User`s guide

Pro Tools Reference Guide342
Using Peripheral
This option outputs time
code from the Device type selected in the
Synchronization page of the Peripherals di-
alog.
MTC to Port This option outputs MIDI
Time Code to the MIDI destination se-
lected in the pop-up menu.
Time Code Freewheel
This allows Pro Tools to continue playback
if time code is interrupted or corrupted.
Use this to protect against errors that can
occur if your SMPTE time code source has
“drop outs” or temporary lost signals.
Frames This option allows you to freewheel
from 1 to 120 frames. This value defaults to
8 frames which is the recommended set-
ting for most applications.
Jam Sync This option allows Pro Tools to
trigger sync to incoming time code, and
continue to play back even if time code in-
put is completely interrupted. It can be use-
ful if time code is damaged, or has been ac-
cidentally erased from your source tape.
Sample Rate Pull Up/Down
When Pro Tools is used in conjunction
with a SSD, VSD, USD, or third-party syn-
chronizer that supports 256x clock output
and Pull Down sample rates, this option al-
lows you to “pull up” or “pull down” the
current sample rate. This is used with film-
originated material when working with
NTSC-standard SMPTE frame rates only.
For a full explanation of film-originated
scenarios, see “Working with Film-Origi-
nated Material” on page 333.
Pull Up This speeds up the current sample
rate to 100.1%. A 48 kHz sample rate is
sped up to 48.048 kHz. A 44.1 kHz sample
rate is sped up to 44.144 kHz.
Pull Down This slows the current sample
rate to 99.9%. A 48 kHz sample rate is
slowed to 47.952 kHz. A 44.1 kHz sample
rate is slowed to 44.056 kHz.
Sync Offset
This field allows you to set a “trigger offset”
for incoming MIDI Time Code (anywhere
from –100000 to +100000 samples). This
allows you to create a permanent offset to
fine-tune the point at which Pro Tools
syncs relative to incoming time code. For
example, a value of -50 makes an event in
Pro Tools occur 50 samples before the same
event in the incoming MIDI Time Code.
Use this to compensate for timing differ-
ences between various SMPTE-to-MIDI
Time Code converters or analog-to-digi-
tal/digital-to-analog converters.
▲ For TDM systems, recording with a Sync Off-
set requires two voices for each record-en-
abled track. In addition, to simultaneously
record on 32 tracks with a Sync Offset on a
Pro Tools 24 MIX system (which allocates
voices to either of two DSP engines, 1–32 and
33–64), the tracks must be evenly distributed
between the two DSPs, (for instance, tracks
1–16 assigned to voices 1–16 and tracks
17–32 assigned to voices 33–48).