Time Code Tutor

TimeLine Vista, Inc. 1755 La Costa Meadows Drive, Suite B

San Marcos, CA USA (760) 761-4440 (760) 7761-4449 FAX
timelinevista.com
1

Time Code Tutor

SMPTE Made Simple

Introduction

What Can You Do with SMPTE?

How Does SMPTE Do It?

Anatomy of a SMPTE Frame

11

Time Code Formats

13

VITC

16

SMPTE, MIDI and MTC

18

Using SMPTE

20

Advanced Applications

25

The Modern Electronic Recording Studio

29

SMPTE and the Digital Audio Workstation

31

The SMPTE Future

32

SMPTE Made Simple Step By Step

33

Glossary of Industry Terms

36

Copyright 1996
All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or
transmitted, in any form, or by any means electronic, mechanical, photocopying, recording or otherwise,
without the prior written permission of TimeLine Vista, Inc.
Printed in the USA.
Part No. 73A018-9610-10
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Time Code Tutor

Introduction
When the television broadcast industry moved from film and live
performance to prerecorded video production, a method was
required to reliably synchronize and edit the new medium. Historically, film rushes were lined up at the clapper board and rubber
stamped with footage numbers. Film was mechanically held in sync
by the sprocket holes. Unfortunately, video tape has neither of
these attributes. This problem made it impossible to get the music,
pictures, dialogue, and effects to all begin and run at the same time.
The solution was SMPTE time code. SMPTE is a signal that
contains specific address information that can be recorded on
audio or video tape. This address information is then used to
accurately position the audio or video.

Why SMPTE?
In 1971, the Society of Motion Picture and Television Engineers
chose SMPTE as the industry standard for synchronization. It
became officially known as SMPTE/EBU Time Code when the
society was joined by its overseas counterpart, the European
Broadcast Union (EBU). Since SMPTE/EBU is quite a mouthful,
most people just say SMPTE.

What Can You Do with SMPTE?

There are hundreds of uses for SMPTE time code in every branch
of audio production records, video, film, advertising, and industrial productions all use SMPTE. Lets start with the how and why
of some of the most basic applications.

Time Code Tutor

Synchronizing Multiple Audio Machines

Imagine you are a recording engineer. Youve just used up all the
available tracks on your multitrack machine, but your project is not
even close to being done. How are you going to add extra tracks?
The answer is to use a second multitrack recorder.
But that solution raises another question. How do you lock the two
machines together so that the music plays back in perfect synchronization the first time, and every time? You could cross your
fingers and try to hit the Play buttons on both machines at exactly
the same moment, but the odds of this approach working even
once are very slim.
The best solution is to use SMPTE time code and a TimeLine
synchronizing system. A TimeLine Lynx-2 or Micro Lynx
generates time code that is recorded onto the audio tapes. The time
code is then used as a common reference point. The time code acts
as the glue that holds the two machines in sync.

MASTER
ATR

SLAVE
ATR

TIME CODE

READS TIME CODE

CONTROLS SPEED

MASTER LYNX

TIMING DATA

Figure 1. Basic SMPTE Time Code Setup

4

SLAVE LYNX

SMPTE001

On playback, a SMPTE time code reader reads time code from

one tape recorder and passes the timing data to a synchronizer
connected to the other tape recorder. Based on this incoming time
code, the synchronizer regulates the playback speed of the slave
recorder so that it always stays in perfect sync with the master
recorder.

Time Code Tutor

This simple example is the basis for all SMPTE applications. For
instance, if you are locking to film or video using a digital audio
workstation or a sequencer, you substitute the appropriate controlling device to suit the equipment for that application.

Locking to Picture
Suppose you have footage on videotape, and you need to create an
audio track to go with it. The audio track could be music, dialogue,
effects, or all three. How do you lock the sound to picture?
The solution is to use SMPTE and a Micro Lynx or two Lynx-2
modules, exactly as described in the previous audio example.
SMPTE works just as well with video as it does with digital or
analog tape. You can use SMPTE to lock video to analog, digital to
analog, and even lock sound sources that dont use tape.

VTR

SYSTEM UNIT
OPTIONS

MIDI

COMPUTER

KEYBOARD

SYNC

TIME CODE

TV MONITOR

CONTROL

CONTROL

TIME CODE

ATR

SYNC

VSG

EXT SYNC

SYSTEM
POWER

VITC

M3

DATA

DATA

VALID

VALID

DATA

VALID

DATA

VALID

ON

RS422

ACG

TIME CODE
GENERATOR

POWER SUPPLY
DEVICE SELECT

CALCULATOR

STATUS
SYSTEM

SETUP

ACG

F1

F2

F3

SYS

TRAN

EVNT

LIST

MEM

LOCK

LOCK

BUSY

BUSY

BUSY

REC

REC

REC

RCL

STO

MACRO

REF
LOCK

CAPT
IN

MIXED
CODE

1600
(48K)
1920

VIDEO
GEN

1470
(44.1K)
1764

NON
STD

VITC

OUT

SYNCP

TCG

LOOP

RDY

MIDI

TRKS

OFST

ERR

A2

POST

REF

00

CLR

TIME

ALL
STOP

CUE

LAST

NEXT

ENTR

TRIM

JOG

SHTL

VID

LOC

A3

2
PRE

SOLO

DUR
TC

ROLL
BACK

MOTION

SUB
FR

RE
PLAY

EDIT

REH

REC

JOG WHEEL

SMPTE002

OUT
CUE

A1

GRP

8
IN

A4

LOCK

DIGITAL AUDIO CLOCK GENERATOR

ASM

7
GROUP SELECT

KEYBOARD CONTROLLER

Figure 2. Synchronize to Video

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Time Code Tutor

MIDI, Mix Automation and More

If you have a MIDI sequencer and some synthesizers that you
want to lock to your multitrack tape or to picture, the TimeLine
Micro Lynx can translate SMPTE time code into the MIDI data
that the sequencer needs to lock to tape.
SMPTE can be used to control just about anything that has microprocessor intelligence. For instance, mixing console automation
will run to time code. Therefore, it can be locked to tape and other
time code devices for complete system automation.

OPTIONS

MIDI

COMPUTER

KEYBOARD

SYNC

CONTROL

TIME CODE

SYSTEM UNIT

VTR

TIME CODE

ATR

CONTROL

MIDI

MIDI
SEQUENCER

SYNC

VSG

EXT SYNC

SYSTEM
POWER

VITC

M3

DATA

VALID

DATA

VALID

DATA

VALID

DATA

VALID

ON

RS422

ACG

TIME CODE
GENERATOR

POWER SUPPLY
DEVICE SELECT

CALCULATOR

STATUS
SYSTEM

SETUP

ACG

F1

SYS

TRAN

EVNT

F2

F3

RCL

STO

MACRO

REF
LOCK

CAPT
IN

MIXED
CODE

1600
(48K)
1920

VIDEO
GEN

1470
(44.1K)
1764

NON
STD

VITC

OUT

MEM

TCG

LOOP

RDY

SOLO

TRKS

OFST

ERR

A2

POST

REF

00

CLR

TIME

CUE

LAST

NEXT

ENTR

TRIM

JOG

SHTL

VID

LOC

A3

2
PRE

GRP

DUR
TC

A1
MIDI

OUT
CUE

4
SYNCP

REC
C

8
IN

A4

LOCK
BUSY

REC
B

DIGITAL AUDIO CLOCK GENERATOR

ASM

7
LOCK
BUSY

REC
A

ALL
STOP

ROLL
BACK

MOTION

SUB
FR

RE
PLAY

EDIT

REH

REC

JOG WHEEL

SMPTE003

LIST

GROUP SELECT
LOCK
BUSY

KEYBOARD CONTROLLER

Figure 3. M IDI Sequencer and Time Code

Time Code Tutor

Complete Systems
The ultimate SMPTE application is the complete studio system.
Just as two devices can be locked to a common time reference, so
can a whole roomful. Tape machines, consoles, synthesizers, effects
processors, and hard disk recorders can all be locked together using
SMPTE. With an efficient controller like the Micro Lynx Keyboard, all of these different machines can be operated as easily as a
single set of transport controls. Using this approach, SMPTE can
be used to build large, multi-machine networks for video editing
and music recording.

