Using Timecode in Live Music - The Production Academy
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- Опубликовано: 15 июн 2019
- Normally we don't think about timecode too much in live sound; in live music it's mostly used to synchronize lights and video. When implemented properly, it’s really effective at getting these production elements to operate consistently in time with the music, and it’s an essential part of many large-scale productions.
But even though it’s not very common in live music, it’s also possible to have timecode trigger events on our audio consoles. Usually this would be used to recall settings in a scene/snapshot. On pro consoles this could configured to do almost anything - change gains, move faders, unmute, change EQ, insert a plug-in, or change whatever parameters are allowed by that console.
So, what is time code? Standard SMPTE timecode is a string of four numbers that represents a specific frame in video or audio. This is displayed as: 00:00:00:00 (hour:minute:second:frame). As time progresses, the numbers move sequentially by frame like a clock.
In music (and video/TV) production we use linear timecode (LTC), which is SMPTE timecode that’s transmitted as an audio signal. We can record this signal alongside the music in our playback system so that each song has unique timecode. That way any given frame number corresponds to one very specific point in a song.
In multitrack playback setups, LTC is recorded on a separate track in the playback software (Pro Tools, Ableton Live, Digital Performer, etc.). Then it gets a separate output of the interface, which feeds lighting or audio consoles (FYI - it’s standard to just use normal XLR cables for these connections). This lets the playback system trigger actions on the consoles, which keeps everything super in sync with the music.
Even though it's not something many audio engineers do, I've implemented timecode in some of my shows with some great results. I’ll set the console to recall a snapshot at a specific point in the music, which triggers something like unmuting FX or boosting a fader for a guitar solo. Of course, this only works when I'm developing a show file on a specific console for a band that I'm on tour with, mixing the same show every night.
Usually the first reaction I get from other engineers when I tell them that I do this is: “That's crazy. I wouldn't want my faders moving on their own!” And I totally get that. I mean, really good engineers are comfortable walking up to any console and getting a solid mix going for almost any band. They don’t want anything happening that’s out of their direct control.
But when I have 60+ inputs, with a bunch of things changing during the song, taking advantage of the technology and programming the console ahead of time lets me not worry about some of the minor fader moves. That way I can keep my attention on the big picture and concentrate on the overall sound of the show.
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Thanks so much for taking the time to make this. Really helpful for our upcoming tour.
What tour are you doing? What's the setup like?
Thank you sir for your packaged information
Well done
Thank you for sharing this was more helpful then you think!!
Glad it helped out! Tell me what you want me to talk about next...I'll make more videos.
GRACIAS...
I’m trying to learn more about Timecode... It seems that nobody has made a video explaining the signal itself - a lot of videos tell what timecode is used for...
Will I be able to take the LTC signal regardless of cable types, and hook this up with different devices (using the appropriate connectors of course)..?
Hey Tom - Good point, I'll make a new video about that soon. LTC is an audio signal and can be passed just like any audio signal - regardless of connector type. You can even split it using a y-split cable if you want. Or, you can boost it or cut it at any Gain Stage. If the signal gets too low or too hot, though, you might run into problems.
I'm trying to send the SEMPT signal (WAV FORMAT) from our backingtrack player (CYMATIC) it starts running but timecode stops after 5 secs...do you have any idea what it could be?
Hi Scott ! Basically a LTC Mode is MTC in this generally you have a software or a software plugin in a DAW seqvence (fps) the plus is those possible trigger points set as fps could more or less 30-65 since i know .More basically you use a "midi" command interface without using the actually midi interface protocol instead using timecode protocol !that trigger some commands via a software or a machine that can accept those commands mixers ,tape ,cd etc .is the same like for auto or lights ! in fact is the same because you can run multiple commands that can act as starting point or in progress in such way you want to program and to determine further actions that can split older commands or end up on a certain time ! that s a command end too.
Honestly there is another way you can use time code and that s been dj time code.this one is a buzzing code fervently some tonal combination unto a cd dvd what ever that determine the user maneuverer of the user interface ! so that the command is called by touching certain buttons or adding certain gesture from the user! this is a NTC is a non linear timecode ! and the reaction like a shape of oval or similar ! i do not understand way people use Qlab maybe because is cheap and some parts free .But other daw have extended cheaper capabilities regarding timecode on all application also is easier to a user curve learning!
Thanks for the input! LTC (Linear Time Code) is different than MTC (MIDI Time Code), but you can get a converter that transforms one to the other. Either way, you're correct - there are a ton of uses for these.
Question 🙋♂️ this is a music 🎼 question 🙋♂️ when you listen 👂 to a album 💿 like r.e.m monster 👺 and when you put the cd 💿 into the cd 💿 player the song starts at 0:00 I don’t know 🤷♂️ what’s called for when the song 🎵 starts at 0:00 and it ends at a certain number like what’s the frequency Kenneth ends at 3:59 and by your side by tenth avenue north 4:02 and is the term is called time code or duration and are they the same or different?
Hey Luke - that's the duration of the track you're talking about. Time code is a string of numbers we use to sync multiple devices in production.
@@theproductionacademy yes that’s true and I guess that’s why that music 🎼 people like r.e.m would always have to play their music from start to finish but yes what you said duration time code are pretty 🤩 much the same thing and I guess that’s why that music 🎼 probably start from beginning to the end because it’s how long or short a note is and then you have song tile to go with it and bam 💥 I solve my answer right there nd hopefully 🙏 you guys would definitely agree with me on that.
@@theproductionacademy that definitely make sense that music 🎼 like r..em what’s the frequency starts off at 0:00 and it ends at 3:59 amd it definitely is slow because it moves only 1 second per song and that’s it.
@@theproductionacademy I mean and.
@@theproductionacademy I have a suggestion for you can you use one of my song 🎵 that I use for a example and use it for time code/duration/song structure like 10th avenue north by your side or r.e.m what’s the frequency Kenneth?
Hello! Really just wondering where does the audio time code send come from? Is that a specific piece of audio that triggers smpte I’m just confused and need this information for a show. Hope to hear back
For this example, the time code audio was actually recorded as an audio signal in our playback DAW (pro tools). The click track and backing tracks for the band were also in pro tools- so there’re always synced in the same session. When it’s all played back, the time code gets a separate output from the computer interface.
@@theproductionacademy Im mostly confused on what are you recroding for the time code? where is that source coming from
@@theproductionacademy Can the audio be any file as long as it aligns with everything?
@@chrisechols3035 the time code is an audio file that we generated through an online time code generator. This file is imported into our DAW (ableton) and each song gets a specific hour number. So when the tracks are played back, the time code audio file also plays along.
Wouldn't be easier if protools, for instance, send midi events to light systems to trigger scenes?
MIDI is not as tight as SMPTE when accuracy is required. It loses datas here and there, it is unbalanced signal means very reactive to interferences such as jittering. It suffers of latency where SMPTE doesn't and this factor increases when long cable runs are needed or when you work with more complex systems. Other than that imagine sending MTC for light and sound and not everything just works fine... for audiovisual multimedia is crucial to work with SMPTE as it works highly accurate within the range of hh:mm:sec:fps. If you need only to send cues to move an audio console fader and programs then MIDI would be easier, yes.
@@RiccardoMenegonAudioDesignerthanks!!
on what input does ltc signal go to the audio console?
If it is able to use timecode, the mixer will typically have a dedicated LTC input. If there isn't one, then the mixer probably isn't able to use timecode to trigger events.
@@theproductionacademy ок, .thanks..or use ltc to mtc tranceiver..
fuck bro you scared me
the eyes T-T