 Set the sequence starting frame.
Click the button in the main counter and enter the
starting time. This should be a SMPTE time that is
within the range of the SMPTE striped on the tape
to which it will be slaving.
4 Check Slave to External Sync in the Basics
menu.
Along with its other capabilities, your Express
interface is a SMPTE time code generator. It
generates an audio form of SMPTE time code
called Longitudinal Time Code (LTC).
Use the procedure below to generate new code
from scratch:
1 Make the audio cable connections shown in
Figure 2-6 on page 12.
This puts Performer into slave mode, waiting for
sync information from an external device.
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We recommend that you do not pass the time code
output from your Express interface through a
mixer or any form of signal processor. If you must
go through a mixer, be sure equalization is flat.
window, and you can even switch to another
application or Quit your Express interface
software.
10 To stop striping, click Stop.
2 Open the Sync/MMC window in the MTP/
Express Console software.
3 Set the master sync mode in the Sync/MMC
window to Internal.
4 If you are recording time code on a tape deck,
and your tape deck has dbx noise reduction, be
sure to defeat the noise reduction on the track you
are recording time code.
5 Enter a SMPTE start time in the Sync/MMC
window.
6 Choose the necessary frame rate.
7 Adjust the SMPTE output volume.
The goal when striping SMPTE is to get the VU
meter on the tape deck to read approximately –3.
You can adjust your Express interface’s SMPTE
volume output level by using the SMPTE VOLUME
OUT setting in the SMPTE/SYNC menu in the
front panel LCD. Or you can use the Output Level
meter in the Sync/MMC window (visible when the
master mode is set to Internal). If you want to test
the level, set the Master sync mode to Internal and
use the Start and Stop buttons to make your
Express interface emit time code, and then meter it
with your mixer.
8 Roll tape.
9 Click Start.
Striping will begin at the frame shown in the Start
Time box. The SMPTE Reader will begin to roll.
While striping, you can close the Sync/MMC
You can stop striping at any time.
Of course, if you want to stripe a tape and
meanwhile get on with other work, you can quit
ClockWorks. Striping will proceed in the
background.
Striping SMPTE on a multitrack tape deck
The goal when striping SMPTE time code is to
generate an error-free signal strong enough for
reliable lockup, but not so strong that the SMPTE
bleeds through to adjacent tracks.
There are several ways to handle this. One way is to
leave an empty track on your multi-track tape deck
as a buffer between the SMPTE and other tracks.
With a buffer track, SMPTE can be recorded at
very strong (“hot”) levels (above 0 VU) without
risk of bleedthrough.
If your tape deck has no tracks to spare, a good
level at which to record is around –3 VU. That is,
the VU meter for the SMPTE track on your tape
deck should read –3 when you stripe the SMPTE.
This records SMPTE that is hot enough for reliable
lockup and weak enough so that it will not bleed
into adjacent tracks. -3 VU is only a rule of thumb,
though, so don’t hesitate to use other levels if they
work better for you.
LTC MODE
In LTC mode, your Express interface locks to
incoming SMPTE time code received on its
SMPTE IN jack. But LTC mode differs from LTC
QuikLock mode in several significant ways. In LTC
mode, your Express interface:
■
Emits regenerated LTC on its SMPTE OUT jack
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■ Analyzes incoming time code and responds in
several useful ways, depending on what happens to
the incoming time code
Measures incoming time code with an extremely
accurate internal clock to see how fast or slow it is
running and displays the results in the SMPTE
Reader window in ClockWorks
■
Because LTC mode employs a sophisticated phaselock synchronization engine in your Express
interface, the amount of time it takes to establish
lockup to incoming time code is considerably
longer than LTC QuikLock mode. On the other
hand, LTC mode offers the additional capabilities
mentioned above. These features, and how you can
use them, are discussed in the next few sections.
Regenerating fresh time code (‘jam syncing’)
SMPTE is a problem when you are copying tapes: it
degrades rapidly every time you try to copy it from
one tape to another. Often, the SMPTE signal
deteriorates so much that it will not be
recognizable by any SMPTE-to-MIDI converter,
including your Express interface, and you will no
longer be able to lock to it.
The solution to this problem is to use your Express
interface to regenerate fresh SMPTE time code that
matches the original time code while you are
copying the tape. Some people refer to this process
as jam syncing. When your Express interface
receives a SMPTE signal on its SMPTE IN cable, it
always regenerates a fresh signal that exactly
matches the incoming signal and sends it out the
SMPTE OUT cable (except for drop-outs, which it
eliminates with freewheeling).
Fresh SMPTE
Time code
Original
SMPTE Time
code
MIDI Express XT or micro express
To regenerate SMPTE:
1 Connect the original SMPTE track to the
SMPTE IN on your Express interface, and connect
the SMPTE OUT from your Express interface to
the destination SMPTE track (which could even be
on a different tape deck).
2 Set the freewheel option in the Sync/MMC
window to a high enough number of frames to
cover any drop outs that may exist in the current
time code.
Try setting it to between 2 and 8 frames, unless
there is an obviously large dropout. If so, set it
more than 8 frames. This ensures that drop-outs in
the old code are not reproduced in the fresh code.
3 Roll tape and set the SMPTE volume levels.
When your Express interface is reading the old
time code, it generates fresh time code via its
SMPTE OUT jack only when it is in LTC mode; it
won’t regenerate LTC in LTC QuikLock mode.
4 When the levels are set, roll tape and convert as
normal.
your Express interface automatically creates fresh
SMPTE time code that matches the original time
code and its relation to the other tracks on the tape.
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In addition, your Express interface freewheels over
drop-outs in the old time code so that the new,
clean code has none.
Lengthening a SMPTE track
If the time code on your SMPTE track ends too
early and you need to add more code, you can use
the “One time” jam sync option. To do so, feed the
original track into your Express interface and
record the fresh code onto a new track. Be sure to
start from the beginning so that you regenerate the
entire length of the original track. When your
Express interface reaches the end of the original
SMPTE track, it will begin striping on its own. To
stop striping, click the Stop button or wait until
your Express interface reaches the stop time.
And remember, your Express interface must be in
LTC mode to do this, not LTC QuikLock.
Regeneration and time code bits
Except for when it is in LTC QuikLock mode, your
Express interface always regenerates fresh time
code from its SMPTE out jack. Time code user bits
embedded in incoming LTC on its SMPTE input
are not preserved.
Measuring incoming time code
In LTC mode, your Express interface measures
incoming time code with an extremely accurate
internal clock to see how fast or slow it is running
and displays the results in the SMPTE Reader
window in ClockWorks. For details, see “SMPTE
Reader status display” on page 70.
MTC MODE
Choose this synchronization mode when you want
your Express interface to slave to MIDI Time Code
(MTC) being sent from a device connected to one
of its inputs. This mode offers the least amount of
time base stability, so it is recommend that you try
to set things up so that you can use one of the other
modes.
When your Express interface operates in MTC
mode, it locks to any MTC coming from your
computer. In doing so, however, it also “swallows”
the MTC coming from the computer. If you
attempt to transmit MTC from Performer, Digital
Performer, Pro Tools, or other software to a specific
MIDI device in your studio, it won’t reach the
MIDI device because it will get read and
“swallowed” by your Express interface. Since
computer-generated MTC is not as stable as other
forms of time code, you are better off doing just the
opposite: send MTC from your Express interface to
the computer, and if necessary, control your
Express interface from your computer software via
MIDI Machine Control as demonstrated in
Figure 5-3 on page 32.
If you absolutely must transmit MTC from your
computer for some reason, See “Routing MTC to
your MOTU interface” on page 50 for important
information about routing MTC to your Express
interface. If you need to send MTC to other devices
as well, you can route it to them as demonstrated in
Figure 7-14 on page 50.
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CHAPTER 16
MIDI Machine Control
OVERVIEW
HOW MMC WORKS
Your Express interface can serve as a MIDI
Machine Control (MMC) transport control “hub”
for all MMC-compatible devices, allowing you to
manipulate the transport controls of everything
from one master set of controls: either an MMC
hardware controller device such as JL Cooper’s
CuePoint or from MMC-compatible MIDI
software on the computer.
An MMC controller (which has transport and
cueing controls) sends transport commands (play,
stop, cue, etc.) to an MMC device that is serving as
a time code source. When the MMC device
responds to the transport commands, it generates
time code to which all other devices (and software)
chase and lock. The other devices do not need to be
MMC devices, as they sync in the usual fashion via
time code (LTC or MTC).
How MMC works . . . . . . . . . . . . . . . . . . . . . . . . . .97
Setting MMC device ID’s . . . . . . . . . . . . . . . . . . . .98
Setting up other MMC devices . . . . . . . . . . . . . . .98
Setting up your computer software . . . . . . . . . . .98
Setting up a hardware MMC controller . . . . . . .99
computer software as an MMC controller . . . . .99
Digital Performer as an MMC controller . . . . . .99
MMC remote control of record functions . . . . .99
Using a 3rd-party device as a master . . . . . . . . .99
MMC routing example. . . . . . . . . . . . . . . . . . . . .100
A recommended setup for MMC
The best scenario for MMC is to set the Master
sync mode of your Express interface to Internal.
Your Express interface serves as the time code
source, and your computer software (or hardware
MMC controller) serves as your MMC transport
control master. The MMC controller sends play,
stop, start and locate commands to your Express
interface, and all other devices (including the
computer software) chase and lock to time code
being generated by your Express interface.
In this scenario, your Express interface serves as a
time code “hub” for all other devices as pictured in
Figure 5-3 on page 32.
Other MMC scenarios
In the recommended scenario described in the
previous section, your Express interface receives
MMC transport commands and serves as the time
code master for everything else.
Alternately, you could choose another MMC
device, such as a hard disk recorder, to receive
transport commands and serve as the time code
master. For example, the device would receive
transport commands from your computer
software and generate SMPTE time code (LTC). In
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this case, you would set your Express interface
master sync mode to LTC QuikLock and feed the
LTC into your Express interface, which would then
drive all other devices.
There is no advantage to doing MMC this way; in
fact, it will probably not provide as stable a time
base as your Express interface does in the
recommended scenario described in the previous
section. You should only really use this setup if you
have a MMC device that does not have the ability to
be a time code slave and therefore must be the
master.
MMC and video
If you are working with video, and you want MMC
control of your rig from your computer software
(or MMC-compatible controller) via your Express
interface, your video deck needs to have the ability
to either:
■
Synchronize to external SMPTE time code
OR
■
SETTING UP OTHER MMC DEVICES
If you have an MMC-compatible device, you can
slave it to your Express interface. But first, you need
to make your Express interface send MTC (or LTC
for some devices). To send MTC, use the Device
Settings & Routings window in ClockWorks to
make connections from the MTC Out port in the
left-hand column to the desired destinations in the
right-hand column as demonstrated in Figure 7-14
on page 50.
For most MMC devices that support being an
MMC slave, routing time code (either MTC as just
discussed or LTC) to them is all you need to do. For
some devices, you may also need to get your
Express interface to send MMC transport
commands to the device. Once again, you do this
in the Device Settings & Routing window: connect
the MMC Out port in the left-hand column to the
destinations in the right-hand column as
demonstrated in Figure 7-20 on page 52. Then you
are ready to control your MMC device — via your
Express interface — from the computer (or a
hardware MMC controller).
Support MMC
Without either of these capabilities in your video
deck, your Express interface has no way to control
the video deck transports. You’ll instead have to use
your video deck as the transport and time code
master.
If your video deck supports the SONY 9-PIN
protocol, consider purchasing Mark of the
Unicorn’s Digital Timepiece, which lets you control
your video deck from a computer (or other MMC
controller).
SETTING MMC DEVICE ID’S
Each MMC device requires a unique MMC device
ID, including your Express interface itself. The
factory default ID of your Express interface is 20. If
needed, you can change it as shown in Figure 10-10
on page 62.
SETTING UP YOUR COMPUTER SOFTWARE
Regardless of what you decide to use as your MMC
transport control master (an MMC controller
device or computer software), you need to set up
the software so that it will slave to MIDI Time Code
(MTC) generated by your Express interface. This
will ensure that your software chases and locks
with all other MMC devices. Check to make your
software is set up to the proper frame rate, and that
it is in “external sync” or “slave” mode, waiting for
MTC.
Also see “computer software as an MMC
controller” on page 99.
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SETTING UP A HARDWARE MMC
CONTROLLER
To use any MMC transport controller, such as the
JL Cooper CuePoint™:
1 Connect the MIDI OUT and IN jacks on the
MMC controller to your Express interface.
2 Using ClockWorks, route MTC to the MIDI
OUT port that the MMC controller is connected to
as shown in Figure 7-14 on page 50 so that it can
receive MIDI Time Code from your Express
interface.
3 In the MMC controller device, identify the
MMC device ID for your Express interface.
From the factory, the default MMC device ID for
your Express interface is 20. If you need to, you can
change it as described in “Setting MMC device
ID’s” on page 98.
From the standpoint of achieving MMC transport
control over your Express interface, the above
preparations are all you need. There may, of course,
be other preparations necessary in the controller
itself.
COMPUTER SOFTWARE AS AN MMC
CONTROLLER
Most likely, you’ll want to make your computer
software be the MMC transport control master, so
you can control all MMC devices from your
computer.
This can be accomplished with an MMCcompatible sequencer, MMC applet, or any other
software that transmits MMC transport control
commands.
Generally speaking, once you’ve successfully
established overall MIDI communication between
your software and your Express interface, all you
have to do is tell your MMC software what the
MMC Device ID is of your Express interface. From
the factory, the default MMC device ID for your
Express interface is 20. If you need to, you can
change it as described in “Setting MMC device
ID’s” on page 98.
As long as MMC routing from the computer to
your Express interface exists (as shown in
Figure 7-21 on page 53), and its master sync mode
is set to Internal, your Express interface will
respond to MMC commands coming from the
computer specifying its device ID. It will start, stop,
and locate to any SMPTE location you designate
from your software.
DIGITAL PERFORMER AS AN MMC
CONTROLLER
Performer and Digital Performer have features to
make using MMC with your Express interface even
easier. For details about this, see “MIDI Machine
Control (MMC)” on page 32.
MMC REMOTE CONTROL OF RECORD
FUNCTIONS
To record-enable tracks of MMC devices
connected to your Express interface, make sure
your MIDI software sends MMC record-enable
commands using the MMC device ID’s configured
for the device. This is straightforward, one-way
MIDI communication between your MMC
software and the MMC device. Your Express
interface MMC features do not come into play here.
USING A 3RD-PARTY DEVICE AS A MASTER
We recommend trying to set up MMC as described
in “A recommended setup for MMC” on page 97.
However, you may have an MMC device, such as an
MMC-equipped reel-to-reel tape deck, that does
not have the ability to be a time code slave and
therefore needs to be the time code master. In this
case, you need to set up your Express interface so
that it knows that this device will be the master
instead of the computer.
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If the device transmits LTC, you can simply
connect it to your Express interface’s SMPTE input
and set your Express interface’s master sync mode
to LTC QuikLock.
Performer is slaving to MTC from your Express
interface, while at the same time issuing MMC
transport commands to your Express interface.
If the device only transmits MIDI Time Code
(MTC), use the Device Settings & Routing
connection shown below in Figure 16-1 and set
your Express interface’s master sync mode to MTC.
Figure 16-1: If you have an MMC device that can only transmit time
code (and cannot be a time code slave), then you can make it the time
code master by routing MTC to your Express interface (MTC In) as
shown here. It is better to use LTC, though, or better yet: your Express
interface as the time code master. Both are a more stable time base
than MTC.
MMC ROUTING EXAMPLE
Figure 16-2: A typical routing configuration for MMC. Here, the
CuePoint is being routed to an Express interface’s MMC In port so that
it will respond to MMC transport commands from the CuePoint. In
turn, the interface, which is in INTERNAL sync mode, is redistributing
MTC to the Akai DR8 and Roland VS-880 hard disk recorders.
Below is a typical MMC routing example. The
devices involved are:
■ Performer (or any other MMC sequencer
running on the computer)
■
JLCooper CuePoint MMC controller
■
Akai DR8 hard disk recorder
■
Roland VS-880 hard disk recorder
Your Express interface master sync mode is set to
INTERNAL. It is being shuttled by either the
CuePoint or Performer. Figure 16-2 and
Figure 16-3 show the computer, MTC, and MMC
connections needed to control everything from
either Performer or the CuePoint. This setup allows
you to use either one interchangeably as your
transport master controls, without having to
change any settings when switching between them.
Figure 16-3: In the highlighted connections shown here, MIDI Time
Code is being routed to the computer so that Performer can slave to
it. MMC is being routed from Performer to the interface (MMC In).
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MPT AV Users
Part III
For MTP AV Users
MPT AV Users
Part III-For AV Users Page 102 Tuesday, June 22, 1999 1:25 PM
Front panel+ Page 103 Wednesday, June 23, 1999 3:22 PM
CHAPTER 17
Using the Front Panel LCD
OVERVIEW
USING THE LCD DISPLAY
This chapter explains how to program the MIDI
Timepiece AV from the front panel. It also explains
what the PANIC button does, and how to restore
the factory default settings in the MIDI
Timepiece AV.
The MIDI Timepiece AV front panel liquid crystal
display (LCD) is a 2 by 16 character, back-lit
display.
Using the LCD display . . . . . . . . . . . . . . . . . . . . .103
Working with base setups . . . . . . . . . . . . . . . . . .107
Making the global hardware settings . . . . . . . .109
Performing a MIDI data dump. . . . . . . . . . . . . .110
Using the SMPTE controls . . . . . . . . . . . . . . . . .111
Programming the pedal inputs . . . . . . . . . . . . .113
Programming knobs to send data . . . . . . . . . . .115
MIDI routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .116
Muting MIDI data . . . . . . . . . . . . . . . . . . . . . . . . .117
MIDI Channel Map. . . . . . . . . . . . . . . . . . . . . . . .117
Using the Panic button. . . . . . . . . . . . . . . . . . . . .117
Restoring factory default settings . . . . . . . . . . .117
Calibrating the click input. . . . . . . . . . . . . . . . . .118
A few things the LCD can’t do... . . . . . . . . . . . . .118
With the LCD and four front panel knobs and the
Enter button, you can control just about every
capability in the MIDI Timepiece AV. (If you’re
curious, see “A few things the LCD can’t do...” on
page 118.)
☛ Please note: changes that you make to the
MIDI Timepiece AV in the LCD do not
automatically get reflected in ClockWorks. If you
have made changes using the LCD, and you want
the software to reflect those changes, choose Verify
Network from the Utilities menu in ClockWorks.
Understanding the LCD window structure
The LCD provides 11 windows that are organized
around its primary features. These windows are
displayed across the top of Figure 17-1 on
page 104. Several windows have sub-windows with
additional parameters, which are shown below
each main window.
☛ Note: if you have an original MIDI Timepiece
connected to the network port of the MIDI
Timepiece AV, an additional, 12th window is added
in the LCD between the BASE SETUP and the
PATCH SELECT windows.
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Front panel+ Page 104 Tuesday, June 22, 1999 1:25 PM
MIDI Timepiece AV LCD Window Structure
(continued on opposite page)
BASE SETUP
MODIFIER
IMPORT/EXPORT
MTP 1
(only appears with
networked MTP 1)
PATCH SELECT
GLOBAL
HARDWARE
SETUP
MIDI DATA
DUMP
SYNC
USE
BASE SETUP
MAC SPEED
MASTER SYNC
USE
MODIFIER
(1 THRU 4)
BOX ID
&
NET PORT
WORD CLOCK
OUT
TRIGGER
MMC DEVICE ID
for MTP AV
and ADAT
SMPTE VOLUME
OUT
PATCH NAME/
SAVE
RUNNING
STATUS
SMPTE FORMAT
DIRECT
CONNECT
MODE
SMPTE
DESTINATION
RESET
ALL
DATA
offset/stripe
JAM SMPTE
FRAMES
Figure 17-1: The MIDI Timepiece AV window structure. The twelve main windows are displayed across the top
in the double-ruled boxes. Use the WINDOW knob to scroll horizontally through the top row of main windows.
Use the CURSOR knob to scroll vertically through the sub-windows listed below each main window.
104
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(continued from opposite page)
PEDALS
KNOBS
MIDI
ROUTING
MUTE MIDI
DATA
MIDI CHANNEL
MAP
PEDAL TYPE
KNOB START/
STEP SIZE
ROUTING BY
CABLE
MUTING
PARAMETERS
INPUT CHANNEL
REMAP
POLARITY
or
THRESHOLD/
DECAY
RANGE
ROUTING BY
CHANNEL
RANGE
or
CLICK TO MIDI
OUTPUT
DATA ASSIGNMENT
&
OUTPUT
ASSIGNMENT
BASE SETUP
NAME
OUTPUT CHANNEL REMAP
OUTPUT
ASSIGNMENT
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Getting familiar with the LCD conventions
Here are several conventions that will help you
navigate through the LCD display:
■ Left and right arrows indicate that there is
another screenful of data to the left or right that
relates to the current window.
D
E
Figure 17-1: The left and right arrows indicate other windows to the
left or right, which you can scroll to with the CURSOR knob.
■ “Y/N” means to press the YES/NO button to
confirm or execute something you have just done
in the LCD.
“<E>” means to press the ENTER button to
confirm or carry out something you have just done
in the LCD.
■
“N” or “Y” means to press the YES/NO button to
toggle something from N to Y or Y to N. “Y” means
“on” or “enabled” and “N” means “off ” or
“disabled”.
■
When choosing a base setup, modifier, or patch,
“N” means that the base setup or modifier has not
been called up. (Press the YES/NO button to recall
it.) “Y” means that the modifier, base setup or
patch has been called up. In this case, disable the
modifier, base setup, or patch by enabling a
different one.
■
■ When selecting cables in the LCD, the cable
range can either be 1-8 or 1-16 if you have two
MIDI Timepieces. “MAC” or “M” stands for the
Macintosh (computer port), “NET” or “N” stands
for the network port, and “mac” or “m” stands for
the computer port on a MIDI Timepiece that you
have networked to the one with which you are
working.
■ If you find yourself in a window that asks you to
save settings that you have made, and you do not
want to save the changes, turn the WINDOW knob
to exit the window and cancel the operation.