VTR

SYNC

OPTIONS

CONTROL

MEC

TIME CODE

CONTROL

TIME CODE

MIDI OR MAC
INTERFACE

ATR (DTR)

SYNC
CONTROL

DIGITAL AUDIO
WORKSTATION

ATR

TIME CODE

AUTOLOCATOR

MIDI

COMPUTER

KEYBOARD

EXT SYNC
VSG

SYSTEM
POWER

ACG

ACG

VITC

M3

DATA

DATA

VALID

VALID

DATA

VALID

DATA

VALID

ON

SYSTEM UNIT
RS422

WORD CLOCK
TIME CODE

POWER SUPPLY

CONSOLE AUTOMATION
DEVICE SELECT

CALCULATOR

STATUS
SYSTEM

SETUP

ACG

F1

F2

F3

SYS

TRAN

EVNT

LIST

MEM

RCL

STO

MACRO

REF
LOCK

CAPT
IN

MIXED
CODE

1600
(48K)
1920

VIDEO
GEN

1470
(44.1K)
1764

NON
STD

VITC

OUT

8
IN

LOCK
BUSY

BUSY

REC

REC

REC

LOCK

TC

A1
MIDI

1
PRE

GRP

SOLO

LOOP

RDY

TRKS

DUR

CUE

SYNCP

TCG

9
OUT

A4

OFST
A2

A3

POST

CONSOLE
COMPUTER

Figure 4. Complete Studio System

REF

00

CLR

TIME

CUE

ERR

LAST

NEXT

ENTR

TRIM

JOG

SHTL

VID

LOC

ALL
STOP

ROLL
BACK

MOTION

SUB
FR

RE
PLAY

EDIT

REH

REC

JOG WHEEL

SMPTE011

LOCK
BUSY

DIGITAL AUDIO CLOCK GENERATOR

ASM

7
GROUP SELECT

KEYBOARD CONTROLLER

Time Code Tutor

How Does SMPTE Do It?

If you know precisely where a piece of program is and how fast its
playing, you can use this information to control other machines so
that they are all in the right place at exactly the same time. SMPTE
does this; it is an absolute timing reference that indicates both the speed
and position of a tape as it travels across a tape machine transport.

What You Can Do with a Speed Reference

Many pre-SMPTE sync codes could only indicate speed. The most
widely used was a control track or pilot tone. A pilot tone is an audio
signal derived from a stable source (historically 60 Hz AC wall
current). By reducing the voltage with a suitable transformer, the
resulting continuous sine wave could be recorded on tape.
Machine speed is normally regulated by monitoring tach pulses from
the tape machines capstan motor. These pulses indicate how many
times the capstan revolves in a given time interval, in the same way
an automobiles tachometer indicates how fast an engine is turning.
When playing back a tape with a pilot tone, the sine wave on tape is
compared with a reference sine wave coming from the wall current
or some other guaranteed signal.
If the tape slows down, the frequency of the pilot tone, or the
number of cycles that tick by each second, will decrease. If the tape
speeds up, the frequency will increase. A controlling device, tied into
the tape machines capstan motor, senses the difference between
the reference tone and the pilot tone on tape; and varies the speed
of the tape machine motor to make the two match up again.

Time Code Tutor

This process of matching tape machine speed to a stable reference

is called resolving or phase locking. The two sets of sine waves are
brought in phase with one another, so they match up perfectly,
peak-for-peak and trough-for-trough.

IN PHASE

SMPTE004

60 Hz

60 Hz

Figure 5. Two Sine Wave Signals in Phase

Just as the pilot tone on one tape machine is made to match the
reference source, it can also be made to match the pilot tone on a
second master tape machine. So, a pilot tone can be used to
synchronize the speed of the two tape machines.
The Problem with Pilot Tone
However, there is a problem, one sine wave looks exactly like
another. Although the slave machine can phase lock with the
master, the slave has no way of knowing whether the master is
playing the first verse or the third chorus of a song or if the master
is three-and-a-half seconds into a scene or at the beginning. Pilot
tone is severely limited as a tool for synchronization. The same is
true for other speed-only sync codes such as Frequency Shift Key
(FSK) and Din Sync.

Time Code Tutor

To work, both the master and slave must be carefully lined up at

the beginning of playback. There is no way to run the machines
accurately to the middle of the program material because the slave
never knows where the master is. The slave only knows how fast
the master is playing.

SMPTE: What You Can Do with a Speed and Position Reference

SMPTE indicates not only tape speed, but also tape position.
SMPTE time code is a complex digital signal. It is equivalent to the
simple, analog pilot tone signal, but it also has a unique number
assigned to each cycle of the sine wave.
Time code is recorded onto tape as an audible signal. The signal is
a rapid-fire series of blips, which are read by a microprocessor as a
unique number. This number is an address that consists of separate
numbers for hours, minutes, seconds, and fractions of a second that
are called frames.
If you have a gunshot at the climactic scene of a suspense melodrama, SMPTE can tell you the exact address or location on tape
of the gunshot. SMPTE tells you that the gunshot occurs 1 hour,
31minutes, 12 seconds, and 19 frames into the film. You can move
to the exact spot on tape where that gunshot occurs and replace the
existing blast with a more convincing sample from the sound
effects engineer.
Using SMPTE, the master machine can find anything on a tape, and
all of the slave machines will chase the master to the same spot.
This is a long way from just locking one sine wave to another and
rolling from the top. SMPTE brings you into the realm of position
accuracy.

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Time Code Tutor

Anatomy of a SMPTE Frame

A SMPTE frame or word consists of 80 bits that convey SMPTEs
message in hours, minutes, seconds, and frames. Each bit is represented by a binary 1 or 0 that is specifically encoded for recording
onto tape. The method used is called biphase encoding. This
coding reverses the signal polarity halfway through a bit to represent a 1 and leaves the bit polarity unchanged to represent a 0. A
continuous string of these 80-bit words is recorded linearly along
the tape to form the time code.
Each frame is broken up into 16 groups of 4 bits and a 16-bit sync
word.
Eight 4-bit groups are assigned to the hours, minutes, seconds,
and frame number.
Eight 4-bit groups are user bits. They are reserved for information such as ID, reel numbers, session, dates, or another time
code number.
The remaining bits form a sync word, to provide direction
information and mark the end of the 80-bit frame.
The time code reader uses the direction sense bits to determine
whether the tape is running forward or backward.
The sync word is a series of preset 1s that allow the speed and
phase of the two time codes to be read and compared by the
Lynx or Micro Lynx module to establish synchronization.
DIRECTION SENSE

START OF FRAME

BORDER BITS
FRAMES USER FRAMES USER
BITS
BITS

12

SEC

16

USER
BITS

20

SEC

24

USER
BITS

28

MIN

32

USER
BITS

36

MIN

40

Figure 6. Time Code Address

11

USER
BITS

44

HOURS

48

USER
BITS

52

HOURS

56

SYNC
WORD

USER
BITS

60

64

68

72

76

Time Code Tutor

SMPTE words (one for each frame) are recorded along the length
of the tape; hence the name Longitudinal Time Code (LTC). The
codes design and organization make it suitable for a very wide
range of play speeds, both forward and backward.
The frequency of the LTC signal is always proportional to the tape
speed. However, the signal cannot be read in stop or freeze-frame
mode. Consequently video frequently uses another form of time
code: Vertical Interval Time Code (VITC), which can be reliably
read in stop and at very slow play speeds.

