More FAQs from the Sync-Vault

Syncing an Akai MPC-3000/60 to a DAW via the Sync-Lock.

“With the DAW now acting as the sync-master via the Sync-Lock will this compromise or change the MPC timing/groove/feel especially with unquantized sequences?”

MPC3K Blog A.png

Have no fear regarding the MPC feel being compromised in any way using the Sync-Lock. We have both the Akai MPC-3000 and original MPC-60 MK I units in our studio facility and we have tested this extensively.

Three things to consider:-

1: The MPC Internal Timing Engine and Tempo Event Scheduler are very accurate.

2: Any unquantized sequencing feel is always played back faithfully on top of this precise internal timing grid. The unquantized playback feel you hear has nothing to do with a change in the MPC internal timing engine.

3: Applying a sloppy external sync signal to your MPC will affect the core stability of the internal timing engine and tempo event scheduler and therefore compromise the feel of both quantized and unquantized feels in equal measure.

By driving your MPC from the Sync-Lock you get precision external-sync which means it will always playback faithfully to how it performs under its own internal-sync.

Tip and Tricks: Sync-Shift MKII

The Sync-Shift MKII is actually three totally separate and very useful devices in one package. Rather than making all the connections internally we designed the MKII so that all three functions can be used independently and simultaneously if required.

1: Midi Clock to Din Sync Conversion – connect your DAW or Hardware Midi Clock Master to your vintage TR-808/TB-303 for precision Tempo-Sync conversion.

2: The Sync-Shift Engine – set the start offset switches on the MKII to any combination for rhythmic syncopation and then use the real-time Sync-Shift control to fine the perfect feel sweet spot and lock it in.

3: Din-Sync to Midi Clock Conversion – less common these days but very cool all the same. Love the feel and control of your vintage sequencer or drum machine? Make your TR-808 the Sync-Master and drive your DAW or Midi Clock Hardware as Tempo-Slaves.

Sync-Shift MKIII Blog.png

User Profile – Derrick Carter

“I’d found Innerclock Systems on the web and decided to take a chance…..one of the best decisions I’ve made in a while. My relationship ended, my car got trashed, I had a computer die on me and my basement flooded. My Sync-Shift? Still here, still good, still working. Sweetness!” – DC/11th Aug 2010

http://drownedinsound.com/releases/16011/reviews/4142101

http://www.facebook.com/pages/Derrick-Carter/8264478846

Derrick Carter A.png
Derrick Carter Studio A.png

The Perfect Click Track

More interesting OCD stuff from our archives.

Close to 100 years between these devices always looking for that perfect click track with whatever technology they had available to them at the time.

Both beautiful in their own way.

UREI 964 Digital Metronome

UREI 964 Operation Manual – 1974

Metronome-History-C.jpg
UREI-History-A.jpg

Paquet-Maelzel Mechanical Metronome

Philippe-Nicolas Paquet was born on the 8th Oct 1823. His father was a watch maker and Phillipe followed the family tradition entering the time-keeping industry. He settled in Paris, working for the Maelzel Metronome company and after the death of Johann Nepomuk Mäelzel in 1838 eventually took over the running of the factory, in 1846. Paquet went on to establish a new small machine tools plant and metronome producing plant in Beaumont Sur Oise in 1867 winning many awards at International exhibitions. The factory in Beaumont remained in production until 1983. The two dates shown on the majority of Paquet – Maelzel metronome trade labels are 1815-1846, the former being the year the patent was first approved by Maelzel and 1846 being the year that Paquet took over the helm.

Metronome-History-B.jpg
Paquet-Factory-A.jpg

User Profile - Snow Ghost Studios

“I love these things [Sync-Lock]. They have worked wonders on my Genoqs Octopus sequencers and Jomox 999 drum machines which are the centerpieces of my studio for electronic sequencing.

The nicest part is being able to start anywhere in the song, whereas before I either had to print the Jomox 999 tracks or start at the beginning to get it to sync up at the right point in the sequence.” – Brett/13th Jan 2011

http://snowghostmusic.com/about/studio

Snow Ghost Studio Sync-Gen II.jpg

Clock Watch

Midi Clock.  Simple in concept and mostly taken for granted its importance is often overlooked. We simply connect up, press play and enjoy the ride.

Or not.

Some clocks are better at keeping good time than others and if you use Midi Clock in your sequencing setup you need to know if your master tempo Midi Clock source really is up to the job or not.

By modifying a standard Midi cable and then connecting these to a 1/4″ audio jack, Midi data pulses are converted to audio clicks which may then be recorded to any DAW software application to check timing stability.

The maths is very straight forward:-

Midi Clock runs at 24 pulses per rhythmic quarter note.

At 120 BPM this equates to 2880 Midi Clock Pulses per minute.

A DAW recording sample rate of 48 kHz captures 2,880,000 audio samples per minute.

At 120 BPM there should be exactly 1000 samples between each Midi Clock pulse when
recorded at 48 kHz.

Midi-Clock-to-Audio-Blog-2.jpg

Sync-Gen II and Pro Tools

Sample Accurate External Tempo-Sync in Pro Tools via Sync-Gen II

Sync-Gen II Pro Tools Blog B.png

Screen Shot: PT9/OS-X/Sync-Gen II RTAS

Sync-Gen II Pro Tools Blog A.png

Sound Forge 9: Left Side shows Quarter Note Recorded Audio Clicks captured directly from audio interface output. Right side shows Sync-Gen II raw sync pulses from Initial DAW Space Bar Start followed by four sets of raw sync pulses from Manual Restart within Sync-Gen II.

Sync-Gen II Pro Tools Blog C.png

Sound Forge 9: Maximum Zoom shows perfect alignment between Pro Tools Tempo-Grid Quantized Audio and Sync-Gen II Pulse Generation.