Using the knobs to control the LCD
Here is how the four knobs control the LCD:
■ Use the WINDOW knob to select a main
window. The LCD has eleven main windows that
correspond to the MIDI Timepiece AV’s primary
capabilities.
■ Use the CURSOR knob to select variables within
each window. A variable is a numeric or text item
that flashes when it is selected. When selected, you
can change it with the VALUE knob.
■ Use the VALUE knob to change the currently
flashing numeric or text item in the LCD.
■ Sometimes the LCD has two flashing variables.
In this case, one of them is underlined. Use the
SELECT knob to change a flashing, underlined
variable.
When the LCD and software conflict
If you’ve been using Clock Works on the computer
to edit the MIDI Timepiece AV, the LCD may not
be able to accurately reflect the changes you have
made from the software because the software can
do things that the LCD cannot. For example, you
can program a knob to send system exclusive data
from the software, but this is not possible from the
LCD. If there is any doubt, check the software since
it can accurately reflect everything about the MIDI
Timepiece AV.
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WORKING WITH BASE SETUPS
For a complete definition of base setups, see “What
is a “base setup”?” on page 128 before reading this
section.
Think of a base setup as a picture of all the MIDI
Timepiece AV’s current internal settings saved all at
once. This includes its cable routing connections,
muting and rechannelizing settings, SMPTE
convert settings––everything.
The MIDI Timepiece AV has eight internal base
setups; each can store its own unique settings. One
of the eight base setups is always active, and it’s
name and number are displayed in the BASE
SETUP window. Any changes you make in any of
the LCD windows are remembered until you
switch to a different base setup. At any time, you
can add changes you’ve made to the current base
setup. Or, you can save the current base setup,
along with the changes, as a different base setup
that replaces one of the eight. (See “Making
changes to a base setup” on page 107.)
Selecting the current base setup
The BASE SETUP window lets you call up one of
the MIDI Timepiece AV’s eight internal base
setups.
B A SE-SETUP
B a sic Studio
1
YE
Notice that only one base setup can be called up at
a time.
Making changes to a base setup
To make changes to a base setup:
1 Select the base setup as described in the
previous section.
2 Make any changes you like to the base setup by
using any other windows in the LCD.
You can select modifiers, change cable routings, or
anything you want.
3 Use the WINDOW knob to go to the BASE
SETUP NAME window.
It’s the window farthest clockwise.
4 If desired, use the VALUE and CURSOR knobs
to edit the base setup name.
5 Press the ENTER button.
You’ll now see the following window.
WRITE OVER
D BaseSetup
1
1
N
6 Make sure that the original base setup appears
in the LCD.
1 Use the WINDOW knob to go to the BASE
SETUP window.
If not, use the VALUE knob to select it. This is
because you are going to replace the original base
setup. (Although, if you want, you can preserve the
original by writing over a different base setup.)
2 Turn the VALUE knob until you see the name
and number of the desired base setup.
7 When you have selected the base setup you want
to replace, press the YES/NO button.
3 Once you have selected the desired base setup,
press the YES/NO button to recall it.
The new base setup replaces the old one.
To select a base setup:
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Changing the name of a base setup
Use the same procedure as “Making changes to a
base setup” on page 107 to rename a base setup.
Building a patch
For a definition of a patch, see “What is a patch?”
on page 133.
Working with modifiers
For a complete definition of a modifier, see “What
is a modifier?” on page 128.
A patch is built using the base setups and modifiers
that are stored in the MIDI Timepiece AV’s
memory.
A modifier is any command, or set of commands,
that you can program the MIDI Timepiece AV to
do. For example, a modifier could be the command
to “connect input cable 3 to output cable 5”.
To build a patch from the LCD:
Modifiers cannot be created or edited in the LCD.
They can, however, be called up in the LCD.
Calling up a modifier
The MODIFIER window lets you call up a modifier
that you have created with ClockWorks.
To select a modifier:
1 Use the WINDOW knob to get to the BASE
SETUP window.
2 Use the CURSOR knob to got to the MODIFIER
window.
MODIFIER
126
D KX88toProteus
N
3 Turn the VALUE knob until you see the name
and number of the desired modifier.
4 Once you have selected the desired modifier,
press the YES/NO button to recall it.
You can recall as many modifiers at a time as you
want.
1 Use the WINDOW knob to go to the SELECT
PATCH window.
SELECT PATCH
NO PATCH
26
NE
2 Turn the CURSOR knob one click to the right to
the USE BASE SETUP window.
USE BASE-SETUP
D Basic
Studio <E E
3 Use the VALUE knob to select one of the eight
base setups or NONE (no base setup).
4 Turn the CURSOR knob one click to the right to
the USE MODIFIER window.
USE MODIFIER
D 1>NONE
10
NE
5 Use the VALUE knob to select a desired modifier
or to select NONE.
You can assign up to four modifiers to the patch. To
assign a second, third and fourth modifier, use the
SELECT knob and VALUE knob for each one.
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6 Turn the CURSOR knob one click to the right to
the TRIGGER window.
The trigger is the MIDI patch change event that will
call up the patch. You define what patch change, as
well as what cable and channel it will come from in
the network. This window provides three
parameters, which can be selected with the
CURSOR knob: the MIDI channel (CH), the patch
change number (PC), and the source cable (IN).
T R IGGER
<E >
D IN
X CH 1 P
1E
7 Use the CURSOR and VALUE knob to set the
trigger parameters as desired.
8 Turn the CURSOR knob one more click to the
right.
The PATCH NAME/SAVE window appears. Use
the CURSOR and VALUE knobs to adjust the name
as desired.
9 Press the ENTER button to save the patch
settings and name.
Selecting a patch
To select a patch:
1 Use the WINDOW button to go to the SELECT
PATCH window.
MAKING THE GLOBAL HARDWARE
SETTINGS
Go to the GLOBAL HARDWARE window using
the WINDOW knob. Make the global hardware
settings with the CURSOR and VALUE knobs as
follows:
Mac Speed
☛ This setting applies to the “Mac” serial port on
the MIDI Timepiece AV. If you’re using the USB
port to connect the interface to your computer, this
setting has no effect on the performance of your
interface.
Your choices here are 1 MHz or FAST. Choose the
speed that matches the MIDI software you are
running on the Macintosh. For a complete
explanation, see “Using ‘FAST’ serial mode” on
page 16.
MAC SPEED
FAST
D xmit
to mac 4x E
Network Connection and Box ID
NET PORT is used to describe what is connected to
the network port. Choices for BOX ID are 1-8 or
9-16. See “Making network settings” on page 21 for
detailed information about these settings.
THIS BOX ID 1--8
D NET
PORT=MAC
E
2 Use the value knob to select the desired patch.
3 Press the YES/NO button to call up the patch.
MMC Device ID
Use the VALUE knob to switch between two MMC
device settings: MTP AV and ADAT. For each one,
use the CURSOR and VALUE knobs to set the
MMC device ID’s for each. Make sure the ID’s are
different.
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MMC device I D
#
D MTP-AV
20 E
Running Status
By default, the MIDI Timepiece AV uses running
status on its output cables as prescribed by the
MIDI specification. Running status is a method of
data transmission that uses less data, thereby
conserving effort on the part of the MIDI
Timepiece AV and the receiving device.
RUNNING STAT US
D CABL
OUT
1 YE
Defeating running status solves problems with
devices that do not support it. Running Status is
about 25% more efficient than non-running status,
so don’t defeat it unless you have to. If you are not
sure whether a MIDI device uses running status,
and you encounter strange problems such as stuck
notes, try disabling running status on the output
cable to the device.
Use the VALUE knob to select the cable and the
YES/NO button to disable (or enable) running
status.
Direct Connect
Direct connect is a special mode that allows nonstandard MIDI data transmission between a MIDI
device and the Macintosh. In this mode, all cable
merging is disabled. You may need to use Direct
Connect mode with hardware that does not
conform to standard practices. For example, some
samplers require Direct Connect mode in order to
perform sample dump transfers to and from the
Mac. If you have difficulty with sysex transfers, try
Direct Connect mode.
DIRECT CONNECT
D CABLE
X <>
AE
☛
Note: the MIDI device must be connected to a
MIDI IN and a MIDI OUT with the same number.
Use the VALUE knob to select the cable that the
device is connected to.
☛
Important note: when the MIDI
Timepiece AV is in Direct Connect mode, it cannot
receive or send data from any other ports except
the direct connect ports.
Direct Connect mode can only be turned on and
off with the front panel LCD.
Reset All Data
This window resets the MIDI Timepiece AV to its
factory default settings.
☛
BEWARE! When you reset all data, you lose
everything in memory, including all modifiers and
any modifications you have made to the base
setups.
RESET ALL DATA
D
-DANGER<E>
PERFORMING A MIDI DATA DUMP
The DATA DUMP window (selected with the
WINDOW knob) causes the MIDI Timepiece AV
to transmit several system exclusive messages to
the computer and to output cable 1. These
messages contain a description of the current state
of the MIDI Timepiece AV at the time of the bulk
dump (not including modifiers and base setups
other than the current base setup).
To initiate the bulk dump, press ENTER.
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D A TA DUMP
<E >
C U RRENT STATE
Receiving a MIDI data dump
To get the MIDI Timepiece AV to receive a MIDI
data dump, transmit the data dump from software
running on the Mac, or transmit it from a
sequencer or other device connected to MIDI IN
number 8. (To transmit a bulk dump from
ClockWorks, use the Send Data To command in
the Utilities menu.) The MIDI Timepiece AV is
ready to receive the dump at all times; no special
preparation is needed. The data dumps must be
received from either the computer port, the
network port, or MIDI IN cable 8.
USING THE SMPTE CONTROLS
Use the WINDOW knob to go to the SYNC
window. Make the SMPTE settings with the
CURSOR and VALUE knobs as follows:
SYNC
This window is for display only. It shows a running
update of the current SMPTE location (in hours,
minutes, and seconds) while the MIDI
Timepiece AV is striping SMPTE or locking to
external SMPTE time code. It also indicates
whether the MIDI Timepiece AV is synchronizing
from its own internal time base (Internal) or
locking to incoming SMPTE time code (LTC or
MTC).
S Y NC
00:00:00 E
I n ternal
:48000
display. If it says “No TB”, this means that it is
waiting to receive a valid time base, as determined
by its MASTER SYNC setting. If MASTER SYNC is
set to LTC or MTC, you'll see the “No TB” message
while the MIDI Timepiece AV waits to receive
incoming time code, which it will use as the time
base. If MASTER SYNC is set to one of the three
VIDEO modes, you'll see the “No TB” message if
the MIDI Timepiece AV is not properly receiving
video input, which it uses as the time base in these
modes.
SYNC
00:00:00 E
Ext tb:Vid:No TB
Once the MIDI Timepiece AV locks on to a stable
time base, it displays “TB OK” for a moment and
then displays the sample rate it is generating based
on the current time base.
SYNC
00:01:14 E
Ext tb:Vid:48007
When the MIDI Timepiece AV both locks to a
stable time base and begins converting, it displays
the digital audio sample rate it is generating, based
on the current time base (either external or
internal).This display can be very helpful for
determining if the SMPTE frame rate settings are
correct and if the external time base is both stable
and accurate.
You may also see the “JAM” indicator. For a
complete explanation, see “Jam (MIDI
Timepiece AV only)” on page 70.
External Time Base Status Display
The SYNC window gives you a time base status
display to the right of the “tb:”. Vid means video.
LTC or MTC indicate SMPTE or MIDI Time Code.
Following the time base indicator is the status
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Master Sync
Use the VALUE knob to choose the appropriate
time base and address sources. See “Choosing a
master SYNC mode” on page 140 for an
explanation of these settings.
D
MASTER SYN C
INTERNAL
SMPTE FORMAT
D
30
E
Word Clock Out
Use the CURSOR and VALUE knobs to choose the
sample rate and sample clock format (DIGI for
Digidesign superclock or 1X for standard word
clock). The sample rate can be either 44.1K or 48K,
and there are three variations of each frame rate:
normal, pull-up (UP), and pull-down (DN). The
pull-up and pull-down sample rates can be used in
the standard fashion when working with audio that
will be transferred between video (at 29.97 frames
per second) and film (24 fps) — or other frame
rates.
WORD CLOCK O UT
D 44.1K
UP
DIGI E
SMPTE Volume Out
This setting lets you adjust the volume of the
SMPTE output from the MIDI Timepiece AV.
E
SMPTE Destination
This window determines where the MIDI
Timepiece AV sends MIDI Time Code when it is
converting or generating time code. By default, it
sends time code to the computer only. To send time
code to another cable, use the SELECT knob to
choose the cable and use the VALUE knob to
enable time code (Y) or disable it (N).
SMTPE DESTINATON
D
CABLE
1 NE
Offset/Stripe
Use the CURSOR AND VALUE knobs to set the
start frame for striping. Press the ENTER button to
start striping. Press it again to stop striping. The
start time is expressed in hours, minutes, seconds,
and frames.
offset/stripe<E>
D
+00:00:00/00 E
SMPTE VOLUME OUT
D
master. If you are working with video, be sure to
choose 29.97 (either drop or non-drop as needed
or desired) instead of 30.
E
SMPTE Format
Use the VALUE knob to choose the desired frame
rate for striping — or any time the MIDI
Timepiece AV serves as the SMPTE time code
Jam SMPTE Frames
Use the VALUE knob to increase or decrease the
number of frames the MIDI Timepiece AV will
“jam sync” or “freewheel” for in order to bypass
drop outs in the time code. Choices are 0, 1, 2, 4, 8,
16, and 32 frames or “I”. Choose “I” for “infinite”
jam sync, which causes the MIDI Timepiece AV to
begin striping on its own when it encounters a drop
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out. To stop striping in this case, use the CURSOR
knob to go back to the STRIPE START window and
press ENTER.
J A M SMPTE FRAMES
D
4
Getting a running update of SMPTE in the LCD
While the MIDI Timepiece AV is either converting
or generating SMPTE time code, use the
WINDOW knob to go to the SYNC window. The
SYNC window provides a running update
(hours:minutes:seconds) of the time code.
PROGRAMMING THE PEDAL INPUTS
Use the WINDOW knob to go to the PEDALS
window.
Pedals display
The first pedal window provides a running update
of pedal values, which shows you the current value
of the pedal as you press it. Turn the CURSOR
knob to the right to make the pedal settings
described in the following sections.
P E DALS
A - _ 0 B-_
0
Roland expression
■
KORG expression
■
Click-to-MIDI (pedal A only)
■
Momentary (for a foot switch)
■
LRC (available for Pedal B only)
Off
If you are not sure whether your pedal is a KORG
type or Roland type, choose one and then see
“Verifying that the pedal is working” on page 115.
PEDAL TYPE
D PEDAL
A >CLICK
E
For the Alesis LRC, use the SELECT knob to
choose PEDAL B and use the VALUE knob to
choose LRC.
PEDAL TYPE
D PEDAL
B >LRC
E
Pedal Polarity
Use the SELECT knob to choose between pedal A
and pedal B. Use the VALUE knob to choose
between positive (+) and negative (-) polarity.
Negative polarity reverses the direction of the
pedal, so that if it normally goes up when you press
down, negative polarity will make it go down (and
vice versa). If you aren’t sure which to choose, use
positive and then check it by going to “Verifying
that the pedal is working” on page 115.
E
Pedal Type
Use the SELECT knob to choose between pedal A
and pedal B. Use the VALUE knob to choose a type
of pedal. You have five choices:
■
■
PEDAL POLARITY
D PEDAL
A> +
E
Pedal Range
Use the SELECT knob to choose between pedal A
and pedal B. Use the CURSOR knob to select the
low and high end of the range. Use the VALUE
knob to set the numbers. This is the minimum and
maximum value that the pedal will generate.
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PEDAL RANGE
D
SEL A >
0- 127 E
PEDAL OUTPUT ASSIGNMENT
To select the pedal, use the CURSOR knob to go
back to the previous window and use the SELECT
knob to select the pedal. In this window, use the
SELECT knob to choose among four possible
output assignments. Use the CURSOR knob to
switch between the four output assignment
parameters (input cable, data byte, channel byte,
and controller/note number).
Select the pedal in
the previous window.
Use the CURSOR knob
to select these four
output parameters.
PEDAL A
D #1 >
1 B0
Use the SELECT
knob to switch
between the four
possible output
assignments
☛
input
cable
Data
type
byte
(in
MIDI
channel
byte
(in hex)
This identifies the
currently selected
output parameter
below.
CMD
7 XX
Controller
or
note
number
Note: pedal output cannot be assigned
directly to an output cable. Instead, it must be
assigned to an input cable with which it gets
merged. See “Making a pedal or knob output
assignment” on page 121.
For the data type byte, enter one of the following
values:
To generate this
Enter this as the data type byte
Note
9
Polyphonic pressure
A
Controller
B
Program change
C
Mono pressure
D
Pitch bend
E
For the MIDI channel byte, enter the appropriate
value below:
Channel
Hex value
1
0
2
1
3
2
4
3
5
4
6
5
7
6
8
7
9
8
10
9
11
A
12
B
13
C
14
D
15
E
16
F
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Verifying that the pedal is working
To verify that the pedal you have programmed is
working properly, use the WINDOW knob to go to
the PEDALS window. Press the pedal and watch the
display. You should get a running update in the
LCD as the pedal moves. If not, try choosing a
different pedal type.
Programming Pedal A to convert an audio click
To program Pedal A to convert an audio click:
1 Use the WINDOW knob to go to the PEDALS
window.
2 Use the CURSOR knob to go to PEDAL TYPE.
3 Use the SELECT knob to choose Pedal A.
7 Turn the CURSOR knob one click to the right to
go to the CLICK TO MIDI output assignment
window.
CLICK TO MIDI
D IN
1 CH 1 n 61
8 Use the CURSOR and VALUE knobs to set the
output channel, MIDI note number, and input
cable assignment.
☛
4 Use the VALUE knob to choose CLICK.
5 Turn the CURSOR knob one click to the right to
go to the THRESHOLD/DECAY window.
THRESHOLD 10
D CLICK
DECAY 10
You may need to experiment to adjust these values.
See “Checking the Click-to-MIDI settings” on
page 115.
E
6 Use the CURSOR and VALUE knobs to set the
Threshold and Decay.
The threshold can be set anywhere on a scale from
0 to 70. The audio click must be loud enough to
reach the threshold. A soft click will require a low
threshold. Try to set the threshold as high as
possible, however, to avoid false triggering from
noise. Decay is meant to prevent doubled attacks.
The decay can be set from 1 to 31. Low values make
the decay longer; high values make it shorter. Try to
set the decay as long (low) as possible, but if you are
working with a faster tempo, don’t make it too long
or you will miss beats. The decay also determines
the duration of the MIDI note generated by the
MIDI Timepiece AV. A low decay produces a long
duration; a high decay produces a short duration.
Note: the click-to-MIDI output assignment
cannot be assigned directly to an output cable.
Instead, it must be assigned to an input cable with
which it gets merged. See “Making a pedal or knob
output assignment” on page 121.
Checking the Click-to-MIDI settings
Use the WINDOW knob to go to the PEDALS
window. Play the audio click. Watch the display.
You should see the bar indicator flash for every
click. You can also observe the green MIDI OUT
LED’s on the front panel to see if they flash in sync
with the click as well. If they miss a beat, or if they
seem to flicker or stutter with a doubled attack, try
adjusting the threshold and decay.
PROGRAMMING KNOBS TO SEND DATA
Use the WINDOW knob to go to the KNOB
window.
KNOBS
127 127 127 127
E
Make the KNOB settings with the SELECT,
CURSOR and VALUE knobs as follows:
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1 Turn the CURSOR knob one click to the right to
go to the KNOB START/STEP SIZE window.
KNOB START
D
A > STEP
127
1E
2 Use the SELECT and VALUE knobs to set the
start value and step size for each knob.
The start value is the value that the knob gets set to
when you first call up the base setup or modifier
that stores the knob settings. The step size
determines the value change of the controller or
patch change messages every time you turn the
knob one click. Normally, the value will change by
one. You could, however, get a more dramatic
change with less turning of the knob by making
this value five, for example. Then the knob will
generate values of 0, 5, 10, 15, 20, 25, etc. on each
click as you turn it.
3 Turn the CURSOR knob one click to the right to
go to the KNOB RANGE window.
KNOB
RANGE
D
SEL A >
0- 127 E
4 Use the SELECT, CURSOR and VALUE knobs
to set the range for each knob.
These values determine the lowest and highest
value that the knob can generate.
5 Turn the CURSOR knob one click to the right to
go to the KNOB output assignment window.
KNOB A
D #1>
1 B2
IN
7 XX
The knob output assignment window works in the
same fashion as the pedal output assignment
window described in the section “PEDAL
OUTPUT ASSIGNMENT” on page 114. Please
refer to that section for details.
☛
Note: similarly to pedals, knob output cannot
be assigned directly to an output cable. Instead, it
must be assigned to an input cable with which it
gets merged. See “Making a pedal or knob output
assignment” on page 121.
MIDI ROUTING
Use the WINDOW knob to go to the MIDI
ROUTING window. Use the CURSOR, SELECT,
and VALUE knobs to make cable routings as
follows:
Route by cables
Use the SELECT knob to choose an input cable.
Use the VALUE knob to select an output to which
to route the input. Once you have made your input
to output cable choices, press YES/NO to make (or
break) the connection. (For cable designations, see
“Getting familiar with the LCD conventions” on
page 106.)
ROUTE BY CABLES
D In_1>Out
1 NE
Route by channel
Use the SELECT knob to choose an input cable.
Use the CURSOR and VALUE knobs to select the
input cable and channel that you want to route to
an output cable. (The input and output channel are
the same.) Once you have made your input to
output cable choices, press YES/NO to make (or
break) the connection. (For cable designations, see
“Getting familiar with the LCD conventions” on
page 106.)
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R O UTE BY CHANNEL
D In_1CH
1 OUT 1 N
MUTING MIDI DATA
Use the WINDOW knob to go to the MUTE MIDI
DATA window. Make the muting settings with the
CURSOR and VALUE knobs as follows:
Input or output
Cable
Channel
(displays dashes for nonchannel specific data)
IN
1
CH 1
C ONTROLLERS N
Output Channel Remap
Use the SELECT knob to choose an output cable.