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Time Code Tutor

Time Code Formats

There are 60 minutes in an hour; 60 seconds in a minute, but how
many frames are there in a second? Frame rate is the term used to
express the number of frames per second in SMPTE time code.
Frame rate was originally measured as one-half the power line
frequency.
Since there are different power line frequencies in the U.S. and
Europe, time code has several different formats, defined by the
frame rate used in each country.

National Television Standards Committee

(NTSC)

Wall current in the U.S. has a frequency of 60 Hz, which makes

30frames per second the standard frame rate for American black
and white television.

Phase Alternate Line

(PAL)

In Europe, the standard wall current frequency is 50 Hz. Therefore,

the standard for European color television, the PAL format, is
25frames per second.

Drop Frame

(DF)
What about American color TV? When it was invented by RCA,
they reduced the American black and white frame rate of 30 frames
per second to 29.97 frames per second, to allow both color encoding and compatibility with existing black and white television sets.
This format became the standard color TV format for America.

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Time Code Tutor

The problem is that 30-frame time code running at this rate

measures slightly slower than real time.
60 sec x 30 frames/sec
60 sec x 29.97 frames/sec

= 1800/min x 60 min/hr = 108,000 frames

= 1798.2/min x 60 min/hr = 107,892 frames
Difference
=
108 frames

So for every hour, the time code is 108 frames short. In editing, if
you are just a few frames off, you might make your lead guitarist
end his solo two chords early. To correct this problem, a time code
format called Drop Frame (DF) was developed. Drop frame skips
the first two frame counts in each minute (with the exception of
minutes 00, 10, 20, 30, 40, and 50) to force the time code to match
the clock time.

Film
Film has run at a frame rate of 24 frames per second ever since
Thomas Edison invented it. Although this is a non-standard time
code, sometimes it is used in the field.

Different Frame Rate Formats

The important thing to remember is that SMPTE conveys two
pieces of information: tape speed and tape position.
Frame rate, is the speed at which the code will run. Frame type
(30/DF/25/24) is the way frame positions are counted.
30 Thirty frames per second can be drop frame or non drop
frame. If you select drop frame, the actual frame count is
reduced by 108 frames per hour.
25 Twenty-five frames per second is the European standard.
24 Twenty-four frames per second is the film standard.

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Time Code Tutor

Table 1. Frame Rates
Counting Counting Method
Rate (Hz) (Frames per Second)

Displayed Time
Accuracy
Application

24

24 frame

Real Time

Motion pictures & film

25

25 frame

Real Time

EBU standard
for European television

29.971

30 drop frame3

Real Time

NTSC standard
for USA & Japan

29.971

30 non-drop frame4

0.1 % Slow

USA & Japan

30.002

30 drop frame3

0.1 % Fast

Non-standard

30.002

30 non-drop frame4

Real Time

USA & Japan

Notes:
1.

29.97: Generated by all color television sync generators (i.e., almost all sync
generators built after 1970). This speed is the speed at which a black burst
signal runs. (Do not confuse a black burst with black and white. A black burst
is a standard color signal with a color of black.) Use this as your standard
frame rate unless you are an expert and have a reason not to.

2.

30.00: Usually available only in the internal crystal mode of a time code
generator, or from black-and-white television sync generators. Dont use this
non-standard speed unless you are an expert and have a good reason. This
speed is sometimes used in conjunction with motion picture film systems.

3.

Skips 108 frames/hour at regular intervals.

4.

Many users prefer 30 (full frame) counting because no numbers skip in the
counting sequence, even though the elapsed time accuracy at 29.97 frame rate
is slightly different from real time.

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Time Code Tutor

VITC
Vertical Interval Time Code (VITC) is another form of SMPTE
that is used only with video, and is printed horizontally at the
beginning of each field, as part of the video signal . Longitudinal
Time Code (LTC) is printed linearly along an audio track.
Unlike LTC, VITC cannot normally be added to a video tape after
the picture has been recorded. It must be recorded with the video
signal when the original tape is generated.
Each picture has 525 lines (625 for PAL). The lines are divided into
two interlaced (odd and even) fields to facilitate picture clarity. First,
262 even lines are scanned. Then the scanner returns to the beginning of the picture and scans the 263 odd lines. As the lines are
scanned, a number of lines at the top and bottom of the picture are
never displayed; they are blank space. These lines are available for
storing information. VITC is recorded on two of these spare lines,
at the top of each field. One complete VITC data word is recorded
on each line.
VITC uses a 90-bit data word instead of the 80-bit data word used
by LTC. The extra bits are used to provide error correction and to
prevent bad time code values from being read. VITC allows
accurate reading of tape position even when the tape is stopped in
freeze frame (something that LTC cant do). VITC is often used in
conjunction with LTC in applications that involve both audio and
video.

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Time Code Tutor

VITC TIME CODE

1F BG1

10F BG2

1S BG3

10S BG4

1M BG5

10M BG6

1H BG7

10H BG8

CRC

ONE HORIZONTAL PICTURE LINE

VITC TIME CODE

VITC TIME CODE

AUDIO TRACK 2
AUDIO TRACK 1

END OF FRAME
VIDEO
INFORMATION

SMPTE006

START OF FRAME
CONTROL TRACK
ADDRESS TRACK

Figure 7. Video Tape and VITC Time Code

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Time Code Tutor

SMPTE, MIDI and MTC

MIDI is not the same as SMPTE, even though both are binary
codes. They each carry very different types of information .
SMPTE, as weve seen, answers the questions Where are we, and
How fast are we going?
MIDI however, answers an equally vital but different question,
What do we do now? It answers that question for synthesizers,
drum machines, and other electronic music devices. MIDI is the
language that a computer uses when it tells a synthesizer, Play
middle C, play it mezzo forte, and play it now!
But when is now? If were talking about playing back an electronic
composition in concert, now is a relative term. Now might be the
third beat of the fourteenth measure, and whether that beat hits at
10:31 or 10:32 PM is something no one usually notices. However, if
that beat has to coincide with the cocking of an assassins pistol in a
feature film thriller, or coincide with a soul-wrenching wail from a
vocalist on audio tape, it becomes necessary to pin down when
now is.
Traditionally, a MIDI sequencer was slaved to SMPTE. Many
popular sequencers can read incoming SMPTE and lock their
musical tempos (their beats per minute) to the time code.
This solution works beautifully, but it leaves the film or TV composer with the awkward situation of going back and forth between
two dissimilar sets of numbers. While his sequencer counts beats
and measures, his work print, cue list, directors instructions and
everything else that pertains to the visual side of the equation, all
count in hours, minutes, seconds, and frames. The two sets of
numbers never coincide neatly, which forces the composer to pull
all sorts of tricks on his sequencer.

18

Time Code Tutor

MIDI is a computer code that uses 8-bit data words or bytes that
cannot contain SMPTEs 80-bit word. This limitation is why MIDI
Time Code (MTC) was invented. MTC takes SMPTE time code
and translates it into the MIDI data format. To translate SMPTE
into MIDI, the MIDI time code format transmits a MTC message
byte every 1/4 frame. The first two 1/4 frame bytes contain only the
frames. The next two MTC bytes convey the seconds, the next two
the minutes, the next two the hours, and so forth.
This process takes exactly two SMPTE frames to complete. As soon
as one complete SMPTE address is transmitted, the MTC generator updates the time code by two frames and starts again.
The TimeLine Micro Lynx can take SMPTE from a master tape
and generate MTC. Using MTC, the film/TV composer can now
use a cue-sheet style program, as well as conventional music, and
work exclusively with hours, minutes, seconds, and frames.
Although SMPTE and MTC are not the same thing, they make a
powerful combination when the Micro Lynx puts them together.

