5.0

235
Synchronization
If you aim to perform synchronization to external signals,
we strongly recommend that you obtain proper synchroni-
zation equipment. This encompasses:
• An audio card that can be slaved to external word clock.
• A synchronizer that can read timecode (and possibly house
clock) and generate the required sync signals from that, such
as the Steinberg TimeLock Pro.
or…
• An audio system with complete built-in synchronization possi-
bilities, preferably supporting the ASIO Positioning Protocol
(see “About the ASIO Positioning Protocol (APP)” on page
238).
Using timecode without word clock
Of course, it is possible to set up a synchronization system
where you lock Cubase AI to timecode without using word
clock. However, please note that the timing of audio vs.
MIDI cannot be guaranteed and that fluctuations in speed in
the incoming timecode will not affect the playback of audio
events. This means that synchronizing to timecode may
work in the following situations:
• When the timecode was originally generated by the au-
dio card itself.
• When the source providing the timecode is extremely
stable (such as a digital video system, a digital tape re-
corder or another computer).
• When you remain synchronized to that same stable
source throughout the entire process, both while record-
ing and playing back audio.
Making basic settings and
connections
Setting the Frame Rate
The frame rate is the number of frames per second in a film
or on a video tape. However, the frame rate used varies with
the type of media (film or video), which country the video
tape has been produced in, and other circumstances.
In the Project Setup dialog are two settings for frame rates:
• The Frame Rate pop-up is automatically adjusted to the
frame rate of the incoming timecode.
There is an exception to this when you are synchronizing Cubase AI to
MIDI Timecode: If you have selected 29.97fps or 30dfps as Frame Rate in
Cubase AI, this selection will be kept, since these frame rates are not in-
cluded in the MTC format.
The following frame rates are available:
• The Display Format pop-up contains a number of for-
mats that function as the “master” setting for the display
format used in the various rulers and position displays.
Making connections
The following connections are required for external sync
via a synchronizer, including resolving of the audio card.
For details on audio card and synchronizer settings and
connections, see the manuals for these devices.
• Route the master clock signal (LTC, VITC, etc.) to an in-
put on the synchronizer.
• Connect the word clock output on the synchronizer to a
word clock input on the audio card.
• Connect the MIDI Timecode (MTC) output on the syn-
chronizer to the corresponding input on the computer.
Frame Rate Description
24 fps The traditional frame rate of 35mm film.
25 fps The frame rate used for all video and audio in Europe (EBU).
29.97 fps Straight 29.97 frames per second.
29.97 dfps “Drop frame” code running at 29.97 frames per second,
most often used in the United States of America for work
with color video.
30 fps Straight 30 frames per second. This is often used in the
United States for audio only work.
30 dfps Very rarely used.