Use the CURSOR and VALUE knobs to select the
source and destination channels. (For cable
designations, see “Getting familiar with the LCD
conventions” on page 106.)
OUT CHANEL REMAP
D OUT_1CH
7 TO 1
USING THE PANIC BUTTON
The MIDI Timepiece AV has a Panic button on the
front panel.
If the Panic is pressed once, it sends out a MIDI All
Notes Off message to each cable.
Type of data to be muted
Press YES/NO
button to mute (Y)
or unmute (N) the
MIDI CHANNEL MAP
Use the WINDOW knob to go to the MIDI
CHANNEL MAP window. Make the mapping
settings with the CURSOR and VALUE knobs as
follows:
Input Channel Remap
Use the SELECT knob to choose an input cable.
Use the CURSOR and VALUE knobs to select the
source and destination channels. (For cable
designations, see “Getting familiar with the LCD
conventions” on page 106.)
I N CHANNEL REMAP
D IN
_1CH 7 TO 1 E
If the Panic button is pressed twice (somewhat like
a double-click of a computer mouse), it not only
sends out All Notes Off messages, it also sends out
a MIDI note off command for every note on every
channel. As you can imagine, this is a lot of data,
and it takes the MIDI Timepiece AV a moment to
transmit all of it!
If you hold down the Panic button while switching
on the MIDI Timepiece AV, the unit is restored to
its factory default settings.
RESTORING FACTORY DEFAULT SETTINGS
The “factory default” settings are the settings that
the MIDI Timepiece AV has when it ships from the
factory. At times, you might need to start from a
“clean slate”, so to speak, and restore the factory
default settings. To restore the factory default
settings, hold down the Panic button while
powering up the unit. Or you can reset it from the
front panel LCD as follows:
1 Use the WINDOW knob to go to the GLOBAL
HARDWARE SETUP window.
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2 Turn the CURSOR knob all the way clockwise.
3 Go to the THRESHOLD window using the
CURSOR knob.
The RESET ALL DATA window appears.
3 Press the ENTER button.
☛
BEWARE! You’ll lose everything in the MIDI
Timepiece AV memory, including modifiers and
patches that you have created and saved, and
changes you have made to any of the eight base
setups.
4 With silence on the audio click input (no click
being played), press ENTER in the THRESHOLD
window.
This recalibrates the click input. In doing so, the
threshold bottoms out at approximately 2 or 3 in a
range from 0 to 70.
A FEW THINGS THE LCD CAN’T DO...
CALIBRATING THE CLICK INPUT
The click input (Pedal A) is calibrated before the
unit leaves the factory. However, this calibration
can be lost in some circumstances.
To recalibrate the click input:
1 Insert the audio source into the Pedal A.
2 Configure Pedal A for click to MIDI conversion
as described in “Programming Pedal A to convert
an audio click” on page 115.
There are a handful of things that cannot be
programmed from the front panel. You cannot:
Program a knob to send system exclusive data
(You can program it to send controller data,
however.)
■
■
Create or edit modifiers
■
MIDI cannon
These tasks can be accomplished with
ClockWorks.
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CHAPTER 18
Knobs and Pedals
OVERVIEW
This chapter explains how you can use the four
knobs on the front panel of the MIDI
Timepiece AV and the two pedal inputs (A & B) to:
CHOOSING A PEDAL OR KNOB TO
PROGRAM
The first thing you need to do is select which knob
or pedal you are going to program.
■
1 Open up ClockWorks.
■
Route the data from the knob or pedal to any
MIDI Timepiece destination
2 If you have more than one MIDI Timepiece,
open the Device List window from the Windows
menu and click the box you want to program.
■ Convert an audio tempo source such as an audio
click into MIDI data in order to slave MIDI
hardware or software to the audio tempo source
For more information, see “The Device List
window” on page 38.
Generate MIDI data, such as notes, controllers,
patch changes, pitch bend, and system exclusive
This chapter explains how to do these things with
ClockWorks. To learn how to program the knobs
and pedal from the front panel LCD, see
chapter 17, “Using Front Panel LCD”.
3 Choose Knobs & Pedals from the Windows
menu.
☛
A box appears around the knob or pedal to indicate
that it is selected. Settings for it appear to the right.
If an original MIDI Timepiece is currently
selected in the Device List window, this window
cannot be opened and it becomes grayed out in the
Windows menu.
4 Click the knob or pedal that you want to set up.
Choosing a pedal or knob to program . . . . . . .119
Setting up a knob . . . . . . . . . . . . . . . . . . . . . . . . .120
Setting up a pedal . . . . . . . . . . . . . . . . . . . . . . . . .120
Making a pedal or knob output assignment . .121
Sending knob data . . . . . . . . . . . . . . . . . . . . . . . .122
Sending pedal data . . . . . . . . . . . . . . . . . . . . . . . .122
Saving knob settings as part of a base setup . .122
Saving the knob settings as a modifier . . . . . . .122
Figure 18-1: The Knobs & Pedals window lets you program the MIDI
Timepiece AV’s front-panel knobs and its two pedal inputs.
Using an audio click as a tempo source . . . . . .123
Click input hints . . . . . . . . . . . . . . . . . . . . . . . . . .124
Sending sysex data with a knob or pedal . . . . .124
Custom Pedal Curves . . . . . . . . . . . . . . . . . . . . . .124
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SETTING UP A KNOB
Note: before you set up a knob, you should decide
whether you want to save the knob settings as a
modifier which can be remembered by the MIDI
Timepiece AV and recalled either with the
software, the front panel LCD, or a MIDI patch
change. If you would like to save the knob setting as
a modifier, go to the Setups & Modifiers window
and add a new modifier before you begin the
procedure below. See “Creating a new modifier” on
page 131 for more information on adding a new
modifier.
You can either type in the controller number or
choose it by name from the pop-up menu.
1 Set the steps per click option.
This option determines the value change of the
controller, sysex, or patch change messages that are
sent every time you turn the knob one click.
Normally, the value will change by one. You could,
however, get a more dramatic change with each
click of the knob by making this value five, for
example. Then the knob will generate values of 0, 5,
10, 15, 20, 25, etc. on each click.
6 If you chose system exclusive, see “Sending
sysex data with a knob or pedal” on page 124.
2 Set the default value.
SETTING UP A PEDAL
The value must be between zero and 127. When
you first call up the setup or modifier with this
knob setting, the knobs will be set to this initial
value.
3 Enter a minimum and maximum value.
These values determine the lowest and highest
value that the knob can generate.
4 Select the type of data you wish to enter in the
Send pop-up menu.
A knob or pedal can generate MIDI notes, pitch
bend, controller data, sysex data, patch changes,
and channel and polyphonic aftertouch.
5 If you choose to send a controller, select the type
of controller you wish to generate.
7 Proceed to “Making a pedal or knob output
assignment” on page 121.
This section explains how to program the pedal
inputs on the MIDI Timepiece AV.
Before you set up a pedal, you should decide
whether you want to save the pedal settings as a
modifier which can be remembered by the MIDI
Timepiece AV and recalled either from the Setups
& Modifiers window, from the front panel LCD, or
from a MIDI patch change. If you would like to save
the pedal setting as a modifier, go to the Setups &
Modifiers window and add a new modifier before
you begin the procedure below. See “Creating a
new modifier” on page 131 for information on
adding a new modifier.
1 Set the pedal polarity to positive or negative.
Negative polarity reverses the direction of the
pedal, so that if it normally goes up when you press
down, negative polarity will make it go down (and
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vice versa). If you aren’t sure which to choose, use
positive and then check it by going to “Verifying
that the pedal is working” on page 115.
2 Describe the type of pedal or input that is
connected.
You have five choices shown below in Figure 18-2.
Roland and KORG expression pedals are
continuous control pedals, where the MIDI
Timepiece AV reads the position of the pedal and
maps it to a MIDI value between zero and 127. The
foot switch setting should be used for momentary
foot pedals. If you choose the click-to-MIDI option
(which is only available on the Pedal A input on the
rear panel), skip the rest of the steps in this section
and see “Using an audio click as a tempo source”
on page 123. For Pedal B, you may also choose
Alesis LRC for the pedal type.
A knob or pedal can generate MIDI notes, pitch
bend, controllers, patch changes, or sysex data.
6 If you chose controller, select the type of
controller you wish to generate.
You can either type in the controller number or
choose it by name from the pop-up menu.
7 If you chose system exclusive, see “Sending
sysex data with a knob or pedal” on page 124.
8 Proceed to “Making a pedal or knob output
assignment” on page 121.
MAKING A PEDAL OR KNOB OUTPUT
ASSIGNMENT
The output from a pedal or knob cannot be
assigned directly to an output cable or serial port.
Instead, the knob or pedal data is assigned to an
input cable, and from there it is routed to whatever
outputs to which the input cable is routed.
For example, let’s say that we want a knob to
generate MIDI volume (controller number 7) and
then send it to three synths in our MIDI studio (a
Proteus, Roland D-110, and an S1000). Here is how
to do so:
Figure 18-2: Setting the pedal type.
3 Enter a minimum and maximum value.
These values determine the lowest and highest
value that the pedal can generate (range 0-127). If
you are working with a foot switch pedal, these are
the two values that the pedal will generate.
4 Check the Use custom curve table option, if
desired.
For more information about this option, see
“Custom Pedal Curves” on page 124.
1 Assign the knob to one of the MIDI
Timepiece AV’s MIDI inputs by choosing the input
from the pop-up menu provided.
If you are using a MIDI controller, assign the pedal
or knob to the controller’s input. Then the knob or
pedal data will be routed to the same outputs as the
controller. If you have an input cable that isn’t
connected to anything else, you could use it
instead. In the example below, the Kurzweil K2500
input is chosen.
5 Select the type of data you wish to enter in the
Send pop-up menu.
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When the red LED is lit, the knobs control the
MIDI Timepiece AV LCD display. When the green
LED is lit, the knobs switch into their data
transmission mode and send MIDI data instead.
2 Turn the knobs to send the data.
Notice that the four knob values are displayed in
the LCD on the front panel.
2 Open the Device Settings & Routing window
and route the input to the outputs to which you
would like the knob data to go.
KNOBS
127 69
12
93
E
Figure 18-3
In this example, the knob is being routed to the
Korg Trinity, Clavia Nord Lead, Kurzweil K2500x,
and the Roland JV-2080 via the K2500 input.
3 To switch the knobs back so that they again
control the LCD display, press the SHIFT button
such that the red LED is lit.
You can freely switch back and forth.
SENDING PEDAL DATA
Once you have made the pedal data assignment
and output assignment as described in the
previous sections in this chapter, no other
preparation is necessary. Just move the pedal.
3 Once you have completed the knob or pedal
settings with the above output assignment, be sure
to save the settings as a modifier or as part of the
current basic setup.
For more information, see “Adding commands to a
setup or modifier” on page 130.
SENDING KNOB DATA
Once you have programmed one or more knobs,
you can make them generate the data you have
programmed as follows:
1 Press the SHIFT button on the front panel of the
MIDI Timepiece AV so that the green LED is lit.
SAVING KNOB SETTINGS AS PART OF A
BASE SETUP
For information about how to save knob and pedal
settings as part of one of the eight MIDI
Timepiece AV base setups, see “Adding commands
to a setup or modifier” on page 130.
SAVING THE KNOB SETTINGS AS A
MODIFIER
You can save one or more knob or pedal settings
together as a modifier. Doing so allows you to recall
the settings instantly with the Setups & Modifiers
window, the Patch List window, the front panel
LCD, or a MIDI patch change without changing the
rest of the settings in the MIDI Timepiece AV. For
information, see “Adding commands to a setup or
modifier” on page 130.
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USING AN AUDIO CLICK AS A TEMPO
SOURCE
The MIDI Timepiece AV can convert an audio
click into any MIDI event. The audio click can be
played back from a tape deck or generated live by a
drummer. This feature can be used for many
purposes. Below are a few ideas:
■ Recording the click’s tempo map into a
sequencer
■
Slaving a sequencer to a click track
■
Triggering drum samples
This feature can be used in conjunction with Mark
of the Unicorn’s Performer program to slave a
sequence to prerecorded music on tape while
referenced to SMPTE time code. For more
information, please refer to the Performer (Version
3.5 or higher) User’s Manual.
To convert an audio click into MIDI:
1 Be sure that the audio click source is connected
to the PEDAL A phone jack on the rear panel of the
MIDI Timepiece AV.
2 Open the Knobs & Pedals window in
ClockWorks.
3 Click Pedal A.
4 Under Pedal Type, select Click-to-MIDI.
The Click-to-MIDI options appear in the righthand side of the window.
Figure 18-4: Click-to-MIDI Assignments.
5 Set the Threshold and Decay.
The threshold can be set anywhere on a scale from
0 to 70. The audio click must be loud enough to
reach the threshold. A soft click will require a low
threshold. Try to set the threshold as high as
possible, however, to avoid false triggering from
noise. Decay is meant to prevent doubled attacks.
The decay can be set from 1 to 31. Low values make
the decay longer; high values make it shorter. Try to
set the decay as long (low) as possible, but if you are
working with a faster tempo, don’t make it too long
or you will miss beats. The decay also determines
the duration of the MIDI note generated by the
MIDI Timepiece AV. A low decay produces a long
duration; a high decay produces a short duration.
You may need to experiment to adjust these values.
See “Checking the Click-to-MIDI settings” on
page 115.
6 Choose the data type you wish, and set the data
for the event.
7 Make the desired output assignment for the
MIDI click data.
For more information, see “Making a pedal or
knob output assignment” on page 121.
8 Check to make sure that the MIDI
Timepiece AV is successfully reading the click.
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See “Checking the Click-to-MIDI settings” on
page 115.
Once you have selected system exclusive as the type
of data, you’ll see the sysex data entry window.
CLICK INPUT HINTS
If the MIDI Timepiece AV reads the audio click
erratically, such as generating doubled attacks, try
adjusting the threshold and decay values. If you
still have trouble, try attenuating the audio signal
from the click source or through a mixer. The
PEDAL A input is purposefully sensitive so that it
can detect a low-amplitude signal.
If you are generating the click that the MIDI
Timepiece AV will convert, set the audio level fairly
high (at around 0 dB). Also, record a short,
transient click sound with no reverb or other
effects. A short and precise click sound will
produce the most reliable results.
SENDING SYSEX DATA WITH A KNOB OR
PEDAL
A knob or pedal can transmit a sysex message up to
27 bytes long. You define a variable byte within the
message. As you press the pedal or turn the knob,
the knob generates a continuous stream of sysex
messages; each message is exactly the same except
for the value of the variable byte. It changes in
correspondence with the current position of the
pedal or knob on a scale between zero and 127.
This feature is ideal for creating smooth, real-time
changes to parameters on synthesizers and other
MIDI devices.
The reason for the 27-byte limit is that a message
larger than 27 bytes cannot be transmitted
efficiently enough to be generated in real time.
To program the sysex message:
1 Set up the knob or pedal as described in “Setting
up a knob” on page 120 or “Setting up a pedal” on
page 120.
2 Click inside the sysex data entry box and type in
the bytes necessary.
The message can be up to 27 bytes long, including
the F0 and F7 at the beginning and end of the
message.
3 For the variable byte, type “xx”.
4 Set the output assignment as described in
“Making a pedal or knob output assignment” on
page 121.
CUSTOM PEDAL CURVES
Custom pedal curves can now be created and saved
within Modifiers to allow the MTP AV’s Pedal
inputs to react in a non-linear manner to control
voltage foot pedals. When Pedal A or B input is
assigned to be controlled by a KORG or Roland
Expression-type foot pedal, you can make a
custom pedal curve for that pedal in the Pedal
Curves window. The Knobs & Pedals window
contains a new check box to toggle whether a pedal
input uses the current custom pedal curve.
To make a custom pedal curve:
1 Select or create a Modifier in which you wish to
store the pedal curve.
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To save a pedal curve, it must be part of a Modifier.
Pedal curves cannot be saved as part of Base Setup.
2 Choose Pedal Curve from the Windows menu.
The Pedal Curve window appears.
5 Save the Modifier and “Pedal Curve Message”
appears in the script for that Modifier in the Setups
& modifiers window.
The custom pedal curve is saved as part of the
modifier.
Figure 18-5: Pedal Curve Window.
3 Choose the pedal, A or B, for which you wish to
create a custom pedal curve, by clicking A or B in
the Pedal Curve window title bar.
The current pedal curve for the selected pedal
displays.
4 Use the mouse to draw a new curve.
Shift-drag to draw a straight line. If you shift-drag
past the upper right-hand corner, the line will snap
to a perfect diagonal (default) position.
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CHAPTER 19
Setups and Modifiers
OVERVIEW
What is a “base setup”? . . . . . . . . . . . . . . . . . . . .128
This chapter explains how to manage multiple
internal settings in the MIDI Timepiece AV. It
explains how to create and save multiple configurations as setups and modifiers, which provide you
with a tremendous degree of control and flexibility
over the MIDI Timepiece AV.
What is a modifier?. . . . . . . . . . . . . . . . . . . . . . . .128
You can then recall configurations as setups and
modifiers from the front panel LCD. See “Selecting
the current base setup” on page 107 and “Calling
up a modifier” on page 108.
Recalling setups and modifiers . . . . . . . . . . . . .129
Or you can recall them with MIDI patch changes
from a MIDI controller as described in “Recalling
patches via a MIDI patch change” on page 135.
Removing a command from a base setup . . . .130
You do not need to know the information in this
chapter for basic operations of the MIDI
Timepiece AV. Instead, you can “set it and forget it”
if doing so suits your needs. Read this chapter if
you are interested in creating and saving different
settings within the MIDI Timepiece AV that can be
easily recalled.
Saving new script commands as a modifier . .131
Comparing the MTP AV to a synth . . . . . . . . . .128
Using the Setups & Modifiers window . . . . . . .129
Creating a setup . . . . . . . . . . . . . . . . . . . . . . . . . .129
Naming a setup or modifier . . . . . . . . . . . . . . . .129
Using the script . . . . . . . . . . . . . . . . . . . . . . . . . . .130
Adding commands to a setup or modifier. . . .130
Removing a command from a modifier. . . . . .130
Creating a new modifier . . . . . . . . . . . . . . . . . . .131
Adding new script commands to a setup. . . . .131
Saving as another modifier . . . . . . . . . . . . . . . . .132
Merging modifiers into a setup . . . . . . . . . . . . .132
Clearing all current modifiers . . . . . . . . . . . . . .132
Deleting a modifier. . . . . . . . . . . . . . . . . . . . . . . .132
The Custom Panic modifier . . . . . . . . . . . . . . . .132
Hints for using setups and modifiers . . . . . . . .132
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WHAT IS A “BASE SETUP”?
WHAT IS A MODIFIER?
Think of a setup as a basic configuration of all the
MIDI Timepiece AV’s current internal settings.
This includes its cable routing connections, muting
and rechannelizing settings, SMPTE convert
settings––everything. It even includes all of the
settings for an original MIDI Time Piece or MIDI
Timepiece II connected to the network port.
A modifier is any set of commands that you can
issue to the MIDI Time Piece. It could be just one
command, such as “Connect MIDI IN cable 5 to
MIDI OUT cable 3” or “Map K2000 input ch. 4 to
ch. 6”.
The MIDI Timepiece AV can store eight different
setups in its internal, battery-backed memory.
They are remembered by the MIDI Timepiece AV
for the life of the internal battery. Each setup can be
entirely different from the others. The eight setups
can be edited and saved from the front panel LCD
or from ClockWorks.
One of the eight base setups is always active.
Whenever you make a change to one of the MIDI
Timepiece AV’s settings, the change is added to the
current setup. To see which setup is the current
one, turn the WINDOW knob all the way to the
left; the setup name appears in the LCD.
Most of the time, you will probably have one basic
studio setup. In addition, you may have perhaps
one, two, or three other base setups for various
situations (a basic live gig setup, for example). The
MIDI Timepiece AV provides you with eight such
base setups. If you need more, don’t worry. That’s
where modifiers (defined in the next section) come
in. The sections that follow describe how you can
tailor a base setup to your needs.
Once a setup has been named and saved, it can be
recalled instantly in one of the following ways:
A modifier, however, can be more than just one
command. It could, for example, consist of several
commands saved together. For example, you could
create a modifier that connects a keyboard
controller to two sound modules, connects a drum
pad controller to a sampler, and mutes real time
data on input cable 3, all at once.
As another example, a modifier can be a set of
commands that sets up one of the front panel
knobs to send MIDI volume controllers to all MIDI
outputs.
The MIDI Timepiece AV can store up to 127
modifiers (depending on how large each one is) in
its internal, battery-backed memory. Like setups,
modifiers are remembered by the MIDI
Timepiece AV for the life of the internal battery.
Modifiers can be created, edited, and saved from
ClockWorks. Unlike base setups, no modifiers exist
in the MTP AV until you create them.
Modifiers can be recalled instantly, in the same
manner as setups, with the front panel LCD, the
Setups & Modifiers window, the Patch List window,
or with a MIDI patch change event sent to the
MIDI Timepiece AV from any device (or software)
connected to the network.
COMPARING THE MTP AV TO A SYNTH
■
with the knobs on the front panel
■ with the Setups & Modifiers window or Patch
List window in ClockWorks
■ with a MIDI patch change sent to the MIDI
Timepiece AV from a controller or other device
connected to the network
You may find it helpful to understand Setups and
Modifiers in terms of a synth: a base setup is like a
patch, which consists of a whole set of parameters
that make up a sound. A modifier is like one
parameter within that patch. With modifiers, you
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can tweak an individual parameter (modifier)
without affecting any of the other current
parameters of the patch (base setup).
This kind of flexibility is what makes the MTP AV
so powerful. Rather than provide you with only
128 patches (whole setups), the MTP AV has so
many settings that you will often want to change an
individual setting without affecting the others. If
the only way you could change one parameter
would be to change them all, a lot of memory
inside the MTP AV would be wasted because you
would have to make many base setups that are
almost identical. In addition, if you then make
changes to the current setup that are not saved,
calling up another patch would erase them.