19

Time Code Tutor

Using SMPTE
Any SMPTE time code application involves three basic functions.
First you need a generator to produce the actual SMPTE signal that
goes onto tape. Second, you need a reader to read the SMPTE time
code from tape. Finally, theres the job itself, i.e., what you want to
accomplish.
SMPTE can be used with a resolver, to ensure that a single tape
machine runs at a consistent speed. It can also be used with an
autolocator that stores a number of SMPTE addresses in memory
and chases to those addresses on command, or when you want to
lock one or more devices to a master tape machine with a synchronizer.
In the early days, a different device was often required to perform
each of these functions. Today, products from TimeLine perform
them all. The Lynx-2 Time Code Module with a Keyboard
Control Unit is a compact, high-end, high-performance unit. The
Micro Lynx is a high-performance time code system for project or
smaller studio systems.

Things To Know About Generating Time Code

Time code that is generated and striped on tape will ultimately be
played back and read, so you must determine the optimum level
for your master tape before you generate the time code. Master
tapes are generally printed at about -6 dB. If you print code at a
level that is too low, the reader will have trouble reading it. If you
print the code too hot, it will bleed audibly onto adjacent tracks.
Even when they are printing at the correct level, many engineers
leave a blank track next to the time code track called a guard band.
In multitrack formats, time code is usually printed on the outermost
track to eliminate the need to leave two blank tracks (one track on
either side of the time code). For example, time code is usually
printed on track 24 on a multitrack machine.

20

Time Code Tutor

When printing time code in video and digital audio applications,

make sure that the time code generator and machines are properly
referenced together. Your generator must be connected to the same
external video sync signal as the video or digital machine, otherwise, when synchronizing, the video machines will start off in the
right place, but will slowly drift apart.
With digital audio machines, the sample rate or word clock should
be locked to the time code. Normally, you lock to the time code by
using a video sync signal as a common timing reference for the
generator and the digital machine. Set both to EXT VID before
printing time code. If you dont have a sync pulse generator, the
Micro Lynx Video Sync Generator (VSG) option card can be
installed and used to generate a referenced composite sync signal
for your video or digital machine.
Specific types of video sync include black burst, color bars and
composite. These video sync signals are often collectively called house
sync, or the signal thats universal throughout the production facility
or house. To reference your generator to video sync, set it to EXT
VID mode and connect a video sync signal. Referencing to video
sync ensures that the tapes you are striping will have a common
reference and will sync properly on playback.

21

Time Code Tutor

Reshaping Time Code

Reshaping, or cleaning up the time code signal, should be done
when you are dubbing time code from one tape to another. If you
just copy time code from one tape to another without reshaping it,
the time code will deteriorate quickly because of generation loss,
and eventually it will become unusable. Reshaping is not recommended when the time code on tape has begun to deteriorate
badly.
TIME CODE IN

LYNX-2 MODULE
TRANSPORT

RESHAPED TIME CODE

GENERATOR

LTC

REC

30

VITC

REH

DF

SER

LOCK

25

PILOT

RESOLVE

24

TACH

ONLINE

RMT

BWL

VARI

M
SPEED

FILM

VITC

GEN

29.97

JAM TC

INT

RDR

30

JAM UB

VID

SYNC PT

DF

TACH

AUX

OFFSET

25

N/STD

MAINS

ERR

24

ON

RDR

GEN

422
VSO

SMPTE007

Figure 8. Reshaping Time Code

When reshaping, existing code is passed through the reader,

which puts out squared-up code. If a tape has been copied
several times or is very worn, the time code is likely to have
dropouts or bad spots that a time code reader wont be able to
read. The reshape output of a time code reader can only put out a
clean copy of its input. So if the code drops out completely, the
reshaped output will have a corresponding dropout. To overcome
this, the code must be regenerated rather than reshaped.

Regeneration or Jam Sync

Jam Sync, is a generator function that offers a better alternative to
reshaping. It is used to create a new time code that is related to an
existing time code on tape. It is very useful for repairing a break in
an existing time code track, or creating a continuous time code
track from an edited or discontinuous track. Code is read up to the
last good address, then the generator uses the next consecutive
address to generate new code.

22

Time Code Tutor

ATR (VTR)

LYNX MODULE
TC IN
READER

TIME CODE
VALUE

GENERATOR

JAM SYNC
GEN OUT

SMPTE008

Figure 9. Jam Sync

Jam sync is used extensively in video editing; where different

pieces of tape, each with different time code, are spliced together.
Jam sync provides the resulting program with continuous time
code. TimeLines Micro Lynx and Lynx-2 both have manual and
automatic jam modes, that let you quickly repair or create new time
code tracks to overcome the problems detected with bad code.

About Time Code Readers

A wide band reader, like the Lynx-2 Time Code Module or
MicroLynx, reads time code even at the high tape speeds used for
Fast Forward and Rewind. Wide band reader capabilities are
essential, since SMPTE addresses provide the only accurate means
of locating positions on tape.
If time code on tape becomes unreadable, the TimeLine readers
automatically search for the next best sync source on tape. After
SMPTE, the reader searches for serial time code, then pilot tone,
and finally tach pulses that are derived from the rotation of the tape
machines capstan motor.

23

Time Code Tutor

Synchronizer Essentials
A synchronizer reads time code from two or more machines. Then,
by manipulating the speed of each machines capstan, the synchronizer forces the two machines to play tape at the same speed. This
process is called locking. The Micro Lynx system offers phase or sync
lock mode.

Phase or Sync Lock

Phase or Sync Lock emulates the old control track or pilot tone
method of synchronization. The TimeLine system reads the time
codes, synchronizes the transport, and takes any deliberate offsets
into account. Once the system is locked, the slaves only use the
speed information that is derived from the time code. Specific time
code addresses are ignored.
This setup allows the tape machines to stay locked even if the time
code relationships change. The time code change is reported, but
the synchronizer makes no corrective action.

24

Time Code Tutor

Advanced Applications
Video Editing
Video editing is the process of assembling raw footage into a finished
television program. Shooting the raw footage is part of television
production, and video editing is part of the post-production process.
An average television program such as a sitcom or a documentary
has action that constantly shifts from one scene to another from
indoors to outdoors, for example. Within a given scene, the
perspective also shifts from one camera to another. Each camera
shoots the scene at a different angle.
During editing, multiple video machines are each loaded with
footage of different scenes that have been shot by different cameras. The potential for chaos is great. Fortunately, each reel of raw
footage is striped with SMPTE time code, and each frame has a
specific and unique location or address. In some cases, both LTC
and VITC are on the tape.
During editing, selected scenes of raw footage are transferred onto
a master video tape in the sequence they will appear in the finished
show. The master video tape contains the master or program time
code.
A video editor locks the source video machines loaded with raw
footage to the master video machine. Additionally, one or more
audio tape machines may be locked to the master. These machines
contain the production audio, which includes the dialogue and
incidental sounds recorded during shooting of the raw footage.

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Time Code Tutor

Video editing is normally a two-stage operation. Offline editing is

first. The person editing the show receives work tapes, i.e., copies
of all the raw footage, with time code burned in so that its visible
in one corner of the picture. Any footage initially shot on film, is
usually transferred to video at this point. From the work tapes, a
basic sequence of scenes is selected. For example, the second scene
should be the bar room brawl that occurs, say, between addresses
05:40:59:11 and 05:44:12:22 on one of the raw footage reels. In the
finished program, this scene needs to start exactly six minutes, five
seconds and nine frames (00:06:05:09) into the show and run to
00:09:18:20.
When all the scenes have been sequenced in this manner, an Edit
Decision List (EDL) is compiled. The EDL is a complete, computerized directory of the location of the scenes in the show, along
with the addresses that locate each scene in the raw footage.
Later, the project moves to online editing. The EDL is downloaded, and the final video master is assembled from the original
raw footage. This raw footage was set aside while the work tapes
endured the rigors of the offline editing.

Audio-For-Video
Just like the raw video footage, all of the audio elements that go
into a video production must be assembled. This procedure is
generally known as audio-for-video or audio post-production. There are
several different branches of audio post because many different
types of sound sources go into a typical video show.

26

Time Code Tutor

First, theres production audio, which includes the dialogue and

sounds recorded during shooting. Often, incidental noises on the
set, flubbed lines, and other uncontrollable aspects of the shoot
make the production audio unusable. The alternatives are the other
main branches of post-production audio.
For dialogue, theres Automated Dialogue Replacement (ADR) in which
actors re-record production dialogue in the controlled acoustic
environment of a sound studio. This replacement dialogue is
recorded onto an audio tape that is locked to a video work print,
which the actors carefully watch as they read their lines.
The second branch is Foley, which is named after the man who
invented it. Specialized actors called Foley walkers record sounds
such as footsteps, coat zippers, and car door slams. They do their
recording while watching a work print thats synchronized using
SMPTE and a TimeLine synchronizer to an audio tape machine
that records the sounds they make.
Third, are the sound effects. This audio is the spectacular stuff
explosions, rocket blasts, gunshots. Today, most sound effects work,
as well as some Foley, is created using digital audio samplers.
Samplers are devices that can be locked to SMPTE through MTC
or MIDI.
Music, that all-important audio element, is supplied by the composer, who works to rough cuts (preliminary edits) of the finished
show and ultimately to the finished video master. The composer
may record real instruments onto audio tape that is locked to
picture using SMPTE and Lynx modules, or he may work with
MIDI instruments that are locked to tape by a Micro Lynx .
Ultimately, there are a number of different Audio Tape Machines

27

Time Code Tutor

(ATRs) or film dubbers with the finished music, dialogue, and effects.
These ATRs are locked to the video master using a TimeLine
system controller, such as the Keyboard Control Unit or Console
Control Unit. Then the multiple audio sources are balanced by a
mixing console to provide a finished audio master for the program.
Because this can be quite an elaborate process, many modern postproduction facilities use automated mixing consoles that store mix
data, such as fader moves, and mutes in computer memory.

CONSOLE

AUTOLOCATOR

ATR

VTR

SYNC
RS422

TRANSPORT
LTC
VITC

LYNX SYSTEM SUPERVISOR

SYSTEM STATUS
TEST

DIAGNOSTICS
SELECT

CAPTURE
DIAGNOSTIC
TERMINAL

AUX
SELECT

MAINS

EMERGENCY
ALL STOP

REC
REH

GENERATOR
30

GEN
RDR

DF

SER

LOCK

25

PILOT

RESOLVE

24

TACH

ONLINE

RMT

BWL

VARI

M
SPEED

FILM

VITC

CONTROL

SYNC
RS422

29.97
30

JAM TC

TIME CODE

CONTROL

TIME CODE

CONSOLE
DATA

SYNC

SYNC

EXT SYNC
TRANSPORT

INT

JAM UB

VID

SYNC PT

DF

TACH

AUX

OFFSET

25

N/STD

MAINS

ERR

24

ON

RDR

LTC

GEN

VITC

422
VSO

REC
REH

GENERATOR
30

GEN
RDR

DF

SER

LOCK

25

PILOT

RESOLVE

24

TACH

ONLINE

RMT

BWL

VARI

M
SPEED

FILM

VITC

29.97
30

JAM TC

INT

JAM UB

VID

SYNC PT

DF

TACH

AUX

OFFSET

25

N/STD

MAINS

ERR

24

ON

RDR

GEN

422
VSO

1
THRESH
LEVEL

GND LEVEL

BEEP

LYNX-2 (1)
RDY

SYS

TRKS

EVNT

TCG

MEM

IN

OUT

OFST

SET
UP

RCL

STO

DUR

SYNCP

6
ERR

LAST

LYNX-2 (2)

SYSTEM
SUPERVISOR

NEXT
KEYBOARD CONTROL UNIT POWER SUPPLY

GRP

SOLO

00

LOCK

CODE

BUSY

KCU POWER
SUPPLY

REC
AUX

AUX

LYNX KEYBOARD CONTROL UNIT

BUSY

REC

AUX

CODE

BUSY

REC

AUX

CODE

BUSY

REC

AUX

CAPT

LOCK

LOCK

CODE

BUSY

REC

TRIM

CLR

LOCK

CODE

REF

0
TIME

LOCK

POST

PRE

CONSOLE
CONTROL UNIT

KEYBOARD
CONTROL UNIT

Figure 10. Automated Mixing System

The Modern Electronic Recording Studio

28

SMPTE010

LYNX CONSOLE CONTROL UNIT

Time Code Tutor

ATR

CONTROL

CONTROL

MIDI

MAC
INTERFACE

TIME CODE

DIGITAL AUDIO
WORKSTATION

ATR

OPTIONS

MIDI

COMPUTER

KEYBOARD

TIME CODE

MIDI
SEQUENCER

KEYBOARD

SYSTEM
POWER

VITC

M3

DATA

DATA

VALID

VALID

DATA

VALID

DATA

VALID

ON

RS422

ACG

ACG
WORD CLOCK

POWER SUPPLY
TIME CODE
DEVICE SELECT

CALCULATOR

STATUS
SYSTEM

SETUP

ACG

F1

F2

F3

SYS

TRAN

EVNT

LIST

MEM

LOCK

LOCK

BUSY

BUSY

BUSY

REC

REC

REC

RCL

STO

MACRO

REF
LOCK

CAPT
IN

MIXED
CODE

1600
(48K)
1920

VIDEO
GEN

1470
(44.1K)
1764

NON
STD

VITC

OUT

TCG

LOOP

RDY

MIDI

TRKS

OFST

ERR

A2

POST

REF

00

CLR

TIME

EFFECTS PROCESSOR

CUE

LAST

NEXT

ENTR

TRIM

JOG

SHTL

VID

LOC

A3

2
PRE

SOLO

DUR
TC

SYNCP
A1

GRP

OUT
CUE

ALL
STOP

ROLL
BACK

SUB
FR

RE
PLAY

EDIT

REH

REC

MOTION

JOG WHEEL

SMPTE013

MIDI

8
IN

A4

LOCK

DIGITAL AUDIO CLOCK GENERATOR

ASM

7
GROUP SELECT

KEYBOARD CONTROLLER

Figure 11. The Modern Electronic Studio

With the number of machines involved and the use of SMPTE time
code, many record projects and other music recording applications
are as elaborate as video post-production. Two multitrack tape
machines are typically locked together by the Micro Lynx to
provide enough audio tracks for instruments and vocals. Some
productions require more than two interlocked multitracks. Console
fader automation is the norm for record mix downs, and an absolute
necessity for dance mixes.

In addition, many projects also involve virtual tracks. Virtual tracks

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Time Code Tutor

are MIDI synthesizer and drum machine parts that are synchronized to tape, and played back live in real time, rather than being
recorded onto multitrack. The Micro Lynx provides the allimportant SMPTE to MIDI translation.
MIDI is also the protocol used to automate effects processors, such
as digital reverbs, and harmonizers. These MIDI devices can
change programs midsong, and even perform real time individual
parameter changes midprogram. Some mixing consoles, particularly those designed for personal use and project studios also have
MIDI automated switching or mixing features.
Just about every device in the recording studio, including tape
machines, consoles, effects processors, and electronic instruments,
can now be automated using SMPTE, MIDI, and the appropriate
TimeLine equipment.