Imagine having to reset an entire patch on a synth
just to be able to tweak an LFO––not very useful, to
say the least.
With base setups and modifiers, you have the
ability to create an almost infinite number of
possible configurations with a conservative (and
affordable) amount of memory. You also have a
great deal of flexibility in controlling the MIDI
Timepiece AV settings.
Setup list
Modifier
list
Status bar
Current setup or
modifier script
Modifier
size
Figure 19-1: The Setups & Modifiers List window. This window is
where you configure the eight base setups and create modifiers.
CREATING A SETUP
Since the MIDI Timepiece AV ships with eight base
setups already built in, you don’t actually create one
from scratch. Instead, you modify one of the
existing eight setups. See the following sections for
how to do so.
NAMING A SETUP OR MODIFIER
To name a setup or modifier:
USING THE SETUPS & MODIFIERS WINDOW
1 Double-click or option-click the name to
pop-edit it.
The Setups & Modifiers window is where you
configure your eight base setups and where you
create modifiers.
2 Type the desired name.
☛
If an original MIDI Time Piece is currently
selected in the Device List window, this window
cannot be opened and it becomes greyed out in the
Windows menu.
Names can be up to twelve characters in length.
3 Press return.
RECALLING SETUPS AND MODIFIERS
To call up a setup or modifier, click its icon in the
setup or modifier list in the left-hand side of the
window.
When you click a modifier or setup icon, its
command script appears in the scrolling list on the
right, and it gets called up inside the MIDI
Timepiece AV.
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Only one base setup can be current at a time. But as
many modifiers as you like can be recalled on top
of the current setup.
When you recall a modifier, any commands that it
contains override the current setup. Everything
else about the current setup remains the same.
When you recall a setup, it completely replaces the
current setup and clears away any current
modifiers.
2 Open the necessary window in the windows
menu and execute the command you wish to make.
For example, if you want to add a cable connection
such as “Route Kurzweil K2000 to Proteus sound
module”, choose Device Settings & Routings from
the Windows menu and make the connection. (For
information about cable routing, see chapter 7,
“Device Settings & Routing” (page 45).)
3 Repeat step 2 as necessary to add as many
commands as you need.
USING THE SCRIPT
The current setup or modifier script (as shown in
on page 129) is a scrolling list of commands that
make up that setup or modifier. Each command is
a description of a specific setting in the MIDI
Timepiece AV. The modifier or setup name appears
at the top of the list.
The script allows you to see everything that’s going
on in the MIDI Timepiece AV at the moment. If
you make a change (by doing something in one of
the other windows), the change will appear at the
bottom of the script.
The script is an itemization of every command that
makes up the setup or modifier.
Italicized items in the script are commands that
have been made but have not yet been saved as part
of the current setup. See the next section for how to
do so.
ADDING COMMANDS TO A SETUP OR
MODIFIER
As you add each new command, it appears at the
bottom of the script list. If you are adding the
commands to a setup, notice that when it is first
added, it is italicized. (It won’t be italicized if you
are adding it to a modifier.)
4 When you have finished adding commands,
choose “Save to base setup” or “Save to modifier” in
the mini-menu.
This adds the commands to the setup or modifier.
REMOVING A COMMAND FROM A
MODIFIER
To remove a command from the modifier script,
click it to select it and press the delete key.
Alternately, you can choose Clear from the Edit
menu.
REMOVING A COMMAND FROM A BASE
SETUP
To remove a command from a setup:
To add a command to the setup or modifier script:
1 Call up the base setup.
1 Be sure that the modifier or setup you want to
edit is currently being displayed in the script list.
2 Go to the appropriate window and “undo” the
command.
The modifier or setup name appears at the top of
the list. If it isn’t, click its icon in the setup or
modifier list.
For example, if you want get rid of a mute setting,
go to the Muting window and uncheck the
appropriate check box. To clear a cable routing,
delete the connection in the Device Settings &
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Routings window. To change a SMPTE setting, go
to the SMPTE Controls window and change the
setting. Basically, in this step you will uncheck a
check box, delete a connection, or change a setting,
depending on what you want to do.
4 Add commands to the new modifier as
necessary.
3 Save the change by choosing Save to Base Setup
from the mini-menu.
ADDING NEW SCRIPT COMMANDS TO A
SETUP
A dialog appears to give you the choice of saving to
a different base setup. Since you are changing the
current one, and it is already selected in the pop-up
menu, just click OK. When you do, the command
is removed from the setup.
CREATING A NEW MODIFIER
There are two ways to create a modifier: one way is
to create a new one from scratch and then add
commands to it. The other way is to make the
command changes first and then save them as a
modifier. See “Saving new script commands as a
modifier” on page 131.
To create a new modifier from scratch:
1 Choose Add Modifier from the mini-menu.
A dialog appears in which you can type a name for
the modifier and choose a patch to include it in, if
desired.
See “Adding commands to a setup or modifier” on
page 130.
Any time you add a script command, it is
automatically saved to the current setup. Saving
occurs when you switch to a different setup or
when you quit ClockWorks.
If you want, you can save them manually by
choosing the “Save to setup” mini-menu
command.
If you don’t want to add new commands to the
script, save them as a modifier (see the next
section).
SAVING NEW SCRIPT COMMANDS AS A
MODIFIER
As you work, you may add additional commands
to the current setup script and then decide that you
don’t want them to be part of the setup. Instead,
you want to save them separately as a modifier,
which can be recalled on its own (with its own
patch change, for example).
To save additional commands in the script as a
modifier:
1 Choose “Save to modifier” from the mini-menu.
A dialog appears.
2 Choose an existing modifier, or click New
Modifier and enter a name for it.
Figure 19-2: Adding a modifier.
2 Name the modifier, choose a patch if desired,
and click OK.
3 Click OK.
If you created a new modifier, it appears at the
bottom of the list.
3 A new modifier appears in the modifier list (in
the lower left corner of the window).
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SAVING AS ANOTHER MODIFIER
HINTS FOR USING SETUPS AND MODIFIERS
The procedure for this is the same as described
above in “Saving new script commands as a
modifier”.
Setups and modifiers provide you with efficiency
and flexibility in managing the MIDI
Timepiece AV’s internal configuration within the
confines of its internal RAM.
MERGING MODIFIERS INTO A SETUP
To merge modifiers into a setup:
1 Select the setup.
2 Select the desired modifiers.
3 Choose Save to setup from the mini-menu.
CLEARING ALL CURRENT MODIFIERS
To clear away modifiers from the current script,
reselect the current setup (or select a different one).
Doing so replaces all existing modifiers with the
newly selected setup.
DELETING A MODIFIER
To delete a modifier from the MIDI Timepiece AV
memory:
1 Click the modifier to select it.
2 Choose “Delete modifier” from the mini-menu.
THE CUSTOM PANIC MODIFIER
The Custom Panic modifier automatically appears
in the Modifiers list. This is always modifier 127 in
the MIDI Timepiece AV. It gets activated when you
do a single hit on the Panic button on the front
panel. Selecting it in the Setups & Modifiers
window is the same as pressing the Panic button on
the front panel once. (See “Using the Panic button”
on page 117.
If you want, you can add additional commands to
this button, just like any modifier. In essence, this
allows you to program the panic button. To do so,
see “Adding commands to a setup or modifier” on
page 130.
Think of a setup as a base of operations for any
given situation. Modifiers can then be recalled and
removed as needed to make changes to the base
setup.
For example, let’s say that you use the MIDI
Timepiece AV in live performance, and you use its
routing capabilities to create connections from
your controller synth to other synths in your live
rig. Let’s also say that you have different routings
for each song in your set.
In this situation, you should create a basic live
performance setup that meets basic requirements
that don’t change during the performance, such as
data muting and SMPTE settings.
Then, create one modifier for each change to the
MIDI Timepiece AV that you need to make during
the performance. For example, you could create
different cable routing modifiers which set up the
MIDI Timepiece AV the way you need for each
song. You can then call up that modifier with a
MIDI patch change from your controller (see
chapter 20, “Patches” (page 133)), and the MIDI
Timepiece AV is instantly ready to go with the
correct routing.
You can create modifiers for just about anything
the MIDI Timepiece AV can do, including pedal
input and knob settings, cable connections, data
muting, and channel remapping.
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CHAPTER 20
Patches
OVERVIEW
WHAT IS A PATCH?
This chapter explains how to define a patch in the
MIDI Timepiece AV and recall the patch via
ClockWorks, a sequencer, a MIDI device, or the
front panel LCD.
A patch in the MIDI Timepiece AV can consist of
one of the following:
You may find it easier to understand this chapter if
you read chapter 19, “Setups and Modifiers”
(page 127) before reading this chapter.
■
A single base setup
■
A single modifier
■ A base setup accompanied by one to four
modifiers
A group of two, three, or four modifiers
What is a patch? . . . . . . . . . . . . . . . . . . . . . . . . . . .133
■
Creating a patch in the Patch List window . . . .133
The MIDI Timepiece AV can store up to 127
patches.
Recalling patches from the patch list window .135
Recalling patches via a MIDI patch change . . .135
Making the cable and channel assignment to all
patches at once . . . . . . . . . . . . . . . . . . . . . . . . . . . .135
Each patch is assigned to a MIDI patch change
number between zero and 127. You can then recall
the patch by sending a MIDI patch change event to
the MIDI Timepiece AV via any MIDI device or
software that can send MIDI patch change events.
In addition, each patch can be assigned its own
receive cable and channel, so that you can call up
patches from several different controllers.
CREATING A PATCH IN THE PATCH LIST
WINDOW
The Patch List window lets you build patches from
the base setups and modifiers that you have created
in the Setups & Modifiers window.
Figure 20-1: The Patch List window.
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☛
If an original MIDI Time Piece is currently
selected in the Device List window, this window
cannot be opened and it becomes grayed out in the
Windows menu.
To build a patch:
Figure 20-3: Enabling patch selection from the Mac and Net ports.
4 In the Patch column, type in a patch number.
1 Name the patch.
To do so, option-click or double-click the patch
name in the left-most column to pop-edit it. Type
in the desired name, and press return, or press the
down or up arrow key to pop-edit the next or
previous name.
2 Choose a device (or cable) and channel for the
patch by selecting them from the cable and channel
pop-up menus as shown in Figure 20-2. If you
would like to be able to receive the patch change
from any channel, select the All option in the list.
You can enter any patch number between zero and
127.
5 If desired, choose a base setup from the base
setup pop-up menu as shown below in Figure 20-4.
Remember, a patch does not require a base setup.
See “What is a patch?” on page 133.
Click in the cable column next to the name of the
patch to open the pop-up menu. This is the cable
and channel that the MIDI Timepiece AV will
monitor for the patch change event that calls up the
patch. If you want to receive the patch change from
any cable, choose the All option in the list.
Figure 20-4: Assigning a base setup to a patch. Note: a patch does not
require a base setup.
6 If desired, choose one or more modifiers from
the four modifier pop-up menus.
A patch can have up to four modifiers, and each
modifier can have any number of commands in it.
Figure 20-2: Choosing the MIDI controller from which you will be
sending patch changes to the MIDI Timepiece AV.
3 If you want to receive the patch change from the
computer or network port, click in the Mac/Net
column next to the patch to make a check mark
appear in the column.
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Figure 20-5: Assigning modifiers to a patch. A patch can have up to
four modifiers assigned to it.
RECALLING PATCHES FROM THE PATCH
LIST WINDOW
To recall a patch from the patch list window, click
the patch icon to the left of the name.
RECALLING PATCHES VIA A MIDI PATCH
CHANGE
To recall a patch via a MIDI patch change, send the
appropriate MIDI patch change event from the
appropriate cable and channel. For example, to
recall the Basic setup patch highlighted below, you
would need to send the MIDI Timepiece AV patch
change number 112 transmitted from channel 4 on
the Kurzweil K2500 (or from the Mac).
You can assign more than one patch to the same
patch number; however, if two or more patches
have the same patch number, and they also have the
same receive cable and channel, only one of them
will be recalled when the patch is sent. If you want
to achieve their combined effect, combine them
into one modifier.
Only use the same patch number when you will be
receiving that patch from different inputs.
MAKING THE CABLE AND CHANNEL
ASSIGNMENT TO ALL PATCHES AT ONCE
To assign all patches to the same cable and channel,
choose the desired cable and channel from the
pop-up menus next to the ALL PATCHES item at
the top of the list.
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CHAPTER 21
MIDI Cannon
OVERVIEW
The MIDI Cannon allows you to store a group of
MIDI events in a Modifier to be sent to any or all
MIDI devices on an MTP network when the
Modifier becomes current. There are two ways to
make a Modifier current, by selecting it in the
Setups & Modifiers window and by selecting an
MTP AV patch with a patch change command.
2 Select MIDI Cannon from the Windows menu.
The MIDI Cannon window appears.
3 Select a MIDI event from the Insert mini-menu
You can select any type of MIDI data that is in the
mini-menu.
Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .137
Creating MIDI Cannon Messages . . . . . . . . . . .137
Editing MIDI Cannon Messages . . . . . . . . . . . .138
BASICS
Open the MIDI Cannon window by selecting its
command from the Windows menu.
Insert event
mini-menu
Figure 21-1: MIDI Cannon Window.
This window allows you to add, edit, and delete
MIDI events in a specific MIDI Cannon message. It
also allows you to test the current MIDI Cannon
message.
Figure 21-2: Insert mini-menu.
4 Edit the values of the newly inserted event.
For instance, if you inserted a patch change event,
you will need to enter the patch change number
you want, or if you entered a controller event, you
will need to enter the controller number and the
value you want. Each event type has a different set
of fields for entering the desired values.
5 Assign a Cable and Channel (CH) for the event
by using the Cable and Channel pop-up menus.
To create a MIDI Cannon message:
6 Add more MIDI events by repeating steps 3-5
until all the MIDI events that you want in this
message are displayed in the MIDI Cannon
window.
1 Select or create a Modifier in which you wish to
store the MIDI Cannon message.
You can add as many events as you like up to the
maximum size for the Modifier.
CREATING MIDI CANNON MESSAGES
MTP AV Console
MIDI
Cannon
button
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☛ The maximum size for a Modifier is
determined by the amount of free RAM in the
MTP AV’s memory.
7 Test the MIDI Cannon message by clicking the
MIDI Cannon button.
To change the events in a MIDI Cannon message:
1 Make the Modifier that contains the MIDI
Cannon message you wish to edit current by
selecting it in the Setups & Modifiers window.
2 Open the MIDI Cannon window.
All of the MIDI events in the list are transmitted to
the assigned cables and channels.
8 If the MIDI Cannon message is correct, save the
Modifier and “MIDI Cannon message” appears in
the script for that Modifier in the Setups &
modifiers window.
EDITING MIDI CANNON MESSAGES
You can edit MIDI Cannon messages that you have
already created in two ways.
■ Remove the MIDI Cannon message from the
Modifier and then create a new MIDI Cannon
message for that Modifier.
■ Change the MIDI events in a MIDI Cannon
message.
The MIDI Cannon message appears as a list of
MIDI events.
3 Select MIDI events in the list and type delete or
backspace on your Mac keyboard to remove them.
Alternately, you can use the Clear command in the
Edit menu to remove MIDI events from the list.
4 Double-click events and type to change their
values.
A double-clicked event pops-up for editing as
illustrated below.
Double-click and enter
a new value here
To remove a MIDI Cannon message from a
modifier:
1 Make the Modifier that contains the MIDI
Cannon message you wish to edit current by
selecting it in the Setups & Modifiers window.
2 Select the MIDI Cannon message line in the
script for the Modifier and type delete or
backspace on your Mac keyboard.
The MIDI Cannon message is removed and you
can then open the MIDI Cannon window to insert
a new MIDI Cannon message as described above in
“Creating MIDI Cannon Messages” on page 137 in
this chapter.
Figure 21-3: Editing a MIDI event.
5 Use the Cable and Channel pop-up menus to
change the MIDI destination for an event.
6 Test the MIDI Cannon message by clicking the
MIDI Cannon button.
All of the MIDI events in the list are transmitted to
the assigned cables and channels.
7 If the MIDI Cannon message is correct, save the
Modifier and “MIDI Cannon message” appears in
the script for that Modifier in the Setups &
modifiers window.
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CHAPTER 22
Synchronization with the AV
OVERVIEW
A SYNC HUB FOR YOUR STUDIO
This chapter provides a complete explanation of
the synchronization features in your MIDI
Timepiece AV.
Think of the MIDI Timepiece AV as the synchronization hub for your recording studio. It provides
stable, centralized synchronization services for
ADATs, video, word clock devices, the 2408 and
other MOTU hard disk recording systems,
Digidesign systems like Pro Tools, your computer,
and any devices that can lock to SMPTE time code
(LTC) or MIDI Time code (MTC).
A sync hub for your studio . . . . . . . . . . . . . . . . .139
Three components of synchronization. . . . . . .139
Choosing a master SYNC mode. . . . . . . . . . . . .140
Summary of synchronization modes . . . . . . . .140
Common synchronization scenarios . . . . . . . .142
Locking to video . . . . . . . . . . . . . . . . . . . . . . . . . .142
Slaving ADATs . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Slaving a MOTU 2408 system . . . . . . . . . . . . . . .145
Slaving a computer to the MTP AV . . . . . . . . . .146
Striping SMPTE. . . . . . . . . . . . . . . . . . . . . . . . . . .148
Using the MIDI Timepiece AV is simple: once you
choose a synchronization master, the MIDI
Timepiece AV generates all other sync formats.
THREE COMPONENTS OF
SYNCHRONIZATION
The MIDI Timepiece AV handles all three
components of synchronization:
■
Time base
■
Address
■
Transport control
The MIDI Timepiece AV generates a time base — a
stable, accurate measurement of the passage of
time from which various forms of digital and
analog synchronization data are generated to keep
all connected devices in sync with one another as
tightly as possible.
In addition, the MIDI Timepiece AV provides
central address — the current cue position or
playback location for all devices. When you tell all
of your devices to cue to one hour (01:00:00:00) for
example, all devices will know exactly where to go.
The MIDI Timepiece AV is a MIDI Machine
Control (MMC) device, and, as such, it can
respond to MMC transport messages (play, stop,
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rewind, and cue). In turn, it can redistribute MMC
transport messages to ADATs connected to its
ADAT Sync Out port, as well as other MMC
devices connected to its MIDI outputs. For
example, you can control your rack of ADATs and
other MIDI Machine Control compatible devices
with the transport controls of a MIDI sequencer
running on your computer. Or you can run
everything from an Alesis Little Remote Control
(LRC).
CHOOSING A MASTER SYNC MODE
In any synchronization scenario, there is a master,
and there are slaves. With the MIDI Timepiece AV,
you can, in most situations, choose which device
will be the master. And you can even choose
different, independent master sources for
transport control, time base, and address.
knob to proceed through the menu. The first
setting, MASTER SYNC, is explained in the next
section. You can find corresponding settings in the
ClockWorks software, as described in chapter 10,
“Sync and MIDI Machine Control” (page 59).
SUMMARY OF SYNCHRONIZATION MODES
In total, the MIDI Timepiece AV offers seven
synchronization modes for its MASTER SYNC
setting. Each mode provides a different
combination of sources for a time base master and
an address (SMPTE time code) master. The seven
modes are as follows:
Master Sync mode
Address source
Time base
LTC QuikLock
SMPTE (LTC)
SMPTE (LTC)
INTERNAL
MTP AV
MTP AV
MTC
MIDI Time Code
MIDI Time Code
LTC
SMPTE (LTC)
SMPTE (LTC)
INTERN/VIDEO
MTP AV
Video
MTC/VIDEO
MIDI Time Code
Video
LTC/VIDEO
SMPTE (LTC)
Video
For example, you could choose house sync (video
blackburst) as the time base master, choose the
MIDI Timepiece AV itself as the address (SMTPE
time code) master, and manipulate the transport
controls of everything (ADATs, Pro Tools, any
MMC device, and your sequencer) from your
computer.
Below is a brief explanation of each mode.
Advice about choosing a time base master
In general, you should try to set things up in your
studio so that the master time base is either the
MIDI Timepiece AV itself or video house sync.
Both are especially designed to provide an
extremely accurate, stable time base—more stable
than SMPTE time code (LTC and, especially,
MTC). When you set things up in this fashion,
SMPTE time code (either LTC or MTC) is used just
as an address source, while timing stability is
handled entirely by the MIDI Timepiece AV.
LTC QuikLock
When the MIDI Timepiece AV locks to SMPTE
time code (LTC), it employs a digital audio phaselock loop to accurately synchronize ADATs and
other digital audio devices connected to its Word
Sync Out port. The MIDI Timepiece AV’s lock-up
time (approximately 4-5 seconds) is quite favorable
compared to other similar digital audio synchronization devices. As of this writing, we know of no
other digital audio synchronizer that can lock to
LTC as quickly as a MIDI Timepiece AV.
Finding the MIDI Timepiece AV sync controls
The MIDI Timepiece AV synchronization controls
are in the SYNC menu in its front panel LCD. You
can get to this menu by turning the WINDOW
knob on the front panel. Then use the CURSOR
LTC QuikLock, on the other hand, is specifically
meant to be used in situations where you are not
synchronizing any digital audio or gen-locking to
video. In QuikLock mode, the MIDI Timepiece AV
temporarily disables its digital audio phase-lock
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loop, allowing the AV to serve as a SMPTE-toMIDI converter only. With the digital audio
features “switched-off,” lock-up time (the time it
takes the MIDI Timepiece AV to lock up to
incoming time code when it is first received) is
reduced to less than one second.
Basically, QuikLock mode is a way of achieving
faster lock-up time in situations where you do not
need the MIDI Timepiece AV’s digital audio
synchronization features. If you aren’t syncing
ADATs, Pro Tools or any other word clock device,
you can use QuikLock. If you are syncing ADATs or
any other digital audio device connected to the
MIDI Timepiece AV’s Word Sync Out port, then
you need to use one of the other six synchronization modes.
As its name implies, LTC QuikLock mode is meant
for synchronizing to time code (LTC) received on
its SMPTE input. A typical example is when you
are slaving the MIDI Timepiece AV to a multi-track
tape deck (with SMPTE time code striped on one
of its tracks) as shown in Figure 2-5 on page 12.