SMPTE and the Digital Audio Workstation

30

Time Code Tutor

The Digital Audio Workstation (DAW) is an important tool for postproduction and music recording. The DAW records, edits, manipulates, and mixes multiple tracks of audio in a single digital environment. Its a self-contained, self-sufficient system. At some point
however, the DAW must sync with the real world and eventually
be slaved to picture or a master tape machine.
This situation can present a problem. DAWs are always referenced
to their own internal sample rate clock and can use time code to
locate and park at a specific SMPTE address. When that address
comes up on the master tape, the DAW goes into play, but its
running wild because it isnt locked to anything except its own
internal clock. This scenario is only a little better than attempting to
press two start buttons on two machines at the same time.
The Micro Lynx Digital Audio Clock Generator (ACG) Card
option solves the problem. It provides a way to reference the digital
audio workstation to the master time code using word clock
(sample rate) data or AES/EBU digital audio bit stream, which
contains timing data. The ACG card generates a digital audio clock
that is locked to the MicroLynx system reference, and the DAW
uses it to lock and run its internal sample rate clock.
You can even varispeed the master tape. The Digital Audio Clock
Card automatically adjusts the ACGs word clock rate. If the tape
speeds up or slows down, the DAW will adjust to match the new
play speed (within the limits of the disk system).
As we enter the digital era, time code continues to be an important,
practical solution for communication and control of multiple pieces
of equipment. And the TimeLine Micro Lynx and Lynx-2
machine control systems offer the most complete solution to tame
SMPTE and MIDI time code.

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Time Code Tutor

ATR

DIGITAL AUDIO
WORKSTATION

ATR (DTR)

VTR

OPTIONS

MIDI

COMPUTER

KEYBOARD

EXT SYNC

SYNC

TIME CODE

MEC

SYNC

CONTROL

TIME CODE

CONTROL

TIME CODE

MIDI OR MAC
INTERFACE

CONTROL

SYNC

VSG

SYSTEM
POWER

VITC

M3

DATA

DATA

VALID

VALID

DATA

VALID

DATA

VALID

ON

RS422

ACG

ACG
WORD CLOCK

POWER SUPPLY
TIME CODE
DEVICE SELECT

CALCULATOR

STATUS
SYSTEM

SETUP

ACG

F1

F2

F3

SYS

TRAN

EVNT

LIST

MEM

RCL

STO

MACRO

REF
LOCK

CAPT
IN

MIXED
CODE

1600
(48K)
1920

VIDEO
GEN

1470
(44.1K)
1764

NON
STD

VITC

OUT

LOCK

LOCK

LOCK

BUSY

BUSY

REC

OUT

DUR

A4

CUE

TC

SYNCP

OFST

ERR

LAST

NEXT

ENTR

TRIM

JOG

SHTL

REC
A1

TCG

LOOP

RDY

MIDI

A2

TRKS

A3

2
PRE

SOLO

POST

REF

00

CLR

TIME

CUE

VID

LOC

ALL
STOP

ROLL
BACK

MOTION

SUB
FR

RE
PLAY

EDIT

REH

REC

JOG WHEEL

SMPTE009

REC
A

GRP

8
IN

BUSY

DIGITAL AUDIO CLOCK GENERATOR

ASM

7
GROUP SELECT

KEYBOARD CONTROLLER

Figure 12. Micro Lynx with a Digital Audio Workstation

The SMPTE Future

SMPTE Time Code and MTC are already being used for applications far beyond their original purpose. Outside the worlds of
music recording and video post-production, SMPTE is used to
automate light shows at rock concerts, control laser beams at theme
park attractions, and trigger flashpot explosions.
SMPTE has many uses and people will think of new ways to use it
as time goes on. But, the basics of SMPTE will never change. Now
that you know them, youre ready for the future.

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Time Code Tutor

SMPTE Made Simple Step By Step

Working with Film or Video
Goal: To create, edit, mix, and layback to the original master or
cut a final audio track for film or video.
1.

Get direct copy of the time code master with a window dub
(where the SMPTE time code shows up in a little window at
the bottom of the screen).

2.

Record time code to tapes that are to be used in the production. Preset a time code generator to the master tape time code.
For analog audio, set the transport to fixed speed and record
time code to the time code track or an edge track if a multitrack recorder. For digital audio, reference the transport and
the time code generator to video sync and record to the time
code track. Allow at least 15 seconds before the master time for
synchronization. Additionally, dub a copy of the original
master copy that you received in Step 1 above. You will work
from this production master. This is very important so you dont
wear out your original while you work.

3.

Set start times and the correct time code format to match for all
applications software being used. The time code format for
NTSC video is drop frame code running at 29.97 fps. Remember if you are using a Digital Audio Workstation, you will need
to ensure it is properly referenced. This may require the use of
a Digital Audio Clock Generator such as the Micro Lynx
ACG Card, to resolve the workstation sample rate clock. All
software should be set to chase to external time code.

4.

Replace the master copy with the new working dub, set the
transports to external control and slave all machines and
software to this. Begin your work.

5.

Make sure the synchronizer and all of the transports you are
using are resolved to house video sync. It is very important
that each transport play each tape at exactly the correct speed
all referenced to a common source. In this way time code

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Time Code Tutor

striped tapes can be played back on a machine in a different

studio and will still be accurate to the original.
6.

After completing the production and before mixing, replace

the master dub with the original master copy, lock machines,
and confirm timing of program material making sure that no
drift occurs over time.

7.

Mix program to final format required for layback. This would

either be a deck that is resolved and has a pre-striped tape
(Step 3 above), or a deck that the final mix is recorded to while
simultaneously regenerating time code.

8.

Layback the mixed audio program to the original master by

syncing the final mix tape to the master video tape and inserting the audio program on to the audio tracks of the master
tape. It is at this step when working with film, a Mag audio
track (or full coat) would be cut and sent to the lab to be
combined with the master negative.

9.

Finally, archive files, make safety copies, complete track sheet

and tape box information, turn off lights, and go home.

Music Only Production

Goal: To use SMPTE time code for synchronizing analog or
digital multitrack audio tape recorders and computer-based MIDI
software systems and digital audio workstations.
1.

The most important point to remember even in music-only

production is to resolve all machines being used both when
working with tape that is being striped for the first time or with
pre-striped tapes. That way time code will always run at the
correct speed.

2.

Always regenerate or reshape time code when copying from

one tape to a new tape. Simply copying the time code from
machine to machine is not optimal as the time code degrades
each time it is copied.

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Time Code Tutor

3.

Always print time code on an edge track (usually track 8 on an

8 track ATR, track 16 on a 16 track ATR, etc.) and try to leave
the adjacent track free of any recorded audio as there is a
tendency for time code to bleed or be heard on the adjacent
track. Optimize the record levels so that time code is printed at
about -5 db and no lower than -12 db. Listen closely to make
sure that time code can not be heard in your audio program.

4.

Use non-drop frame time code running at 29.97 fps (NTSC

rate) as this is the standard for music only production.

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Time Code Tutor

Glossary
24

24 refers to both the film-standard speed and code type.

25

25 refers to both the EBU/PAL speed and code type.

29.97

29.97 refers to a SMPTE frame rate only, in frames-per-second.

30

30 refers to a SMPTE frame rate only, in frames-per-second.