Internal
Choose this setting when you want the MIDI
Timepiece AV to be the time base master and
SMPTE address master. This mode is highly
recommended for stable sync. This mode is also
recommended when you want to use MIDI
Machine Control from your computer sequencer
or from an Alesis LRC connected to the front panel
of the MIDI Timepiece AV.
MTC
Choose this setting when you want the MIDI
Timepiece AV to slave to MIDI Time Code being
sent from a device connected to one of its inputs.
This mode offers the least amount of time base
stability, so we recommend that you try to set
things up so that you can use one of the other
modes.
When the MIDI Timepiece AV MASTER SYNC
mode is set to MTC, it locks to any MTC coming
from your computer. In doing so, however, it also
“swallows” the MTC coming from the computer. If
you attempt to transmit MTC from Performer,
Digital Performer, Pro Tools, or other software to a
specific MIDI device in your studio, it won’t reach
the MIDI device because it will get read and
“swallowed” by the MIDI Timepiece AV. What you
need to do, in this case, is have the MIDI Timepiece
AV send MTC to the desired MIDI device. Just use
the SMPTE DESTINATION window (located in
the SMPTE/sync menu) to choose which output
cable(s) you want to send MTC to. Or use the
ClockWorks software to route MTC as needed.
LTC
Choose this setting when you want the MIDI
Timepiece AV to slave to incoming SMPTE time
code via the rear-panel LTC input. An example is
an analog multi-track tape recorder with SMPTE
time code striped on a track. The MIDI
Timepiece AV will automatically detect the frame
rate, with the exception that it cannot distinguish
between 29.97 and 30. Therefore, to ensure that the
audio components in your system will be driven at
the proper sample rate, be sure to set the MIDI
Timepiece AV to the proper frame rate when using
either 29.97 (drop or non-drop) or 30.
Intern/Video
Choose this setting when you want the MIDI
Timepiece AV to genlock to house sync video input
(as a time base reference only), but wish the MIDI
Timepiece AV itself to be the SMPTE time code
(LTC and MTC) master address source. This mode
is highly recommended for stable sync. Also use
this mode when you would like to stripe
frame-locked LTC onto video. When using this
mode, be sure to set the MIDI Timepiece AV’s
frame rate to 29.97 (either drop or non-drop, as
necessary or desired), instead of 30. Doing so
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ensures that the sample rate being generated by the
MIDI Timepiece AV is exactly as it is set in the
front-panel LCD.
COMMON SYNCHRONIZATION SCENARIOS
MTC/Video
Choose this setting when you want the MIDI
Timepiece AV to genlock to house sync video input
(as a time base reference only) but make it use
MTC input for the master address source. Be sure
to set the MIDI Timepiece AV’s frame rate to 29.97
(either drop or non-drop, as necessary or desired),
instead of 30. Doing so ensures that the sample rate
being generated by the MIDI Timepiece AV is
exactly as it is set in the front-panel LCD.
Typical scenario
MTP AV Master Sync setting
You have Digidesign hardware
such as Pro Tools, or any word
clock device, and ADATs and
you want to sync them with
each other (and the computer)
as accurately as possible. (And
you aren’t doing video.)
INTERNAL — this makes the
MIDI Timepiece AV the master timing source. In this case,
you slave your sequencer (or
digital audio software) to MTC
generated by the MIDI
Timepiece AV.
You want to slave everything
(Pro Tools or other word clock
device, ADATs, and the computer) to video with SMPTE
time code (LTC) also coming
from video.
LTC/VIDEO
You want the best sync possible, you want to control the
transports of everything via
MMC from your computer
software or an LRC, and you
aren’t doing video.
INTERNAL — this makes the
MIDI Timepiece AV the master timing source and the
MMC master. You send it
MMC commands from your
sequencer, and it drives Pro
Tools (via superclock and software address/transport control) and ADATs (via MMC
and ADAT sync).
You want to stripe SMPTE
time code (LTC) onto a video
tape while resolved to video.
INTERN/VIDEO — this
makes the MIDI
Timepiece AV generate LTC
that is frame-locked to video
(i.e. LTC won’t drift out of sync
with video frames).
You don’t have ADATs or any
other digital audio devices and
you want to slave the MIDI
Timepiece AV to a multitrack
LTC QuikLock — this gives
the MIDI Timepiece AV faster
response when locked to LTC
received on its SMPTE Input
LTC/Video
Choose this setting when you want the MIDI
Timepiece AV to genlock to house sync video input
(as a time base reference only) but make it look for
LTC input (from the audio SMPTE input on the
rear panel) for the master address source. Be sure
to set the MIDI Timepiece AV’s frame rate to 29.97
(either drop or non-drop, as necessary or desired),
instead of 30. Doing so ensures that the sample rate
being generated by the MIDI Timepiece AV is
exactly as it is set in the front-panel LCD.
Here are some common synchronization scenarios
and the correct setting for each:
LOCKING TO VIDEO
The following sections discuss several important
points to be aware of when working with video.
Double-check the frame rate
When you are working with video, be sure to set
the MIDI Timepiece AV’s frame rate to 29.97 (drop
or non-drop as needed). This ensures that the
digital audio sample rate displayed in the MIDI
Timepiece AV’s front panel LCD is the rate that the
box is actually generating. If the MIDI
Timepiece AV’s frame rate is set to 30 when you are
slaving to video (via either LTC only or video genlock), then the MIDI Timepiece AV pulls down the
digital audio down sample rate shown in the LCD
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to compensate for the fact that it is being forced to
operate at 29.97 (due to video gen-lock). You can
keep things simple and straightforward by making
sure you have the frame rate set to 29.97 (either
drop or non-drop) when you are using video. If
you do, the sample rate you see is the sample rate
you’ll get.
this brief period, there is a possibility — depending
on your digital audio hardware and the nature of
any audio you may be playing back — that you
might hear a slight wavering in the audio for a few
seconds. To avoid this, give yourself 5 or 10 seconds
of preroll in any situation where video is starting
up for the first time.
Here is a chart summarizing the MIDI
Timepiece AV’s actual word clock output when
locked to LTC or VIDEO as a time base. The
examples in this chart are given at 48000 Hz, but
the results in the last column for when pull down
occurs are the same for 44100 Hz (for which the
pull down rate is 44,056 Hz):
The above-mentioned brief period of phase-lock
adjustment does not occur when you are feeding
blackburst (house sync) to the MTP AV because
the video signal is continuous. (It never stops and
starts.) In this case, the MTP AV remains
continuously phase-locked to video, and then
simply engages as soon as LTC is received — with
no subsequent period of adjustment. This scenario
will provide the best results.
MTP AV
Master sync
setting
Word
SMPTE
clock
format
setting setting
Actual
incoming
time base
Actual
word clock
output
LTC
48K
30
30 fps
48000
LTC
48K
30
29.97 fps
47952 (pull
down)
LTC
48K
29.97
nd
29.97 fps
48000
LTC
48K
up
30
29.97 fps
48000
LTC
48K
dn
29.97
nd
29.97 fps
47952 (pull
down)
Video
(NTSC)
48K
30*
Video
(29.97)
48000
Video
(NTSC)
48K
29.97
nd
Video
(29.97)
48000
Video
(NTSC)
48K
dn
30*
Video
(29.97)
47952 (pull
down)
Video
(NTSC)
48K
dn
29.97
nd
Video
(29.97)
47952 (pull
down)
* The MIDI Timepiece AV internally operates at 29.97 non-drop (nd) when its
MASTER SYNC setting is set to one of its three video modes and, at the same time,
the LCD frame rate is currently set to 30.
Video lock-up time
At the moment the MTP AV first receives video
signal, it immediately gen-locks and then takes
several seconds to “settle in” while it adjusts its
phase-lock loop to the new video signal. During
Getting faster lock-up when slaving to a VTR
If you are not using blackburst and are instead
slaving directly to a video deck (VTR), you can
shorten — and practically eliminate — the abovementioned period of phase-lock adjustment by
doing the following:
1 Use the MTP AV to stripe LTC onto your video
tape while gen-locked to video. (Make sure that the
MTP AV’s MASTER SYNC mode is set to
INTERN/VIDEO.)
This ensures that the LTC will be frame-locked (i.e.
LTC won’t drift out of sync with video frames.) The
MTP AV is ideal for striping frame-locked LTC.
(See “Striping frame-locked LTC onto video” on
page 149 for details about this.)
2 When you are done striping and are ready to
lock to the video, set the MTP AV’s MASTER
SYNC mode to LTC and lock to LTC only (without
video genlock).
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This will provide stable, frame-accurate synchronization, along with rapid phase lock. If you aren’t
using ADATs or any other digital audio devices,
you can even use QuikLock mode to make lock-up
even more responsive.
Configuring the settings for each ADAT
Use the Sync/MMC window in ClockWorks to
adjust the settings for each ADAT in the sync chain
connected to the MIDI Timepiece AV. These
settings include:
Recording digital audio while locked to video
When you record digital audio with video as the
time base, the MIDI Timepiece AV SMPTE format
should be set to 29.97 (either drop-frame or nondrop). This ensures that the audio you record will
be recorded at the exact sample rate you have
chosen in the MIDI Timepiece AV LCD.
■ Manual adjustment of the AV’s automatically
assigned device ID for each ADAT
SLAVING ADATS
The MIDI Timepiece AV is programmed out of the
box to automatically establish synchronization
with an ADAT or chain of ADATs connected to its
ADAT Sync Out port. The MIDI Timepiece AV will
automatically set the first ADAT it sees to
Device ID 1 and all subsequent chained ADATs to
device IDs 2, 3, and so on. For more information,
see “Setting MMC device ID’s” on page 98.
Running ADATs at 44.1 kHz
To run an ADAT or ADAT XT at 44.1 kHz instead
of 48kHz, just set the desired sample rate on the
front panel of the MIDI Timepiece AV. Please note,
however, that when you choose 44.1 kHz, there will
be no indication on the ADAT front panel that it is
running at 44.1 kHz. Furthermore, the SMTPE
display on the ADAT front panel will not match the
SMPTE display in the MIDI Timepiece AV frontpanel LCD (or the rest of your MIDI Timepiece
AV-based system). This discrepancy, however, is
only a display issue: when you actually play music,
the music on the ADAT will be in perfect time with
the MIDI Timepiece AV (and everything else being
synchronized by the MIDI Timepiece AV). Please
contact Alesis for information about the
availability of a ROM update that addresses this
issue. Please note that this display discrepancy does
not occur when the ADAT or ADAT XT is running
at 48K.
■
Individual machine offsets
■
Deferred play
For complete details, see “ADAT List” on page 64
and “ADAT preferences” on page 66.
ADAT sync chain polling and offsets
ClockWorks offers several useful options for ADAT
sync, including the ability to program a global time
code offset for the entire ADAT chain when you’re
working with time code outside of the ADAT’s zero
to 45-minute time range. Additional options allow
you to defeat the MIDI Timepiece AV’s automatic
polling of the ADAT port, and you can even make
the AV send ADAT sync commands even if no
ADAT is detected. For details, see “ADAT port
settings” on page 51.
Working with ADATs and the 2408
MOTU’s 2408 audio interface for Macintosh and
PC provides a fiber-optic, 24-channel digital
super-highway between your ADATs and your
2408-compatible audio software. The 2408 system
includes both word clock and ADAT SYNC ports
for clean, phased locked — and even sampleaccurate — digital audio transfers from ADATs to
the computer. For details, see the next section.
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SLAVING A MOTU 2408 SYSTEM
The MIDI Timepiece AV provides complete
synchronization services for a MOTU 2408 (or
related) hard disk recording system. The AV can
continuously resolve the 2408 to video, SMPTE
time code or its own internal clock. This allows you
to slave the 2408 system to video, multi-track tape
decks, other hard disk recorders and any other
SMPTE time code source. If you have ADATs, the
AV provides ADAT sync to the 2408 and the
ADATs, allowing you to make sample-accurate
transfers between your ADATs and Digital
Performer or AudioDesk.
ADAT Sync versus Word Clock
There are two ways to slave a MOTU 2408 system
to the MIDI Timepiece AV:
■
via ADAT Sync
■
via Word Clock
Slaving the 2408 to the AV with ADAT Sync
Use this scenario if you have one or more ADATs.
Add the 2408 to the very end of the ADAT sync
chain via the ADAT SYN IN port on the 2408
system’s PCI-324 card as shown in Figure 22-1.
Below is a table summarizing the various hardware
and software settings for this setup:
System
Component
Setting for the
ADAT sync scenario
MTP AV
sync mode
You can use any sync mode except LTC/
QuikLock. The 2408 system will resolve to
the MTP AV, even when the AV itself is
resolving to SMPTE, video, etc. If you want
to drive the whole rig from your MMC-compatible software, set the AV to Internal
mode. This lets you do transport control
from your software.
2408 system
In the PCI-324 Console window, set the
Clock Source menu to ‘PCI-324: ADAT’.
Also make sure the sample-rate setting
matches the ADATs and the MTP AV.
Digital Performer
or AudioDesk
Make sure that the ‘Slave to External Sync’
command is checked in the Basics menu. In
the Receive Sync dialog, choose the ‘Sampleaccurate via PCI-324” sync option. This setting resolves Digital Performer to the ADAT
sync chain and even gives you sample-accurate transfers with ADATs. Alternately, if
you are slaving the rig to video or external
SMPTE time code (via the AV), and the time
code is outside of the ADAT’s normal zero to
45-minute time range, set the appropriate
hour offset in ClockWorks as described in
“Offset entire ADAT chain by _hours” on
page 51.
Other
MIDI/audio
software
Slave it in the normal fashion to MIDI Time
Code from the MIDI Timepiece AV.
While there are several possible scenarios, we
recommend ADAT sync if you have an ADAT and
word clock otherwise.
Macintosh computer running
AudioDesk, Digital Performer or
other audio software
PCI-324 card
ADAT Sync In
USB
MIDI Timepiece AV
ADAT
Sync Out
ADAT
sync
cable
One or more
ADATs
ADAT
Sync In sync cables
Sync Out
Sync In
Sync Out
etc.
Figure 22-1: Slaving ADATs and a 2408 system to the MIDI
Timepiece AV via ADAT Sync.
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Slaving the 2408 to the AV with Word Clock
Use this scenario if when you don’t have any
ADATs. Connect the MIDI Timepiece AV’s Word
Clock Out to the 2408 audio interface’s Word Clock
In port as shown below in
Macintosh computer running
AudioDesk, Digital Performer or
other audio software
USB
MIDI Timepiece AV
Word Clock Out
Word Clock IN
SLAVING A COMPUTER TO THE MTP AV
The MIDI Timepiece AV ships from the factory
ready to lock the computer to SMPTE time code
via the MIDI Time Code (MTC) routing shown in
Figure 7-15 on page 50. When this MTC routing is
present, the MIDI Timepiece AV will send MIDI
Time Code to the computer as soon as it locks up.
Any software running on the computer can then
slave to the time code. (Make sure the software is
set up to lock to MIDI time code.)
When the MTP AV locks to the time code, the
green “LOCK” LED on the front panel glows
steadily and the red “TACH” LED blinks regularly.
In addition, the green computer OUT LED glows
steadily, indicating that MIDI time code (MTC) is
being sent to the computer.
Red TACH light
Figure 22-2: Slaving a 2408 system to the MIDI Timepiece AV via Word
Clock.
The settings for this setup are as follows:
System
Component
Setting for the
ADAT sync scenario
MTP AV
sync mode
You can use any sync mode except LTC/
QuikLock. The 2408 system will resolve to
the MTP AV, even when the AV itself is
resolving to SMPTE, video, etc. If you want
to drive the whole rig from your MMC-compatible software, set the AV to Internal
mode. This lets you do transport control
from your software.
2408 system
In the PCI-324 Console window, set the
Clock Source menu to ‘2408: Word’. Also
make sure the sample-rate setting matches
the ADATs and the MTP AV.
Digital Performer
or AudioDesk
Make sure that the ‘Slave to External Sync’
command is checked in the Basics menu. In
the Receive Sync dialog, choose the ‘MIDI
Time Code” sync option. This setting
resolves Digital Performer to MIDI
Timepiece AV.
Other
MIDI/audio
software
Slave it in the normal fashion to MIDI Time
Code from the MIDI Timepiece AV.
Green computer OUT light
Green LOCK light
Figure 22-3: Converting time code. When the MTP AV converts incoming time code, the red TACH light blinks, the green LOCK light glows
steadily, and the green computer OUT light glows steadily as well.
If the LOCK and TACH lights do no behave as
described, the MTP AV is not successfully locking
to the SMPTE time code. This could be a problem
with the audio connections between the tape deck
and the MTP AV. It could also be that the SMPTE
level is not high enough. See Appendix C,
“Troubleshooting and Customer Support”
page (173).
If the LOCK and TACH lights look OK, but the
green computer OUT LED is not glowing, this
means that the MIDI Timepiece AV settings have
been altered somehow such that it is not sending
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MIDI time code to the computer. To correct the
settings, see “Getting a running update of SMPTE”
on page 147.
Routing MIDI Time Code
At times, you may need to route MIDI Time Code
to a device connected to one of the MTP AV’s MIDI
OUTs. Similarly, you may have the need to route
MTC to the network port on the MIDI
Timepiece AV. For example, the network port
might be connected to a Macintosh, which you
need to slave to time code. To make time code
routings such as these, see “The MTC In and MTC
Out connections” on page 49.
SMPTE Offset
When reading time code, there may be times when
you need to offset the MIDI Timepiece AV a certain
amount from the time code you are feeding it. See
“Offset/Stripe” on page 112 for details about how
to set the offset from the MIDI Timepiece AV front
panel or “SMPTE Readout” on page 59 for doing so
from ClockWorks.
Freewheeling to avoid time code dropouts
When the MIDI Timepiece AV encounters a dropout —a series of missing or unreadable frames—in
the SMPTE time code, it “freewheels” past them,
pretending that they were not missing by briefly
generating its own code to make up for the missing
frames. The default freewheel value is 4 frames.
This means that the MIDI Timepiece AV will
continue to generate time code for four more
frames after it stops receiving time code. If it does
not receive any more time code after four frames, it
will stop converting.
If you encounter a time code drop out that causes
the MIDI Timepiece AV to stop converting for a
moment, try increasing the freewheel amount in
the Sync/MMC window pop-up menu as shown in
Figure 10-11 on page 62. Try adding just a few
frames at a time when adjusting the amount. (For
details on the “one time jam sync” option, see
“Regenerating fresh time code (‘jam syncing’)” on
page 149.)
The MIDI Timepiece AV freewheels at the frame
rate it is reading at the time it begins freewheeling
— except for 29.97 drop and non-drop. If you
intend on reading 29.97 SMPTE, be sure to
manually set the SMPTE format to 29.97 so that
freewheeling will occur at the proper rate.
When you increase the freewheel amount, you also
increase the amount of time that the MIDI
Timepiece AV keeps converting when you stop
tape. To make the MIDI Timepiece AV as
responsive as possible, only raise the freewheel
amount as high as necessary to overcome the dropout(s) you are encountering.
Getting a running update of SMPTE
You can get a running update of SMPTE on the
front panel of the MIDI Timepiece AV by using the
WINDOW knob to dial up the SMPTE/SYNC
menu. The first window of the menu displays
SMPTE.
You can also get a running update of SMPTE in the
ClockWorks SMPTE Reader and Sync/MMC
windows. For details, see chapter 10, “Sync and
MIDI Machine Control” (page 59).
The factory default base setups have the
freewheeling feature set to 4 frames for fastest
response when you stop the tape deck. The
Freewheel amount can be adjusted up to 32 frames.
This allows the MIDI Timepiece AV to maintain
lockup even over lengthy SMPTE drop outs.
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STRIPING SMPTE
The MIDI Timepiece AV can stripe SMPTE time
code (LTC) — even while it is resolved to video.
You can stripe LTC onto video without the time
code drifting out of sync with the video frames.
2 If you are recording to video, set the MIDI
Timepiece AV MASTER SYNC mode to INTERN/
VIDEO. This causes the MIDI Timepiece AV to
generate fresh time code while resolved to video. If
not, set it to INTERNAL.
You can use the SMPTE Controls window in the
MIDI Timepiece AV software or the MIDI
Timepiece AV front panel LCD to generate
SMPTE. This section covers how to do so with the
software. See “Using the SMPTE controls” on
page 111 to learn about how to stripe SMPTE via
the LCD display.
3 If you are recording time code on a tape deck,
and your tape deck has dbx noise reduction, be
sure to defeat the noise reduction on the track you
are recording time code.
Note that the MIDI Timepiece AV always generates
fresh time code while reading existing time code.
You can use this capability to:
5 Enter a start time.
Regenerate fresh time code that is based on
existing time code, and eliminate drop-outs in the
original code
■
■
Lengthen existing time code tracks
For information about regenerating time code, see
“Regenerating fresh time code (‘jam syncing’)” on
page 149 and “Lengthening a SMPTE track” on
page 150.
A general procedure for striping SMPTE
Use the procedure below to generate new code
from scratch:
1 Make the audio cable connections shown in
Figure 2-6 on page 12.
We recommend that you do not pass the time code
output from the MIDI Timepiece AV through a
mixer or any form of signal processor. If you must
go through a mixer, be sure equalization is flat.
4 Open the SMPTE Controls window in the MIDI
Timepiece AV software.
To edit the start time, click inside the box and type
a number. To move to the next field, press Tab. Each
field allows valid numbers only, e.g. you cannot
type “72” in the minutes field. A standard audio
industry practice is to start at 01:00:00:00 (one
hour) to avoid crossing the 24-hour count during
preroll.
6 Choose the necessary frame rate.
7 Adjust the SMPTE output volume.
The goal when striping SMPTE is to get the VU
meter on the tape deck to read approximately –3.
You can adjust the MIDI Timepiece AV’s SMPTE
volume output level by using the SMPTE VOLUME
OUT setting in the SMPTE/SYNC menu in the
front panel LCD. Or you can use the Output Level
meter in the Sync/MMC window (visible when the
master mode is set to Internal). If you want to test
the level, set the Master sync mode to Internal and
use the Start and Stop buttons to make the MIDI
Timepiece emit time code, and then meter it with
your mixer.