Address

SMPTE/EBU time code address. Also referred to as time code

value. A specific and unique address in the time code data
stream.
A set of SMPTE or EBU time code numbers indicating a specific
position on tape. A complete SMPTE address includes hours,
minutes, seconds, and frames.

ADR

Automated Dialog Replacement. A technique for replacing

production dialog in the studio.

AES/ EBU

A professional standard for the high speed transfer of two channels of digital audio data. Developed jointly by the Audio Engineering Society (AES) & the European Broadcast Union (EBU).

Amplitude

Signal displacement from a zero point. The amplitude of an

analog signal is the measurement of voltage increase or decrease.

Analog Audio

One means of recording and reproducing sound, using fluctuating electronic voltages to replicate audio waveforms.

ATR

Audio Tape Recorder.

Autolocator

A device that can hold multiple tape locations in memory and

chase to those locations on command, using SMPTE addresses,
tach pulses, or control track pulses to find a desired point on
tape.

Bandwidth

The frequency range of a signal.

Binary Numerical
System

A system for expressing numerical values using two digits,

0 and 1. The binary system is used in digital audio, SMPTE,
MIDI, and other microprocessor-related data formats.
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Time Code Tutor

Biphase Encoding

The way in which SMPTE time code gets encoded onto tape.
It expresses binary 1 and binary 0.
Biphase encoding reverses the signal polarity halfway through
a bit to represent a 1 and leaves the bit polarity unchanged to
represent a 0.

BIT

Short for BInary digiT; a number which is either one or zero.

Blanking Interval

The blanking interval occurs at the end of a frame. Video

information is absent during the blanking interval. The
interval occurs when the CRT electron gun scanner goes from
the bottom right corner of the screen to the beginning of the
next field in the top left corner.

BNC

Bayonet-Nut Coupler. Used for the connection of video and

high frequency clock signals.

Byte

A group of related binary data or a word, which can be read,

interpreted, and acted on by a microprocessor. A byte is made
up of bits, which can be either a 0 or 1.

Capstan

On a tape recorder the motor driven spindle that drives the

tape across the heads. A synchronizer controls the capstan
motor to keep the tape in sync.

Code Type

See Time Code Type

Configuration

See Setup Mode. The process of defining the user-selected

operational parameters, such as defining a specific transport
or lifter-defeat mode.

Control Track

A synchronizing signal on the edge of a tape, which provides

a reference for tracking control and tape speed.

CPU

Central Processing Unit. A computers central microprocessor,

responsible for all system logic and memory organization.

DAW

Digital Audio Workstation. Usually refers to a computerbased, hard disk recording and editing environment.

Decibel (dB)

The unit of measurement used to describe a sounds amplitude. The measurement is relative and logarithmic.
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Time Code Tutor

DF

Drop frame. See drop frame

Differential Input

Input amplifier that is designed to amplify the difference

between two signals and reject common signals.

Differential Output Output amplifier designed to provide two signals that are
completely identical but with opposite phase.
Digital

Literally using digits. A Computer is a typical digital device.

Digital Audio

Audio signal that has been converted (digitized) into a stream

of binary numbers for storing or transmitting, that are equivalent to the original analog audio signal.

Display

Numeric display. Time Code/Message Display.

Drop Frame

Drop frame is one of the two SMPTE code types, and is the
NTSC color television standard. When using this code type,
108 specific frame numbers are dropped for each hour of
time code. See the Appendix for more detailed time code
information.

EBU

EBU time code is a 25-frame code running at 25 fps.

Edit Decision List

(EDL)

A list, either on paper or in computer memory, of time

code addresses indicating successive scenes of source video
footage that make up a complete program.

EDL

See Edit Decision List.

ERR

Error or offset error. Indicates that the display shows the

difference between the actual position of the machine in
relation to where the system expects it to be.

EXT VID

A source of external video sync used by the synchronizer as a

timing reference. Can be color black, black burst, color bars
or composite sync.

Filter

A digital or analog process which has the effect of removing

unwanted frequencies from an audio signal.

Foley

The process of adding incidental sounds, such as footsteps,

door slams, etc., to a video program or motion picture; named
after the man who invented it.
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Time Code Tutor

Format

See Time Code Format.

Frame

A single image on a motion picture film or a television picture

formed from two interlaced fields. One complete video
scanning cycle, one complete SMPTE time code word.

Frame Lock

Frame lock maintains synchronization between the Master

and Slave transports, using the position information available
in the time code address.

Frame Rate

The number of frames that go by in one second of audio, film

or video tape. Film and different types of video all have
different frame rates.
30

30 fr/s

Monochrome TV, & audio

NTSC

29.97 fr/s

Color videotape, TV operations

PAL

25 fr/s

European TV, European Broadcast, &

audio

Film

24 fr/s

Film cameras & projectors

Frequency

The number of wave cycles that occur in a given period of

time (one second). The unit of measurement is the Hertz (Hz).

Generate

Running the system time code generator so that time code is

available at the rear panel GEN OUT jack.

Generator

A time code generator. Each synchronizer has a time code

generator. This generator receives its speed reference from
one of the internal or external sources.

GEN REF

Generator reference. Also referred to as reference source.

Groups

A group of machines that have a defined positional relationship. Machines are placed in group mode for synchronization.
Machines in a group will operate together as if they were a
single transport.

GRP

See Groups.

Guard Band

A track of multitrack tape adjacent to the sync track (such as

SMPTE or Control Track), which is left unrecorded in order
to prevent the time code from bleeding onto the audio program material.
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Time Code Tutor

HH:MM:SS:FF

Hours:Minutes:Seconds:Frames. A SMPTE time code address

or value.

Initialize

Completely clear the synchronizers RAM. Press and hold the

CLR key while you power-up the module.

INT XTAL

A system speed reference that is derived from the units internal

crystal. This reference should be selected when an external
reference (video or word clock) is not required.

Jam Sync

A technique used to start a time code generator from another

running time code. It can be used to recreate missing time code
or to external existing time code on tape.

Jam Time Code

The Jam Time Code or Jam Sync function. See Jam Sync.

KCU

Keyboard Control Unit. TimeLines external machine control

unit. The KCU provides centrally-controlled access to all synchronizers in a system.

LCD

Liquid Crystal display. The KBD display is of this type.

LED

Light emitting diode.

Lifter

A tape transports head lifter mechanism. Tape machines normally lift the tape off the heads when in wind (FFW/RWD).
The synchronizer intelligently controls the machines lifter
operation, to read time code when required.

Local Transport

The machine or transport that the synchronizer is connected to

and controlling.

Lock

Transport is synchronized with the system reference GEN REF.

LTC

Longitudinal Time Code. Time code information encoded in

binary coded decimal (BCD) form which is recorded as an
audio signal on a designated track of a VTR or an ATR.

Machine

Machine refers to the generic concept of tape record/playback

hardware.

Machine Control

The wide ranging field of transport control. This covers basic

transport operation, synchronization and more complex functions such as electronic editing.
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MACROS

Preprogrammed or user programmed keys permitting complex

key sequences to be stored and executed by pressing a single
key. Sometimes known as smart keys.

MIDI

Musical Instrument Digital Interface. This serial data language

is used by microprocessors in synthesizers, sequencers, drum
machines, signal processors, and computers. It provides musical pitch and rhythm information, synthesizer performance
parameters, song position markers, stop/start/continue commands for sequencers and computers, and synchronizing data
called MIDI Clock, which is based on 24 pulses per quarternote. MIDI is frequently used with SMPTE for sync-to-tape
functions.
MIDI is transmitted between microprocessors at 32.125 kBits
per second. It can also be used by lighting systems and mixing
consoles.