8 Roll tape.
9 Click Stripe.
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Striping will begin at the frame shown in the Start
Time box. The SMPTE Reader will begin to roll.
While striping, you can close the SMPTE Controls
window, and you can even switch to another
application or Quit the MIDI Timepiece AV
software.
10 To stop striping, click Stop.
You can stop striping at any time.
Of course, if you want to stripe a tape and
meanwhile get on with other work, you can quit the
MIDI Timepiece AV software. Striping will
proceed in the background.
Striping frame-locked LTC onto video
The MIDI Timepiece AV can stripe LTC onto video
while syncing to the video, ensuring that the LTC is
frame-locked (i.e. LTC won’t drift out of sync with
the video frames).
When you do this, you are recording SMPTE time
code onto one of the two audio tracks on the video
tape. If you have a VTR that doesn’t allow you to
dub audio separately from video, you’ll have to dub
video at the same time. But while you are dubbing
audio (the new time code) with video, you also
have to send the same video signal to the VIDEO
IN port of the MIDI Timepiece AV so that it can
gen-lock to it. Therefore, to do all of this, you need
a video deck that can record audio independently
of video. If your video deck doesn’t support this,
you need:
■
two video decks, and
■ the ability to somehow split the video signal
coming out of one of them (such as a dual video
output, a separate video splitter, or video
distribution amp)
Let’s say that Video Deck 1 is the master, and Video
Deck 2 is the destination. You dub video from Deck
1 to Deck 2, while at the same time feeding the
video signal coming from Deck 1 to the MIDI
Timepiece AV, which is set to INTERN/VIDEO
sync mode. This makes the MIDI Timepiece AV
gen-lock to video (so that it is in sync with Deck 1
and Deck 2) and generate SMPTE time code,
which you feed into one of the audio tracks on
Deck 2. The result is a video tape in Deck 2 with the
original video plus frame-locked SMPTE time
code that came from the MIDI Timepiece AV.
☛
Important note: our tests have shown that you
will probably not get usable results if you attempt to
feed video from Deck 2 to the MIDI Timepiece AV.
You really need a bona fide video splitter to split the
signal from Deck 1 to both Deck 2 and the MIDI
Timepiece AV.
Striping SMPTE on a multitrack tape deck
The goal when striping SMPTE time code is to
generate an error-free signal strong enough for
reliable lockup, but not so strong that the SMPTE
bleeds through to adjacent tracks.
There are several ways to handle this. One way is to
leave an empty track on your multi-track tape deck
as a buffer between the SMPTE and other tracks.
With a buffer track, SMPTE can be recorded at
very strong (“hot”) levels (above 0 VU) without
risk of bleedthrough.
If your tape deck has no tracks to spare, a good
level at which to record is around –3 VU. That is,
the VU meter for the SMPTE track on your tape
deck should read –3 when you stripe the SMPTE.
This records SMPTE that is hot enough for reliable
lockup and weak enough so that it will not bleed
into adjacent tracks. -3 VU is only a rule of thumb,
though, so don’t hesitate to use other levels if they
work better for you.
Regenerating fresh time code (‘jam syncing’)
SMPTE is a problem when you are copying tapes: it
degrades rapidly every time you try to copy it from
one tape to another. Often, the SMPTE signal
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deteriorates so much that it will not be
recognizable by any SMPTE-to-MIDI converter,
including the MIDI Timepiece AV, and you will no
longer be able to lock to it.
2 Set the freewheel option in the SMPTE Controls
window to a high enough number of frames to
cover any drop outs that may exist in the current
time code.
The solution to this problem is to use the MIDI
Timepiece AV to regenerate fresh SMPTE time
code that matches the original time code while you
are copying the tape. Some people refer to this
process as jam syncing. When the MIDI
Timepiece AV receives a SMPTE signal on its
SMPTE IN cable, it always regenerates a fresh
signal that exactly matches the incoming signal and
sends it out the SMPTE OUT cable (except for
drop-outs, which it eliminates with freewheeling).
Try setting it to between 2 and 8 frames, unless
there is an obviously large dropout. If so, set it
more than 8 frames. This ensures that drop-outs in
the old code are not reproduced in the fresh code.
3 Roll tape and set the SMPTE volume levels.
When the MTP AV is reading the old time code, it
generates fresh time code via its SMPTE OUT jack
only when it is in LTC mode; it won’t regenerate
LTC in LTC QuikLock mode.
4 When the levels are set, roll tape and convert as
normal.
Tape Deck
Fresh
SMPTE Time code
Original
SMPTE Time code
MIDI Timepiece AV
To regenerate SMPTE:
1 Connect the original SMPTE track to the
SMPTE IN on the MIDI Timepiece AV, and
connect the SMPTE OUT from the MIDI
Timepiece AV to the destination SMPTE track
(which could even be on a different tape deck).
The MIDI Timepiece AV automatically creates
fresh SMPTE time code that matches the original
time code and its relation to the other tracks on the
tape. In addition, the MIDI Timepiece AV
freewheels over drop-outs in the old time code so
that the new, clean code has none.
Lengthening a SMPTE track
If the time code on your SMPTE track ends too
early and you need to add more code, you can use
the “One time” jam sync option. To do so, feed the
original track into the MIDI Timepiece AV and
record the fresh code onto a new track. Be sure to
start from the beginning so that you regenerate the
entire length of the original track. When the MIDI
Timepiece AV reaches the end of the original
SMPTE track, it will begin striping on its own. To
stop striping, click the Stop button or wait until the
MTP AV reaches the stop time.
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Synchronizing to discontinuous time code
The MIDI Timepiece AV has the ability to stay in
sync with discontinuous time code — that is, time
code that has no gaps in it but does have jumps in
its frame locations. For details about how to do
this, see “Frame lock” on page 62.
Regeneration and time code bits
Except for when it is in LTC QuikLock mode, the
MIDI Timepiece AV always regenerates fresh time
code from its SMPTE out jack. Time code user bits
embedded in incoming LTC on its SMPTE input
are not preserved.
Slaving Performer to the MIDI Timepiece AV
To slave Performer to the MIDI Timepiece AV, you
must have Performer Version 3.4 or higher. To slave
Performer to the MIDI Timepiece AV:
1 In Performer, select the appropriate options in
the Receive Sync dialog box in the Basics menu.
Specify the port to which the MIDI Timepiece AV
is connected by clicking either the modem or
printer port button. Also, choose MTC as the “Type
of sync.”
The Play button will flash (or turn grey on a black
and white monitor), meaning that Performer is
waiting for sync information to start.
6 To start Performer, start the external device.
When Performer is locked and playing, the Play
button will turn blue (or solid black on a black and
white monitor). Once locked, Performer will
follow, start, stop and rewind under control of the
master.
7 To terminate the lock up with the master, click
on the Stop button.
Clicking on the Stop button will stop Performer
and remove it from the master’s control. This can
be done at any time. To return to normal operation,
turn off Slave to External Sync by reselecting it
from the Basics menu.
With the MIDI Timepiece AV, it is not necessary to
click Play in Performer before you roll tape. You
can click the Play button in Performer even with
the tape rolling and Performer will jump right into
sync within a second or so.
2 Set the frame rate and click OK.
3 Set the sequence starting frame.
Click the button in the main counter and enter the
starting time. This should be a SMPTE time that is
within the range of the SMPTE striped on the tape
to which it will be slaving.
4 Check Slave to External Sync in the Basics
menu.
This puts Performer into slave mode, waiting for
sync information from an external device.
5 Click on the Play or Record button in the
Controls window.
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CHAPTER 23
MIDI Machine Control with the AV
OVERVIEW
HOW MMC WORKS
The MIDI Timepiece AV can serve as a MIDI
Machine Control (MMC) transport control “hub”
for ADATs and all other connected devices,
allowing you to manipulate the transport controls
of everything from one master set of controls:
either an Alesis LRC (or LRC-compatible device)
connected to the front panel of the MIDI
Timepiece AV, or from MMC-compatible MIDI
software on the computer.
MIDI Machine Control involves all three
components of synchronization:
How MMC works . . . . . . . . . . . . . . . . . . . . . . . . .153
Setting MMC device ID’s . . . . . . . . . . . . . . . . . . .154
Using an Alesis LRC . . . . . . . . . . . . . . . . . . . . . . .158
■
time base
■
address
■
transport control
An MMC controller (which has transport and
cueing controls) sends transport commands (play,
stop, cue, etc.) to an MMC device that is serving as
a time code (address) source. When the MMC
device responds to the transport commands, it
generates time code (address) information to
which all other devices chase and lock. The other
devices do not need to be MMC devices, as they
sync in the usual fashion via time code (LTC or
MTC).
The MMC device (address source) may also serve
as the time base master, but in a MIDI
Timepiece AV-based studio, it doesn’t necessarily
have to. For example, video house sync could
provide the time base, while the MIDI
Timepiece AV provides address (time code).
A recommended setup for MMC
The best scenario for MMC is to set the MASTER
SYNC setting in the MIDI Timepiece AV to
INTERNAL or INTERN/VIDEO. In either case,
the MIDI Timepiece AV serves as the address
master, and your computer software (or Alesis
LRC-compatible hardware connected to the
MTP AV front panel) serves as your MMC
transport control master. The MMC controller
sends play, stop, start and cueing commands to the
MIDI Timepiece AV, and all other devices
(including the computer software) chase and lock
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to time code being generated by the MIDI
Timepiece AV. In this scenario, time base is
provided either by the MIDI Timepiece AV or by
incoming video sync.
Other MMC scenarios
In the recommended scenario described in the
previous section, the MIDI Timepiece AV receives
MMC transport commands and serves as the time
code (address) master for everything else.
Alternately, you could choose another MMC
device to receive transport commands and serve as
the time code master. For example, the device
would receive transport commands from your
computer software and generate SMPTE time code
(LTC). In this case, you would set the MIDI
Timepiece AV MASTER SYNC setting to LTC and
feed the LTC into the MIDI Timepiece AV, which
would then drive all other devices.
There is no advantage to doing MMC this way; in
fact, it will probably not provide as stable a time
base as the MIDI Timepiece AV does in the
recommended scenario described in the previous
section. You should only really use this setup if you
have a MMC device that does not have the ability to
be a time code slave and therefore must be the
master.
MMC and video
If you are working with video, and you want MMC
control of your rig from your computer software
(or LRC-compatible controller) via the MIDI
Timepiece AV, your video deck needs to have the
ability to either:
Synchronize to external SMPTE time code
(while locked to house sync)
■
OR
■
Support MMC
Without either of these capabilities in your video
deck, the MIDI Timepiece AV has no way to
control the video deck transports. You’ll instead
have to use your video deck as the transport and
address master.
If your video deck supports the SONY 9-PIN
protocol, consider purchasing Mark of the
Unicorn’s Digital Timepiece, which lets you to
control your video deck from a computer (or other
MMC controller).
SETTING MMC DEVICE ID’S
Each MMC device requires a unique MMC device
ID, including the MIDI Timepiece AV itself. For
convenience, the MIDI Timepiece AV
automatically sets the device ID’s of all ADATs
chained from its ADAT sync port. This means that
you don’t have to do anything in regard to setting
the device ID’s of your ADATs. The factory default
ID of the MIDI Timepiece AV is 20, and the default
ID of the first ADAT connected to the MIDI
Timepiece AV is 1. Other chained ADATs are
automatically set to ID’s 2, 3, and so on. You can
change these defaults if you’d like.
To change the MMC device ID in the MIDI
Timepiece AV using the front panel LCD:
1 Use the WINDOW knob to go to GLOBAL
HARDWARE SETUP.
2 Turn the CURSOR knob clockwise until you see
the MMC device ID window as shown below.
MMC device ID #
D
MTP-AV
20
E
3 Use the CURSOR and VALUE knobs to give the
MTP AV and the first ADAT unique MMC device
ID’s.
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M M C device ID #
D
adat
1
E
Connecting ADAT(s) to the MIDI Timepiece AV
Once you’ve connected a chain of ADATs to the
MIDI Timepiece AV, they do not require any
further preparation. The MIDI Timepiece AV takes
care of setting their MMC device ID’s and
establishing communication with them.
Setting up other MMC devices
If you have an MMC-compatible device (other
than an ADAT), you can slave it to the MIDI
Timepiece AV. But first, you need to make the MIDI
Timepiece AV send MTC (or LTC for some
devices). To send MTC, use the SMPTE
DESTINATION window in the front panel LCD
(it’s in the SMPTE/sync menu). Or you can do so in
ClockWorks in the Device Settings & Routing
window by making connections from the MTC
Out port in the left-hand column to the desired
destinations in the right-hand column as
demonstrated in Figure 7-14 on page 50.
For most MMC devices that support being an
MMC slave, routing time code (either MTC as just
discussed or LTC) to them is all you need to do. For
some devices, you may also need to get the MIDI
Timepiece AV to send MMC transport commands
to the device. Once again, you do this in the Device
Settings & Routing window: connect the MMC
Out port in the left-hand column to the
destinations in the right-hand column as
demonstrated in Figure 7-20 on page 52. Then you
are ready to control your MMC device — via the
MIDI Timepiece AV — from the computer (or an
Alesis LRC).
Setting up your computer software
Regardless of what you decide to use as your MMC
transport control master (an LRC or computer
software), you need to set up the software so that it
will slave to MIDI Time Code (MTC) generated by
the MIDI Timepiece AV. This will ensure that your
software chases and locks with all other MMC
devices. Check to make your software is set up to
the proper frame rate, and that it is in “external
sync” or “slave” mode, waiting for MTC.
Also see “Using computer software as an MMC
controller” on page 156.
Using an Alesis LRC-compatible controller
You can control the MIDI Timepiece AV and other
MMC devices connected to it from and Alesis LRC
(Little Remote Control). For complete details, see
“Using an Alesis LRC” on page 158.
Setting up any other MMC transport controller
To use any MMC transport controller, such as the
JL Cooper CuePoint™:
1 Connect the MIDI OUT and IN jacks on the
MMC controller to the MIDI Timepiece AV.
2 Using ClockWorks or the front panel controls,
route MTC to the MIDI OUT port that the MMC
controller is connected to so that it can receive
MIDI Time Code from the MIDI Timepiece AV.
How you do this in ClockWorks is demonstrated in
Figure 23-2 on page 157.
3 Using ClockWorks or the front panel controls,
route the MMC Controller to the ADAT port of the
MIDI Timepiece AV (labeled “adt” in the MIDI
ROUTING window of the front-panel LCD) so
that the MMC controller can send MMC record
functions to ADATs.
4 In the MMC controller device, identify what the
MMC device ID is for the MIDI Timepiece AV.
From the factory, the default MMC device ID for
the MIDI Timepiece AV is 20. If you need to, you
can change it as described in “Setting MMC device
ID’s” on page 154.
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From the standpoint of achieving MMC transport
control over the MIDI Timepiece AV, the above
preparations are all you need. There may, of course,
be other preparations necessary in the controller
itself.
Using computer software as an MMC controller
Most likely, you’ll want to make your computer
software be the MMC transport control master, so
you can control all MMC devices from your
computer.
This can be accomplished with an MMCcompatible sequencer, MMC applet, or any other
software that transmits MMC transport control
commands.
Generally speaking, once you’ve successfully
established overall MIDI communication between
your software and the MIDI Timepiece AV, all you
have to do is tell your MMC software what the
MMC Device ID is of the MIDI Timepiece AV.
From the factory, the default MMC device ID for
the MIDI Timepiece AV is 20. If you need to, you
can change it as described in “Setting MMC device
ID’s” on page 154.
As long as MMC routing from the computer to the
MIDI Timepiece AV exists (as shown in
Figure 23-3 on page 158), the MIDI Timepiece AV
will respond to MMC commands coming from the
computer specifying its device ID. If it is in
INTERNAL sync mode, it will start, stop, and
locate to any SMPTE location you designate from
your software. You can also control it from an LRC
connected to the front-panel LRC input. Just make
sure you follow the procedure in “Using an Alesis
LRC-compatible controller” on page 155
beforehand.
Setting up Performer or Digital Performer as an
MMC controller
Performer and Digital Performer have features to
make using MMC with the MIDI Timepiece AV
even easier. For details about this, see “MIDI
Machine Control (MMC)” on page 32.
MMC remote control of record functions
To record-enable tracks of MMC devices
connected to the MIDI Timepiece AV MIDI output
ports, make sure your MIDI software sends MMC
record-enable commands using the MMC device
ID’s configured for the device. This is straightforward, one-way MIDI communication between
your MMC software and the MMC device. The
MIDI Timepiece AV MMC features do not come
into play here.
For MMC remote control of the record functions
on ADATs, things are a little trickier.
If you are using Performer or Digital Performer, see
“MIDI Machine Control (MMC)” on page 32 for
important details about setting up MMC control of
ADAT record functions.
In OMS 2.0 or earlier, it is not possible to achieve
MMC remote control of the record functions of
ADATs connected to the MIDI Timepiece AV. To
work around this limitation, you can use FreeMIDI
and the FreeMIDI OMS emulator.
Using a third-party MMC device as a master
We recommend trying to set up MMC as described
in “A recommended setup for MMC” on page 153.
However, you may have an MMC device that does
not have the ability to be a time code slave and
therefore needs to be the time code master. In this
case, you need to set up the MIDI Timepiece AV so
that it knows that this device will be the master
instead of the computer.
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If the device transmits LTC, you can simply
connect it to the MIDI Timepiece AV’s SMPTE
input and set the MIDI Timepiece AV’s master sync
mode to LTC (or LTC QuikLock).
If the device only transmits MIDI Time Code
(MTC), use the Device Settings & Routing
connection shown below in Figure 23-1 and set the
MIDI Timepiece AV’s master sync mode to MTC.
changeably as your transport master controls,
without having to change any settings when
switching between them.
Performer is slaving to MTC from the MIDI
TimePiece AV, while at the same time issuing MMC
transport commands to the MIDI Timepiece AV.
Figure 23-1: If you have an MMC device that can only transmit time
code (and cannot be a time code slave), then you can make it the time
code master by routing MTC to the MIDI Timepiece AV (MTC In) as
shown here. It is better to use LTC, though, or better yet: the MIDI
Timepiece AV as the time code master. Both are a more stable time
base than MTC.
MMC routing example
Below is a typical MMC routing example. The
devices involved are:
Performer (or any other MMC sequencer
running on the computer)
■
■
JLCooper CuePoint MMC controller
■
Akai DR8 hard disk recorder
■
Roland VS-880 hard disk recorder
Figure 23-2: A typical routing configuration for MIDI Machine
control. Here, the CuePoint is being routed to the MIDI Timepiece AV’s
MMC In port so that the AV will respond to MMC transport
commands from the CuePoint. In turn, the AV, which is in INTERNAL
sync mode, is distributing MTC to the Akai DR8 and Roland VS-880
hard disk recorders.
The MIDI Timepiece AV master sync mode is set
to INTERNAL. It is being shuttled by either the
CuePoint or Performer.
Figure 23-2 and Figure 23-3 show the computer,
MTC, and MMC connections needed to control
everything from either Performer or the CuePoint.
This setup allows you to use either one inter-
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4 Use the SELECT knob to choose PEDAL B and
use the VALUE knob to choose LRC.
PEDAL TYPE
D PEDAL
B >LRC
E
Transport control and shuttling with the LRC
All basic transport buttons (PLAY, STOP, REW,
etc.) should function as labeled on the LRC. The
Fast Forward and Rewind buttons shuttle forwards
and backwards in ten-second intervals.
Figure 23-3: In the highlighted connections shown here, MIDI Time
Code is being routed to the computer so that Performer can slave to
it. MMC is being routed from Performer (on the computer) to the MIDI
Timepiece AV (MMC In).
USING AN ALESIS LRC
The MIDI Timepiece AV pedal B jack on the front
panel doubles as a connector for an Alesis LRC
(Little Remote Control). An LRC can be used as a
transport controller for the MIDI Timepiece AV or
other MMC devices connected to its MIDI ports.
Other button mappings
There are a number of third-party LRCcompatible products on the market. Depending on
your particular LRC model, some of the
supplemental buttons on the LRC may not be
supported, or they made function differently than
a standard LRC.
With a genuine Alesis LRC connected to an MIDI
Timepiece AV, the LRC buttons function as follows:
Button
MTP AV
Function
Associated
MMC Field
SET LOCATE
Set Locate
None
LOCATE 0
Locate 0
GP0
To use an Alesis LRC or compatible controller with
the MIDI Timepiece AV:
LOCATE 1
Locate 1
GP1
LOCATE 2
Locate 2
GP2
1 Plug the LRC into the front panel LRC jack.
AUTO 2 > 1
Locate 3
GP3
2 On the MIDI Timepiece AV front panel, use the
WINDOW knob to go to the PEDALS menu.
AUTO PLAY
Locate 4
GP4
AUTO INPUT MONITOR
None
None
ALL INPUT MONITOR
None
None
PEDALS
A-_ 0 B-_
0
E
3 Turn the CURSOR knob one click clockwise to
the PEDAL TYPE window.
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With an Alesis LRC for the ADAT XT, the LRC
buttons function as follows:
With a Fostex LRC connected, the LRC buttons
function as follows:
Button
MTP AV
Function
Associated
MMC Field
Button
MTP AV
Function
Associated
MMC Field
SET LOCATE
Set Locate
None
AUTO REC
Set Locate
None
LOCATE 2
Locate 0
GP0
MARK IN
Locate 0
GP0
AUTO LOOP
Locate 1
GP1
MARK OUT
Locate 1
GP1
LOCATE 1
Locate 2
GP2
A-RTN
Locate 2
GP2
LOCATE 4
Locate 3
GP3
LOC
Locate 3
GP3
LOCATE 3
Locate 4
GP4
A-PLAY
Locate 4
GP4
AUTO RECORD
None
None
AUTO INPUT MONITOR
None
None
REHEARSE
None
None
ALL INPUT MONITOR
None
None
If you have an LRC unit other than an Alesis or
Fostex model and are unsure about its operation
with your MIDI Timepiece AV, please contact Mark
of the Unicorn technical support.