MIDI Time Code

A MIDI system real time message that assigns a unique address

for a specific moment in time. MIDI Time Code takes two
frames to transmit a complete address in bursts of data that are
transmitted every 1/4 frame.

Motion Controls

The basic set of six transport control keys (Play, Stop, Rec, Reh,
Rwd & FF) and the six additional transport control functions
(Loc, Cue, Allstop, Rlb, replay & Edit).

MTC

See MIDI Time Code.

Multitrack

A tape machine, analog or digital which has more than two

audio tracks.

N/A

Not available. Not active. Not applicable.

Non Drop Frame

NDF or ND is one of the two SMPTE code types and is the

black & white television standard. When using this code type,
every frame of time code is counted in real time. See the Appendix for more time code information.

Non-contiguous

Not a continuous, predictable sequence. i.e., 1, 2, 4, 5, 6, 8, 9 is

a non-contiguous number sequence.

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NTSC

A system of coding color information for television transmission used primarily in the USA and Japan. Named after the
National Television System Committee.

Offset

Offset is the difference between two time codes at the point at

which they are to be synchronized. Offsets are subframeaccurate and are displayed using the HH:MM:SS:FF format.
Offsets are always applied to the slave machines.

Oversampling

A process by which a computer interpolates between adjacent

digital audio numbers to provide in-between values and
reduce quantization error.

PAL

Phase Alternate Line. PAL is another name for the 25 time

code format, which is the standard for European color and
B&W television.

Phase Lock

A mode of synchronizer operation that uses phase information derived from SMPTE time code and, after initial synchronization, ignores specific frame addresses. It is also called
Sync Lock.

Pilot Tone

The Pilot output signal is a sinusoidally-shaped output, which

is always two times the frame rate of the time code that is
being referenced or generated.

Post-production

Activities that take place after the raw footage has been shot
for a video program or motion picture. Includes video editing
and a number of audio processes, such as ADR, Foley, and
mixing.

Production

The initial stages in the making of a film or television program, which includes the shooting of raw footage and recording of production audio.

RAM

Random Access Memory. The modules configuration parameters are stored in battery-backed RAM. And recalled each
time the unit is turned on.

Rate

Frame rate or speed. See Frame Rate or Speed.

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REF SRC

Reference source. The signal used to determine the rate at

which the generator and synchronizer will run. The reference
source can be thought of as the system time base. The reference source can be internal crystal, external video, MAINS,
or external pilot tone or the time code reader (VSO).

Register

The generator register is the modules memory buffer that

holds numeric time code values that are entered or captured.
Each synchronizer also has reader, sync point, offset, user bit
and error registers.

Reshape

The output signal is the same as the input signal, but it has
been reshaped with correct rise time values and a fixed
voltage output. This type of output does not correct for bit or
timing errors.

Resolving

A technique for regulating the play speed of a tape machine

by matching the rate of pulses recorded on tape with a pulse
rate from another stable source or a master tape machine.

RLB

See Rollback.

Rollback

The rollback function is used to rewind machines by a predetermined amount from the current position. The default
rollback time is 15 seconds.

S-PDIF

A consumer standard similar to AES/EBU for the high speed

transmission of digital audio data. Jointly developed by Sony
and Philips.

Sequencer

A device that can record performance data for synthesizers

and other electronic instruments and then, on playback, pass
that data on to the instruments so that theyll play what has
been recorded. Modern sequencers use MIDI as their communications protocol.

Serial

A type of computer interface where all data is sent down a

single wire or pair of wires one bit at a time. Examples of
serial interfaces are RS422 & RS232.

Serial Port

The physical computer connection through which serial data

is transmitted and received.
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Setup Mode

The process of defining the user-selected operational parameters, such as defining a specific transport or lifter-defeat
mode.

Shuttle

Fast-wind. Fast-forward or Rewind.

SMPTE

Society of Motion Picture and Television Engineers. An

industry standards committee. The group responsible for
developing SMPTE time code.

SOLO

Literally using alone. A tape transport in solo will be controlled by itself, without affecting other transports in the
system.

Speed

Speed, Frame Rate and Rate are synonymous. Time code

speed is counted in frames-per-second (fps). SMPTE time
code has two speeds: 30 fps and 29.97 fps.

SU

See System Unit

SUBF UBITS

Sub frame user bits.

Sync Lock

See Phase Lock.

Sync Word

Included at the end of every 80-bit time code word is a 16-bit

Sync Word. The sync word provides direction and Phase-lock
speed information, and marks the end of each time code
word.

Synchronizer

A device that reads time codes recorded on two or more tape

machines, compares the codes, and adjusts the machines tape
positions and speeds based on the results of that comparison.

System BUS

When two or more synchronizers are used to form a system, a

communications link must be established between the modules. This is done by looping from one module to the next, via
the RS422 ports on the rear panel of the system unit.

System Unit

The rack mounting part of the Micro Lynx machine control

system. The unit contains the control (CP) and machine
control (MC) microprocessors.

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TCA

Time Code Address. The HH:MM:SS:FF bits of the TC word.

TCG

See Time Code Generator.

Time Code Format Time code format defines both the frame rate and code type
being used. Example: To describe a time code format as
30NDF is to say that the frame rate is 30 fps and the code type
is non-drop frame. Simply saying either 30 or drop frame
defines only part of the SMPTE time code.
Time Code
Generator

A special signal generator designed to generate and transmit

SMPTE time code at one of the international formats & rates.

Time Code Reader A counter designed to read and display SMPTE time code.
Time Code Type

The word type is the key to understanding this phrase.

Type defines the counting method that is employed by the
time code module. There are two SMPTE types: 30 (also
called non-drop ND or non-drop frame NDF) and drop
frame (DF). EBU and film types are the same as their respective speeds, 25 and 24.

Toggle

To toggle is to consecutively press a key several times in order

to step through a series of choices.

Track

A place for the storage of audio information. Analog tape

recorders have one or more physical tape tracks. MIDI sequencers and digital audio workstations provide areas of
memory to store control or audio data.

Track Select

The process of enabling (arming) specific tape machine tracks

for recording.

Transport

Transport refers to a part or subassembly of a machine, i.e., a

transport connector or a transport cable.

TRS

Tip - Ring - Sleeve. A 1/4, balanced termination plug or jack.

Typically wired T = +, R = -, S = shield.

Type

See Time Code Type.

UB

See User Bit.

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User Bit

Each time code frame or word consists of 80 bits that convey

SMPTE/EBU time code information. Thirty-two of those bits
are user bits, and are available for storing information such as
IDs, reel numbers, session dates or another time code number.

Value

Values are generally time code addresses. They may also be a

custom user bit IDs.

Video Sync

A reference video signal generated by an extremely stable

source. This signal is used to control the speed of video
machines, digital audio machines and is used as a timing
reference to ensure accurate synchronization.

Virtual Tracks

Used to describe any circumstance whereby the method for

reproducing audio tracks is not directly analogous to the
linear tape track format. Hard disk systems (DAWs) and
MIDI sequencers are typical examples.
MIDI performance commands can be stored in a sequencer.
Because the sequencer can play these parts in real time,
synchronized to tape, they can be regarded as extra or virtual tracks, not on the tape, but present nonetheless.

VITC

Vertical Interval Time Code. An alternative to the LTC format

of SMPTE time code. It is recorded in the blanking interval of
the video signal, which is not used for the picture.

VSO

Variable Speed Override. Variable Speed Oscillator.

VTR

Video Tape Recorder.

Wideband

A signal that is distributed over most or all of the frequency

spectrum. A wide band input amplifier is capable of processing signals that are well outside the audio bandwidth.

Word Clock

An extremely stable synchronization signal that is used to

control the rate at which digital audio data is converted or
transmitted.

Workstation

See DAW.

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