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CHAPTER 24
Synchronizing Pro Tools
OVERVIEW
The MIDI Timepiece AV serves as a digital audio
synchronizer for all current Digidesign hard disk
recording systems, including:
■
Pro Tools™
■
Pro Tools Project™
■
Pro Tools III™
■
Pro Tools|24
■
Pro Tools|24 MIX
■
Pro Tools|24 MIXplus
■
Session 8™ (for Macintosh or Windows)
MIDI Timepiece AV lets you slave your Digidesign
hardware to SMPTE time code or video via
Digidesign’s proprietary “Slave Clock” input. This
is hardware-based digital audio synchronization,
the best kind of synchronization that is possible
with your Digidesign system.
Synchronization is possible with any software that
supports your Digidesign hardware, such as
Digidesign’s Pro Tools software or Mark of the
Unicorn’s Digital Performer sequencer with digital
audio recording.
SLAVING YOUR DIGIDESIGN HARDWARE
To slave your Digidesign hardware to SMPTE or
video via the MIDI Timepiece AV:
1 Connect the “Word Sync out” of the MIDI
Timepiece AV to the “Slave Clock input” of your
Digidesign audio interface as shown in Figure 2-14
on page 15.
2 In the front panel LCD of the MIDI
Timepiece AV, use the WINDOW knob to go to the
SMPTE/SYNC menu, and use the CURSOR and
VALUE knobs to set the sample rate as desired
(44.1K or 48K) and set the clock format to DIGI
(instead of 1X).
3 Make the other settings in the SMPTE/SYNC
menu as desired.
You can slave your rig to VIDEO, LTC, MTC, or the
MIDI Timepiece AV’s INTERNAL clock. If you are
using INTERNAL, you’ll also need to set up MMC
control between your sequencer and the MTP AV
as described in “computer software as an MMC
controller” on page 99.
4 In Pro Tools, Digital Performer, or other
software that supports your Digidesign hardware,
go to the hardware configuration window and
make sure that you leave the “Sync Mode” setting to
INTERNAL (not DIGITAL).
In Digital Performer, this setting can be found in
the Configure Hardware command in the Basics
menu.
☛
Do not use the DIGITAL setting. The
DIGITAL setting is only for slaving your
Digidesign hardware to S/PDIF or AES/EBU
digital inputs. It does not refer to the Slave Clock
input. The Digidesign hardware automatically
detects when its slave clock input has a connection
and will put itself into SLAVE mode as indicated on
its front panel.
5 If your Digital Audio software has software
synchronization, turn it off.
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In Digital Performer 1.71, you do this by
unchecking the “Sync Audio To Time Code”
command in the Basics menu. Software synchronization is not necessary because your Digidesign
hardware will be driven by the MIDI Timepiece AV.
6 Set up your software so that it will slave to MTC.
In Digital Performer 1.71, set the Receive Sync
command (Basics menu) to MTC and check the
“Slave to External Sync” command (also in the
Basics menu).
That’s it! Now you should be able to roll tape and
everything will go.
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Appendices
Part IV
Appendices
Appendices
Part IV-Appendices Page 164 Wednesday, June 23, 1999 3:26 PM
Glossary Page 165 Tuesday, June 22, 1999 1:29 PM
APPENDIX A
Glossary
Address Track: A third audio track, used for time
code, located on the edge of the video signal on a 3/
4” VTR. Because of its proximity to the video
signal, the address track cannot be recorded by
itself; it must be recorded simultaneously with the
video signal.
ATR: Audio Tape Recorder. A device that can record
an audio signal on audio tape.
Base setup: One of eight MIDI Timepiece AV
internal basic configurations. Each base setup
stores all of the MIDI Timepiece AV internal
settings as one configuration. Each base setup can
be configured differently from the others.
Burn-in Window: A numeric display of time code
superimposed over the video picture to aid in the
post-production editing process.
Cable routing: An internal connection from one of
the MIDI Timepiece AV’s MIDI IN ports to one or
more of its MIDI OUT ports.
Control Track: A video tape track located at the
edge of the video tape containing a series of pulses
that serve as a reference tracking the tape speed.
This track is recorded with the video signal.
CRT: Cathode Ray Tube. The glass screen in TV’s,
computers, etc. upon which video images are
projected.
Crosstalk: Interference on a track from the signal
of an adjacent track on a multitrack tape recorder.
Drop Frame: A SMPTE time code format used to
compensate for an accumulating timing error in
color video. Drop Frame skips two frames at the
beginning of each minute (except every 10th
minute) as it counts color video frames. The result
is that the SMPTE time code values match the
actual elapsed time, since color video runs slower
(29.97 frames per second) than black and white
video (30 frames per second). Drop-frame is
required only with color video programs in which
the SMPTE time code numbers must precisely
match the actual elapsed time.
Drop-out: A brief period of missing information in
a continuous signal, such as a video signal or
SMPTE time code signal. Drop-outs are usually
caused by small, physical imperfections in the
surface of the tape on which the signal is recorded.
Flywheeling: Another name for Freewheeling. See
Freewheeling below.
Freewheeling: A process in which a synchronizer,
such as the MIDI Timepiece AV, continues to
generate time code even when it encounters dropouts in a time code source. Converters may briefly
lose synchronization during a drop-out and, in
turn, momentarily stop converting time code. The
MIDI Timepiece AV can freewheel up to 32 frames,
making it insusceptible to drop-outs.
FSK: Frequency Shift Key. An audio time code
consisting of a series of pulses which increment the
counter of an FSK reading device.
Default: An initial value or configuration.
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FreeMIDI: A Macintosh system extension
developed by Mark of the Unicorn for Mark of the
Unicorn MIDI software products. FreeMIDI
provides centralized, comprehensive MIDI system
management.
Genlock: A process in which a video generator
(graphics, picture, or VITC) is locked in phase with
an external source.
Guard Track: An empty track adjacent to the LTC
track on a multitrack tape recorder. A guard track
prevents crosstalk from another track, which can
interfere with the time code and cause synchronization problems.
Hard Record: A mode on a VTR that erases and
records all tracks simultaneously.
Horizontal Blanking: A short period of time in the
video display process in a CRT when the electron
beam is shut off to retrace to the next horizontal
scan line (similar to a carriage return on a
typewriter).
House Sync: A process in which all video
equipment in a studio is connected to and genlocks
to a single video sync generator.
Input cable: One of the eight (or sixteen) MIDI IN
jacks in a MIDI Time Piece network.
Insert Record: A mode on a VTR that records on
the video tracks without recording on the audio
tracks, or vice versa.
Jam Sync: The process of creating fresh, error-free
time code or extending existing time code on tape
by locking a time code generator to existing code.
LCD: Liquid Crystal Display. The alpha-numeric
display on the front panel of the MIDI
Timepiece AV.
LTC: Longitudinal Time Code. The Society of
Motion Picture and Television Engineers (SMPTE)
time code format, expressed in audio form as an
80-bit binary audio signal, that describes the
location of each frame on film, video, or audio tape
in hours, minutes, seconds, and frames. LTC’s
video counterpart is VITC (Vertical Interval Time
Code), which is the same time code format in the
form of a video signal. In audio production, LTC is
often referred to as SMPTE or SMPTE time code
since VITC is seldom used.
MIDI: Musical Instrument Digital Interface. An
information protocol developed in the early 1980’s
by synthesizer and electronic instrument
manufacturers to allow devices to communicate
musical performance data to one another.
MIDI Manager: A multi-tasking software
environment provided by Apple Computer, Inc. for
the Macintosh which allows several MIDI
programs to simultaneously communicate with
each other and the Macintosh serial ports.
Modifier: A command, or set of commands, that
changes one or more of the MIDI Timepiece AV’s
internal settings.
MTC: MIDI Time Code. A form of time code,
digitized within the MIDI format, that expresses
time in hours, minutes, seconds, and frames, just
like SMPTE time code (LTC and VITC).
Network: Two MIDI Time Pieces connected via
their NETWORK serial ports with a mini-DIN 8
cable.
Non-drop Frame: A SMPTE time code format that
does not drop any frames. Its counterpart, Drop
Frame, skips over the first two frames of every
minute (except every 10th minute). Non-drop is
the least confusing format and should be used
unless Drop Frame is required. Drop-frame is
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required only with color video programs in which
the SMPTE time code numbers must precisely
match the actual elapsed time.
NTSC: National Television Systems Committee
Format. A system of coding color information for
broadcasting television formulated by the NTSC.
NTSC uses 30 frames per second for black and
white and 29.97 frames per second for color.
Output cable: One of the eight (or sixteen) MIDI
OUT jacks in a MIDI Time Piece network.
PAL/SECAM: Phase Alternate Line. A system of
coding color information that is similar to (but
incompatible with) NTSC format. PAL/SECAM
uses 25 frames per second.
Patch: In the MIDI Timepiece AV, a patch can be a
base setup, a modifier, a combination of a base
setup with up to four modifiers, or several (up to
four) modifiers by themselves. A patch has a MIDI
program change assignment, which can be called
up by sending a MIDI program change to the MIDI
Timepiece AV.
Script: An itemized description of the commands
that make up a base setup or modifier. The script is
displayed in the Setups & Modifiers window when
the setup or modifier is selected.
a video signal recorded in the vertical blanking
segment of video frames, called Vertical Interval
Time Code (VITC). In either form, SMPTE Time
Code has four different formats for counting
frames per second (fps): 24 fps, 25 fps, 30 fps, and
Drop Frame. 24 is used mostly with film; 25 is a
European format for film; 30 is the US standard for
audio and video; Drop Frame is required only with
color video programs in which the SMPTE time
code numbers must precisely match the actual
elapsed time.
SMPTE-to-MIDI Converter: A device that reads
SMPTE time code from audio or video tape and
converts it to MTC or DTL to synchronize MIDI
devices to tape.
Striping: The process of recording SMPTE time
code.
Switcher/Special Effect Generator: A machine that
takes multiple video input signals and routes them
to a variety of destinations to add special effects
such as dissolves.
Synchronizer: A device that reads time code from
audio or video tape and is used to synchronize the
timing of two or more devices.
Time Code Generator: A device that is capable of
producing LTC, VITC, or both.
Sequencer: A computer or software running on a
computer that is capable of recording and playing
back MIDI data.
Time Code Window: A display of SMPTE time
code numbers on a video screen.
SMPTE: Society of Motion Picture and Television
Engineers. The acronym SMPTE is often used in
audio production as a shorthand expression for
SMPTE Time Code.
Universal Serial Bus: An industry standard for
connecting peripheral devices to computers.
SMPTE Time Code: A series of binary impulses that
User Bits: 32 unassigned bits in the 80-bit SMPTE
time code word that have been set aside by the
Standards Committee of SMPTE for users to place
express the location of each frame on film, video,
or audio tape in hours, minutes, seconds, and
frames. SMPTE has two forms: 1) an 80-bit audio
signal, called Longitudinal Time Code (LTC), or 2)
USB: See Universal Serial Bus.
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their own information in the time code, such as the
shooting date, take identification, reel number, and
so on.
Video Frame: One complete video scanning cycle,
which consists of two video fields.
VITC: Vertical Interval Time Code. The Society of
Vertical Blanking: The area on video tape between
video frames, which can be seen as the “black bar”
above or below the picture when the vertical hold is
adjusted. This area is where VITC can be recorded.
Video Field: One half (1/60th of a second) of a
complete video scanning cycle (one video frame),
which consists of 525 video scan lines. One video
field consists of the odd-numbered scan lines; the
other consists of the even-numbered scan lines.
Motion Picture and Television Engineers (SMPTE)
time code format, expressed in video form as
binary video signal recorded in the vertical
blanking segment between frames, that describes
the location of each video tape frame in hours,
minutes, seconds, and frames. VITC’s audio
counterpart is LTC (Longitudinal Time Code),
which is the same time code format expressed in
the form of a binary audio signal.
VTR: Video Tape Recorder. A device that can record
a video signal onto video tape.
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APPENDIX B
SMPTE Synchronization Basics
OVERVIEW
WHAT IS SYNCHRONIZATION?
This chapter explains what SMPTE synchronization is, how it works, and how to synchronize
using the MIDI Timepiece AV.
Synchronization is the occurrence of two or more
events at exactly the same point in time. In regard
to SMPTE and MIDI, it is the process of making
MIDI devices, such as a MIDI sequencer, precisely
follow an audio tape as it plays back. When the tape
plays, the sequencer plays right along with it. When
the tape fast forwards to a new location and begins
to play, the sequencer will jump ahead to precisely
the same location and begin playing, too. Synchronization allows you to freely move about in a piece
of music without ever losing the “lockup” between
the tape and the sequencer.
What Is synchronization? . . . . . . . . . . . . . . . . . .169
What is SMPTE? . . . . . . . . . . . . . . . . . . . . . . . . . .169
Two forms of SMPTE: LTC versus VITC . . . . .170
What is LTC?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
What is VITC? . . . . . . . . . . . . . . . . . . . . . . . . . . . .170
The benefits of VITC over LTC. . . . . . . . . . . . . .170
Should I use LTC or VITC? . . . . . . . . . . . . . . . . .171
Frame rates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171
What is drop frame? . . . . . . . . . . . . . . . . . . . . . . .171
Why does drop frame exist? . . . . . . . . . . . . . . . .171
Should I use drop frame?. . . . . . . . . . . . . . . . . . .172
Without synchronization, devices with
independent time bases, no matter how precisely
they keep time, will inevitably drift apart from one
another over time.
How does SMPTE synchronization work?. . . .172
WHAT IS SMPTE?
How does a MOTU synchronizer work?. . . . . .172
The word SMPTE is an acronym for the Society of
Motion Picture and Television Engineers. In the
mid 1970’s, the society established a timing
standard, called SMPTE time code, that is now an
international standard. SMPTE time code,
commonly referred to as just “SMPTE”, was
developed for film and video work but has proven
to be very useful in normal audio work as well. It is
an absolute time code, expressing hours, minutes,
seconds and divisions of a second in digital form.
What is MIDI Time Code?. . . . . . . . . . . . . . . . . .172
Locking a MOTU interface to SMPTE . . . . . . .172
Because of its accuracy and wide-spread
acceptance, SMPTE is the most powerful of the
time code formats that are used in audio
production.
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TWO FORMS OF SMPTE: LTC VERSUS VITC
SMPTE time code consists of a series of binary
impulses that are recorded onto each frame on film
or video tape, or continuously on audio tape. These
binary impulses count each frame, expressing its
location in hours, minutes, seconds, and frames.
VITC is part of the video signal; it does not have its
own “track” on the video tape. It is therefore not
possible to stripe VITC by itself onto video tape.
VITC can only be recorded at the same time as the
video picture.
THE BENEFITS OF VITC OVER LTC
SMPTE has two forms:
1. an audio signal, called Longitudinal Time Code
(LTC), or
2. a video signal recorded in the vertical blanking
segment of video frames, called Vertical Interval
Time Code (VITC)
WHAT IS LTC?
Longitudinal Time Code (LTC) is the audio form of
SMPTE Time Code. LTC consists of an audio signal
that oscillates between two frequencies (approximately 2 and 4 kHz) to form an 80-bit word of 1’s
and 0’s for each frame on the tape. The 80 bits in
each SMPTE frame describe, in binary form (1’s
and 0’s), the location of that frame in hours,
minutes, seconds, and frames.
WHAT IS VITC?
Vertical Interval Time Code (VITC, pronounced
“Vit-see”) is SMPTE time code that is encoded in
the video signal in the vertical blanking segment at
the top edge of each frame. A video signal consists
of 525 scan lines, which the rotating heads of a VTR
scan as the tape rolls past them. The first couple
dozen of the scan lines at the edge of each frame are
blank; they do not contain any part of the video
picture. VITC is recorded on several of these blank
scan lines.
You can actually see VITC in the vertical blanking
segment portion of a video picture by adjusting the
vertical hold on a video screen. The 90-bit binary
VITC signal appears as a series of white dots in the
black strip between the top and bottom of the
picture.
Of the two forms of SMPTE time code, LTC has
become much more widely used as a synchronization standard in the audio production industry
because VITC synchronizers in the past have been
extremely expensive. So, the term SMPTE or
SMPTE time code has become a common
expression for LTC in recording studios, postproduction houses, MIDI hardware and software
manuals, and so on.
Recently, Mark of the Unicorn introduced the
Digital Timepiece, an affordable VITC
synchronizer and video character generator. It is
both an LTC and VITC synchronizer, so the
distinction between LTC and VITC becomes
important. So, if you are used to saying “SMPTE”,
ask yourself “What type of SMPTE? LTC or VITC?”
This will help prevent confusion as you work with
the Digital Timepiece.
The primary advantage that VITC has over LTC is
that synchronization can be achieved at very slow
tape speeds––even when shuttling the video tape
backwards or forwards one frame at a time. VITC
allows for this because it is part of the video signal,
which is continuously scanned by the VTR’s
rotating heads even when the tape is stopped. LTC
cannot be read at slow tape speeds because it is an
audio signal in one of the audio tracks, which can
only be read when the tape is moving at a constant
speed.
Another benefit of VITC is that it does not eat up
any audio tracks.
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SHOULD I USE LTC OR VITC?
Since VITC only works with video, you must use
LTC for synchronizing a multi-track tape deck. But
don’t fret: LTC is affordable and more than
adequate for tape synchronization.
Keep in mind that only numbers are skipped, not
actual frames of the picture. In other words, every
picture frame gets a frame number and the
numbers skip every once in a while.
WHY DOES DROP FRAME EXIST?
If you compose music for film or video, you too can
use LTC. We strongly recommend, however, that
you consider VITC because of the benefits noted
above. Contact Mark of the Unicorn for more
information about the Digital Timepiece.
FRAME RATES
In either form (LTC or VITC), SMPTE time code
has several basic formats for counting frames per
second (fps): 24, 25, 29.97 non-drop, 29.97
drop-frame, and 30. 24 is the standard frame rate
for film in the US; 25 is the European format for
film; 30 is the US standard for audio; and 29.97
drop and non-drop are used for video. Drop frame,
explained in detail in the next section, allows
SMPTE time code numbers to precisely match the
actual elapsed time.
WHAT IS DROP FRAME?
Drop Frame SMPTE time code counts frames at a
rate of 29.97 frames per second but skips two frame
numbers at the beginning of each minute, except
every 10th minute. When the time code display
reaches HH:MM:59:29 (59 seconds and 29 frames
at the end of each minute), the frame count skips
00 and 01 and jumps ahead to HH:MM:00:02. This
jump does not happen at minutes 00, 10, 20, 30, 40,
and 50.
Thus, frame numbers such as 11:14:00:00 and
11:14:00:01 do not exist in Drop Frame: the display
will show a frame at 11:13:59:29 and the next frame
at 11:14:00:02. However, frame numbers at each
tenth minute will not be skipped, such as from
11:19:59:29 to 11:20:00:00, followed by 11:20:00:01
and 11:20:00:02, etc.
Video was first introduced in black and white and it
ran at exactly 30 frames per second. Years later,
color video was developed. The Drop Frame
format was developed to compensate for an
accumulating timing error in color video, which
runs slightly slower than black and white video.
Color video frames actually run at a rate of 29.97
frames per second, which is slightly slower than
exactly 30 frames per second. Over a period of
time, this difference causes the time code that is
counting the frames to fall behind actual elapsed
time.
For example, let’s say our video program is 60
minutes long. When shown in black and white
video at exactly 30 frames per second, it will be
precisely 60 minutes long. In addition, the time
code that counts the frames will show 01:00:00:00
(exactly one hour’s worth of frames) on the final
frame. So far, so good.
Now, if we play a color version of the same
program, it actually runs slower at 29.97 frames per
second so that the actual elapsed time is 60 minutes
and 3.6 seconds! Here’s where the discrepancy
arises: the time code that counts the frames shows
that one hour’s worth of frames has gone by, which
is 01:00:00:00 on the final frame. But this does not
match the actual elapsed time, which is 01:00:03:18!
In broadcast situations, where edits are calculated
down to fractions of a second, 3.6 seconds is a long,
long time––too large a degree of inaccuracy.
Drop Frame time code fixes this problem by
skipping ahead every once in a while as it counts
color video frames to catch up with actual elapsed
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time. The result is that over the period of several
minutes, the time code matches the actual elapsed
time.
It is important to note that since frames are
dropped only once every minute, Drop Frame time
code does not always reflect the exact actual
elapsed time: it may be up to a 10th of a second
faster or slower than actual elapsed time,
depending on how recently the last frame number
was dropped.
SHOULD I USE DROP FRAME?
Use Drop Frame time code only when it is
absolutely necessary. Drop Frame is required only
with color video projects in which the SMPTE time
code numbers must precisely match the actual
elapsed time, such as when preparing a television
broadcast. Otherwise, we suggest that you use 30
Non-drop time code because of the slight
inaccuracy mentioned above, as well as the
confusion that drop frame can cause.
HOW DOES SMPTE SYNCHRONIZATION
WORK?
The syncing process is straightforward. It involves
one device following another. As you play back a
tape with SMPTE time code on it, the SMPTE feeds
into a hardware device called a SMPTE-to-MIDI
converter. The converter translates the SMPTE
audio signal into MIDI Time Code and sends the
MIDI Time Code to a MIDI device such as a
sequencer. The MIDI device receives the time code
and adjusts its playback position to match the time
code. All of this happens very quickly, around 30
times per second, which is fast enough so that the
MIDI device follows the tape smoothly.
Certain phrases are often used to describe
synchronization. The tape deck to which the MIDI
device is synchronized is called the synchronization master; the MIDI device, which follows, is
called the slave. The MIDI device is slaved to the
master. The converter, which reads the time code
on tape, is locked to tape, or when using SMPTE
time code, locked to SMPTE.
HOW DOES A MOTU SYNCHRONIZER
WORK?
All MOTU MIDI interface/synchronizers function
as a SMPTE-to-MIDI converter. When they receive
SMPTE time code, they convert that signal into
MIDI Time Code, which is then sent to MIDI
devices connected to the network. These devices,
in turn, slave to the MIDI Time Code.
WHAT IS MIDI TIME CODE?
MIDI Time Code is time code in the form of MIDI
data that matches the format of SMPTE time code:
time is expressed in hours, minutes, seconds, and
frames. A MOTU interface/synchronizer can send
MIDI Time Code over MIDI to a sequencer, which
follows the MIDI Time Code.
LOCKING A MOTU INTERFACE TO SMPTE
In order to sync your MIDI device to tape, you
must first successfully lock your MOTU interface/
synchronizer to the SMPTE on the tape. To do so,
you need to:
1. Stripe a tape with SMPTE
2. Connect the MOTU interface/synchronizer to
the tape deck
3. Prepare the MOTU interface/synchronizer to
convert SMPTE
4. Roll the tape to see if successful SMPTE lockup
has been achieved
These steps are discussed in chapter 15, “Synchronization” (page 91). Once lockup has been
achieved, you can stop the tape, set up your MIDI
hardware or software, and then slave it to your
MOTU interface/synchronizer.
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APPENDIX C
Troubleshooting and Customer
Support
COMMON PROBLEMS AND SOLUTIONS
My MOTU USB interface just won’t show up in
FreeMIDI or OMS, no matter what I do.
If it’s not an obvious problem like cables or power,
do a fresh install of FreeMIDI and, if you’re using it,
OMS. Then run the software installer for your
MOTU interface again. This places drivers for your
MOTU interface into the FreeMIDI and OMS
folders inside the System Folder. To be sure, look in
the FreeMIDI or the OMS Folder (again, it’s located
in the System Folder) and make sure that the
MOTU USB FreeMIDI Driver is present in the
FreeMIDI Folder and the MOTU USB OMS Driver
is present in the OMS Folder. If FreeMIDI and
OMS are happily installed, and these drivers are
where they’re supposed to be, it should be plugand-play: plug in your MOTU interface (via USB)
and it should just appear in FreeMIDI. In the case
of OMS, after you plug in your MOTU interface
(via USB), you’ll have to scan for the interface with
the MIDI Cards & Interfaces command in the
Studio menu to get it to show up in your OMS
studio setup.
ClockWorks keeps displaying a message saying that
communication with my MOTU interface has been
disrupted, even though the interface is connected.
If the problem is not simply that your MOTU
interface is switched off or has a loose cable, it may
be that communication between ClockWorks and
your MOTU interface has been disrupted
somehow. If you have a drum machine or
sequencer connected to it, be sure that it is not
sending MIDI sync to the MTP AV. If so, turn off
the drum machine while launching the
ClockWorks and then mute real time data on its
input cable. To reestablish the connection between
ClockWorks and the MTP AV, switch off all MIDI
Time Pieces in the network, quit the Console, let
the boxes sit for a moment, and then turn them
back on again. You may want to try turning them
back on again just one at a time. Turn on Box 1-8,
and try opening the Console and/or clicking a
serial port button in the Serial Ports window.
Always return to the simplest possible scenario if
you just can’t seem to get to the bottom of the
problem. Starting from the ground up usually
either corrects the problem or gives you valuable
insight into how to solve it.
The LEDs on the front panel of my MIDI
Timepiece AV blink erratically as soon as I turn it
on and the box doesn’t operate properly.
This is a symptom that MIDI software running on
the Macintosh is set to a different communications
speed than a MIDI Timepiece AV that is connected
one of your Mac’s serial ports (the modem or
printer port). To get things back to normal, switch
the box off and set the MIDI software interface
settings correctly and then power the MTP AV on
again. To prevent this from happening again, be
sure that the MIDI Time Piece mode Mac speed
matches the software (1 MHz or Fast 1X). This
type of “light show” can also be caused by INITs
and other Macintosh software that sends
miscellaneous data out the Macintosh serial ports
when the Macintosh boots up. In general, it is a
good idea to leave the MIDI Timepiece AV turned
off until after the Macintosh has booted up. If the
blinking is regular but faint, its just harmless active
sensing from the synth.
My MOTU interface will not sync to SMPTE.
Make sure that the SMPTE IN cable is firmly seated
and connected to the appropriate output on the
tape deck. Observe the LTC LOCK light. Is it
flickering quickly and steadily? If so, the MOTU
interface is locked to tape and the syncing problem
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Troubleshooting Page 174 Tuesday, June 22, 1999 1:29 PM
is probably related to MIDI. If not, check the level
of the SMPTE: it should be approximately –3 VU;
then, try boosting or attenuating the SMPTE signal
from the tape. You may even want to try recording
some fresh SMPTE and locking to it.
The SMPTE Reader window just sits there when
my MOTU interface is syncing to SMPTE, even
when its LTC LOCK LED shows that it seems to be
locked up just fine.
This most likely means that MTC (MIDI Time
Code) is not being routed to the Macintosh. Check
the Device Settings and Routings window in
ClockWorks to make sure there is a connection
between the MTC port in the left-hand column
and the computer port in the right-hand column.
Also note that the SMPTE display in the SMPTE
Reader and Sync/MMC windows will only display
incommoding SMPTE when the ClockWorks is the
active application. To make the ClockWorks the
active application, click on of its windows (such as
the SMPTE Reader window).
My MIDI software won’t sync to tape via my
MOTU interface.
Make sure that the interface is slaved to SMPTE
first by opening the Sync/MMC or SMPTE Reader
window in ClockWorks to see if you get a running
update of time code while tape is running. As long
as the SMPTE display shows that the interface is
successfully locking to the SMPTE and generating
MIDI Time Code, MIDI software should also be
able to lock to the MIDI Time Code.
My Performer program won’t sync to tape and my
MOTU interface, no matter what I do.
Are you using Performer Version 3.4 or higher? If
not, then you need to update because older
versions of Performer don’t support MTC. Contact
Mark of the Unicorn for information about
updating. If you are using Version 3.4 or higher,
make sure that MTC is chosen in the Receive Sync
dialog box. If the interface is connected to a serial
port, make sure the correct port (modem or
printer) is chosen. In the MIDI Monitor window,
MTC lights up the “CO” indicator. Make sure that
Performer is seeing the MTC.
When I play notes from my MIDI controller, the
notes sound funny/chopped off/phased/etc. OR I
run out of voices sooner than I should on my sound
sources.
This means that you are probably routing data to
the sound source twice by accident, either via the
Auto Patch Thru feature in Performer or other
MIDI software, or via a route you were not aware of
in the Device Settings & Routing or Channel
Mapping windows in ClockWorks. To solve the
problem, try to identify from where the extra
routing is coming. For example, switching off the
Macintosh will tell you if it’s the culprit or not. The
Device Settings & Routing window is also a good
place to hunt for a problem.
My JLCooper FaderMaster (or other MIDI device)
behaves strangely when I send it MIDI data from
my MOTU interface.
You might need to defeat running status on the
output cable to the device. See “Running Status” on
page 110.
My ADAT (or ADAT compatible device) connected
to the ADAT sync out port on my MIDI
Timepiece AV behaves erratically.
The MIDI Timepiece AV continuously polls its
ADAT port for the presence of an ADAT. If you plug
one in and turn it on, the AV will detect it and
perform its routine handshake with the ADAT (or
any ADAT device on the ADAT sync chain).
Some ADAT-sync compatible devices do not
respond well to this sort of continuous polling. If
your ADAT device or ADAT sync chain is not
behaving normally, try disabling this automatic
polling. For details on how to do this, see “ADAT
port settings” on page 51.
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TROUBLESHOOTING
TECHNICAL SUPPORT
Troubleshooting is always simplest and most
effective when the exact problem can be specified
clearly and concisely. If you are surprised by an
error message or by seemingly erratic behavior in
the console or network, take a moment to jot down
the relevant details: exactly what the error message
said (including any error ID numbers), what
actions were done on-screen just before the
problem occurred, what kind of file you were
working with, how you recovered from the
problem, and any unusual conditions during the
occurrence of the problem. This may not enable
you to solve the problem at once, but will greatly
aid in isolating the problem should it reoccur.
Registered users who are unable, with their dealer’s
help, to solve problems they encounter with the
their MOTU interface may contact our technical
support department in one of the following ways:
If the problem you are encountering seems
inconsistent, try to determine what the necessary
pattern of actions is that will cause it to occur.
Genuine bugs in application software like the
ClockWorks are almost always consistent in their
manifestation: the same set of actions under the
same conditions invariably brings about the same
results. Determining the exact cause of a bug often
requires experiments which replicate the problem
situation with one factor changed: starting the
program from a different disk drive, restarting the
Macintosh with a reduced set of extensions,
restarting your MOTU interface, etc.
CUSTOMER SUPPORT
We are happy to provide customer support to our
registered users. If you haven’t already done so,
please take a moment to complete the registration
card in the front of the manual and send it in to us.
When we receive your card, you’ll be placed on our
mailing list for free software updates and other
information.
REPLACING DISKS
If your ClockWorks disk becomes damaged or lost,
our Customer Support Department will be glad to
replace it. Or you can download the latest
ClockWorks installer from www.motu.com.
■ Tech support phone (9 am to 6 pm EST): (617)
576-3066
■
Tech support fax: (617) 354-3068
■
Tech support email: techsupport@motu.com
■
On-line tech support database: www.motu.com
If you decide to call, please have your MOTU
interface manual at hand, and be prepared to
provide the following information to help us solve
your problem as quickly as possible:
■ The serial number of your MOTU interface. This
is printed on a sticker placed on the bottom of the
unit. You must be able to supply this number to
receive technical support.
■ The version of ClockWorks you are working
with. This is displayed in the About ClockWorks
command in the Apple menu.
■ A brief explanation of the problem, including the
exact sequence of actions which cause it, and the
contents of any error messages which appear on the
screen. It is often very helpful to have brief written
notes to which to refer.
■ The pages in the manual which refer to the parts
of the MOTU interface or ClockWorks with which
you are having trouble.
■ The version of the system software you are using
to run the Macintosh. This can be found by
choosing About this Macintosh from the Apple
menu.
We’re not able to solve every problem immediately,
but a quick call to us may yield a suggestion for a
problem which you might otherwise spend hours
trying to track down.
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Our technical support telephone line is dedicated
to helping registered users solve their problems
quickly. In the past, many people have also taken
the time to write to us with their comments,
criticism and suggestions for improved versions of
our products. We thank them; many of those ideas
have been addressed in our development efforts. If
you have features or ideas you would like to see
implemented, we’d like to hear from you. Please
write to the MIDI Interface Development Team,
Mark of the Unicorn Inc., 1280 Massachusetts
Avenue, Cambridge, MA 02138.
Although we do not announce release dates and
features of new products or versions of our
software in advance, we will notify all registered
users immediately by mail as soon as new releases
become available. If you move from the address
indicated on your registration card, please send us
a note with your change of address so that we can
keep you informed of future upgrades and releases.
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A
Index
1 MHz mode 16
2408
slaving 145
syncing with Digital Performer 34
3rd party software compatibility 7
A
Actual Frame Rate 71
ADAT
connecting to MTP AV 14
Port Settings dialog 51
ports in ClockWorks 51
setting device ID 67
syncing with 2408 145
troubleshooting 51
ADAT In/Out ports (Device Settings &
Routing window) 51
Address Track 165
Alesis LRC 100, 158
connecting 16
All button 66
All Notes Off command 74
All Patches option 135
Any application option 61
AppleTalk cable 9
ATR 165
Audio click 13, 115
connecting cables for 13
AudioDesk
slaving 145
Auto button 66
Auto-detect input frame rate option 63
AutoTech™ Assistant command 73
B
Backup copies of files 42
Base channel 81
Base setup
calling up with a patch change 133
changing in LCD 107
creating 129
defined 128
naming in LCD 108
recalling 129
selecting in LCD 107
working with in LCD 107
C
Cable routing from LCD 116
Channel mapping 55
before/after muting 58
Channel Mapping window
before/after muting 58
Check box grid
overview of 39
Click
calibrating 118
connecting click source 13
converting to MIDI 88
decay 89, 115, 123
hints 89
threshold 115, 123
Click input
calibrating 118
connecting cables for 13
Click-to-MIDI conversion 115
Click-to-MIDI option 89
Clock
for Digidesign systems 35, 161
ClockWorks
ADAT ports 51
basics 39
breaking a connection 47
computer icons 49
Device List window 38
MMC ports 52
naming devices 46
opening 37
troubleshooting 38
where it gets installed 23
working with several interfaces 38
ClockWorks only option 61
Compatibility (software) 7
Computer
icons in ClockWorks 49
routing synths to and from 49
speed 109
Continuous jam sync 95, 149
Controller
connecting 10
Convert click to option 89
connecting audio source 13
Cubase 78
CURSOR knob 106
Custom Panic modifier 132
Customer support 175
D
Data byte 1/2 options 89
Data Dump window 110
Decay 89, 115, 123
Device List window 38
selecting MTP II's in network 40
Device offsets (SMPTE) 65
Device Settings & Routing window 45
breaking connections 47
computer connections 49
making a connection 46
using network port 49, 51
DIGI 35, 161
Digital clock
for digidesign systems 35, 161
Digital Performer
MIDI inputs/outputs 31
MMC 32
using FreeMIDI sync with 61
using with ClockWorks 61
Direct 1x6 79
Direct Connect mode 79, 110
Disk
getting a replacement 175
Drivers
explained 29
installing USB drivers 23
Drop Frame 165
explained 171
E
Edit FreeMIDI Configuration command
73
Editor/librarian software
FAST mode 16
Enable automatic device detection option
51
Enable still-frame sensitivity option 63
Event Muting window
before/after channel mapping 58
diagram 57
F
Factory default settings (restoring) 117
Factory defaults 49, 110, 117
Factory preset
modifying 82
selecting 77
Factory presets
Express XT 78
micro express 78
MIDI Timepiece AV 127
FaderMaster 174
FAST mode 16, 36
File
icon 41
File menu
Open 42
Quit 43
Revert to Saved 42
Save 42
Save As 42
Files 41
opening existing file 42
opening new file 41
Revert to Saved 42
Foot pedal
connecting 13
explanation of 86
Foot switch
connecting 13
data options 87
explanation of 86
output assignment 86
overview of how to use 86
sending data with 87
using as click-to-MIDI 88
Footswitch 121
Frame lock option 62
Frame rate 112
explained 171
Frame Rate Setting 60
Frame-locked
status indicator 70
term defined 70
FreeMIDI
Applications Folder 23
Configuration Window 26
extension 23
Folder 23
FreeMIDI Sync 61
FreeMIDI Sync option 61
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Quick Setup 25
saving configuration 26
Freewheel _ frames option 63
Freewheeling 92, 95, 147, 149, 165
greyed out 40
setting in LCD 112
G
Generate signal when stopped option 63
Global hardware settings 109
Global hardware setup
Mac speed 16
network settings 21
H
Has Timebase indicator 70
Hex option 89
IInterface Settings command 73
Intern/Video sync mode 141
Internal sync mode 141
J
Jam status indicator 70
Jam sync 166
continuous 95, 149
JLCooper FaderMaster 174
K
Keyboard controller
connecting 10
Knob & Pedal Assignments window 119
Knobs 119-125
controlling the LCD with 106
programming from LCD 115
programming to send data 115
Korg expression pedal 113, 121
L
LCD
cable routing 116
creating a patch 108
diagram of windows 104
navigation 106
overview 103-106
Live Keyboards 78
Locate Buttons 60
LOCK light 91, 146
Longitudinal Time Code 93, 170
LRC 100, 113, 158
LTC 93, 166, 170
settings in Sync/MMC window 62
LTC Output Level 64
LTC QuikLock sync mode 140
LTC sync mode 141
LTC/Video sync mode 142
M
Machine Preferences dialog 66
Macintosh
routing MIDI devices to 49
speed 109
standard conventions 38
using with old serial Mac 9
Master Sync 112
Maximum value (pedal) 121
Memory meter 41
Merge All 78
MIDI
beat clocks
muting 58
channels 48
remapping 55
connections
making 45
data dump 110
interface (standard)
connecting 21
logjam 16
MIDI Cannon window 137
MIDI Channel Map 117
MIDI Express
receive channel 81
MIDI Machine Control window 59
device panels 64
extra settings 61
see also MMC
MIDI Routing
in LCD 116
MIDI Time Code 166
MIDI time code 91, 146
MIDI Time Piece (original)
saving default settings 73
MIDI Timepiece
connecting I, II or AV to USB AV 20
Mini-menu
basics 39
Minimum value (pedal) 121
MMC
arming a track 66
Digital Performer and MMC 32
enabling deferred play for a device
67
In/Out ports in ClockWorks 52
MMC ID option 64
Performer 32
setting ID of connected device 67
setting ID of Digital Timepiece 64
setting number of tracks on a device
67
track offsets 66
viewing device IDs of connected devices 65
Modem port 9
Modifier
calling up with a patch change 133
creating 131
defined 128
deleting 132
recalling 129
using in LCD 108
Monitoring 66
MOTU
FreeMIDI Driver 23
OMS USB Driver 23
USB Driver 23
MTC 96, 166
MTC in/out icons in ClockWorks 49
settings in Sync/MMC window 62
MTC sync mode 141
and sending MTC from computer
96, 141
MTC/Video sync mode 142
Muting 57-58, 117
before/after channel remapping 58
Muting MIDI data 117
N
Naming
Files 42
Needs Timebase indicator 70
Negative polarity 113, 120
NET serial port
connecting 20
routing devices to 49, 51
NETWORK serial port 109
syncing a device connected to 92,
147
Networking MTP’s 20
Noise reduction
with SMPTE 94, 148
O
Off Line button 66
Offset incoming timecode by _hours option 51
OMS 24, 27, 28, 29
On Line button 66
One time jam sync option 63
Open 42
Output level 94, 148
P
Packing list 7
Panic button 117
Patch
creating in LCD 108
defined 133
naming 134
recalling 135
selecting in LCD 109
Patch List window 133
Pedal 85-89
decay 89, 123
Pedal A 13
Pedal B/LRC 13
threshold 123
Pedal Curve window 124
Pedal off option 87
Pedal window 85
basics 85
saving settings 85
Pedals 119-125
checking 115
decay 115
output assignment from LCD 114
programming from LCD 113
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range 113
threshold 115
type 121
Performer 78
look and feel 38
MIDI inputs/outputs 31
MMC 32
slaving to a click 88
slaving to MTP II 93, 151
troubleshooting sync 174
using FreeMIDI Sync with 61
using with ClockWorks 61
Polarity 113, 120
Presets
factory presets 78
getting an overview of 81
modifying 82
renaming user presets 81
script 81
selecting a factory preset 77
selecting in Presets window 80
setting receive channel 81
switching using a controller/sequencer 81
user presets 77, 80
Presets window 80
Printer port 9
Pro Tools
connecting 15
overview of sync with 161
thumbnail sync instructions 35
Q
Quick Setup 25
QuikLock mode 140
Quitting Performer 42
R
Range (pedal) 113
Receive channel 81
Rechannelizing 55
Record setting 61
Recording SMPTE (striping) 148
Reestablish communication command 73
Rehearse mode 60
Reset All Data command 110
RESET ALL DATA option 118
Reshaping time code 96, 151
Revert to Saved 42
Roland Expression pedal 121
Roland expression pedal 113
ROM
obtaining version number 41
RS-422 port 20
Running status 110
S
Safe option in MMC window 60
Sample rate
slaving to video 142
Sample-accurate sync 34, 145
Save 41
Save As 42
Save MTP 1 Default command 73
Script 130
Select command 73
SELECT knob 106
Send ADAT commands when no ADAT is
detected option 52
Send Data To command 73
Sequencer 32ch 78
Sequencer 96ch 78
Serial ports 9
Session 8™ 161
Set Machine Preferences command 66
Setups & Modifiers window 129
Slave Clock input 161
SMPTE
bleedthrough 94, 149
connections 12
device offsets 65
display 59
display in ClockWorks 59
drop-outs 92, 147
explained 169-172
frame rate setting 60
freewheeling 92, 147
global offset for Digital Timepiece 59
how to type in a SMPTE time 60
LTC output level 64
noise reduction 94, 148
output level 94, 148
Performer sync 174
readout for individual devices 65
regenerating over dropouts 95, 149
reshaping 96, 151
routing in LCD 112
start time 148
start time in LCD 112
striping (recording) 148
synchronization 91
track offsets 66
user bits 96, 151
using the LCD 111
SMPTE Reader
in LCD 113
troubleshooting 174
SMPTE Reader window 69
status display 70
SMPTE Volume Out setting 112
Software compatibility 7
Sony 9-PIN calibration 67
Sound module
connecting 10
Standard MIDI Interface
connecting 21
Start time 148
Status option 89
Stop button (SMPTE Controls window)
94, 149
Stripe button 94, 149
Superclock
choosing for Digi systems 35, 161
connecting 15
SYNC display in LCD 111
Synchronization
defined 169
System exclusive
bulk dumps
installing for 10
MTP II data dump 110
System requirements 7
T
TACH light 91, 146
tb
status indicator 111
TB OK status indicator 111
Technical support 175
Tempo map
recording into a sequencer 88
Third-party software compatibility 7
Threshold 89, 115, 123
Time Base setting 60
Time code
freewheeling over dropouts 92, 147
LTC output level 64
Timebase measure 71
Track offset 66
Transport controls 59
Troubleshooting 173-176
ADATs 51
ClockWorks 38
SMPTE lockup 92, 146
syncing to discontinuous time code
62
time code on video that isn’t framelocked (Yikes!) 71
using the Merge All preset 79
U
USB
connecting multiple interfaces 19
connecting USB interface 9
drivers explained 29
installing drivers 23
using a USB hub 19
using old MOTU software with 31
User bits 96, 151
User preset
modifying 82
User presets 77, 80
Utilities menu
All Notes Off 74
AutoTech™ Assistant 73
Edit FreeMIDI Configuration 73
Interface Settings 73
Reestablish communication 73
Select 73
Send Data To 73
Set MTP1 Default 73
Verify Network 73
V
VALUE knob 106
Verify Network command 73
Vertical Interval Time Code 170
Virus utilities 23
Vision 78
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VITC 170
generating time code when paused
63
still-frame sensitivity 63
VTR
connecting 14
Recording options 61
W
Wait for device on play option 67
WINDOW knob 106
Windows
basic knowledge is required 7
Windows menu
Memory meter 41
Pedal window 85
using 39
Word Clock settings 63
X
xmit to Mac 17
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