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4

ASSUMING (and this could be a large assumption) that the Camera and Production audio have matching TimeCode and that the editor hasn't stripped it out in the AVID, you can use the Field Recorder functions of PT using match to Time Code only... You may end up with some clips that have the same timecode but it should shave hours off your workflow. Basically ...


3

Unless the recording devices are locked to each other or a common masterclock like a blackburst generator the devices will drift over time. The best thing to do is probably slice and readjust as needed, whether thats by song or a really tiny adjustment part way through each song. You could try a slight time stretch but that will probably introduce more ...


3

Do expect drift between non-timecode-locked equipment. This is common. One way to get around it is to feed the sound from your recorder back into the camera, monitor via the camera's audio/headphones out, then use the sound from camera in your edit. Lots of cables, but fewer posts on forums later if you don't run across other complications. Sync drift can ...


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If you don't start with timecode, or even a 2-pop or clapper, I can't see any other way than lining it up by eye; finding a common beginning… then hoping they stay approximately in sync. I've never tried this in Audacity, but in any regular DAW or video suite you can just drag one track against the other roughly by eye, then keep increasing zoom & ...


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I hate idiosyncrasies like this. First things first: How many frames is it off? Have you asked the director how he rendered? Are you working from his rendered files or something like an OMF? I've had similar issues where the audio will be about 1 frame longer than the video (when going from a Pro Tools audio render to a Premiere video render). Sometimes ...


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As long as the time code is reliable and your camera didn't drop frames, it should be as simple as laying them back to back and then syncing the audio. I normally recommend syncing to a point in the beginning and then checking if it still lines up at the end. If not, a couple of factors could be in play. It could be that the timecode is just off from ...


2

Wow.. that sucks ... Where is the assistant editor?! Are they sure they can't go through and matchframe their edit clip by clip to give you the full multitrack audio? Quite standard practice in situations where you havent decided on this audio-conforming workflow. I'm assuming you're having to go through this process because they have cut with the mix ...


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Solution: Send a MIDI SysEx "reset all" message. What worked for me: Download MIDI-OX for Windows or KMidimon for Linux. I use Windows so these steps will continue with MIDI-OX. Start MIDI-OX. Go to Options->MIDI Devices. Select your MIDI input ("E-MU Xmidi1X1 Tab" for me). I actually selected Microsoft GS Wavetable Synth for my MIDI output, but I don't ...


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Depends on the interface. Normally something like this would be handled by a sync cable and a clock generator that establishes a common clock across devices. This is only available on higher end interfaces though. Using an external clock and sync cables is the only way I know of for reliable shared timecode on multiple distinct devices. Your other option ...


2

I would go with the clapper method, I have been using it for some time and never had an issue with it. As mentioned it will drift over time but this depends on clip length. Movies and the such typically contain short clips so the drift wont be a huge issue. If you are shooting something like an interview that may just be one long running shot you may notice ...


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It depends on how the "length" is measured. Exactly where does a song "end" that is faded out at the tail (as most popular music seems to be)? Or classical music where the venue ambience is included at the end? Also it depends on whether they are measuring from the start to the start of the next song (i.e. including the inter-song gap). It doesn't seem ...


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I finally found the solution, hope it will help someone if I share it, here is what I have done: update the 03 firmware driver (Roland.com website) then some new Input/Output Midi Ports "TB-03" have been created in Live 9/Options/Preferences/Midi Sync (until now I only had the one related to my external sound card). in Output TB-03/Midi Clock Type, choose "...


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There are tools to do this kind of syncing in video editors. I am currently learning to use a free editor (not free source code though), Davinci Resolve. If you search for Multicam sync you will find alternative solutions (the tools allows you to select to sync on audio).


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Sometimes labels re-record the same song for licencing purposes... it can mean, for example, they don't have to pay the backing musicians royalties - or they re-do something because it turns out a sample wasn't cleared. The main vocal might be patched back in from the original, or even re-recorded. It can arise when a track was initially released with low ...


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The only way to do this is to build a 'tempo track' in your 'DAW' of choice so that bar-lines appear in exactly the correct spot in relation to the audio. Once you have done this (and it takes time) you will then be able to build midi events that work in relation to the tempo track and they will be in sync with the audio track.


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Yes. I can tell you exactly what is wrong. Your synch is off because the frame rate you 'think' you are recording, isn't the frame rate you are editing at. Consequently when you lay in the audio, it loses synch. Specs of this camera say that it will record at '30fps' but it is highly likely you are actually shooting at a non-integer frame rate of 29.97fps,...


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This is more a workaround than an answer as I did not manage to link the libavformat library to Audacity. So here are some clues using FFmpeg version 4.1 with libavformat.58.20.100.dylib on macOS. There is a potential issue depending on the container used and the FFmpeg version. Some containers (m4a and mp4 for instance) include a metadata describing how ...


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Just another hint. It is not necessary to install the USB drivers for the tb-03 but just the "pattern" setting on the (OUT) midi clock is necessary. I am using just the MIDI cable to sync the TB-03 (USB just for power, not data). I have a MOTU Midi express and I set the "pattern" MIDI sync mode on the specific OUT port where the 303 is connected. By the ...


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Re: @coaxmw 's answer Both VocAlign & Re-Voice are good tools, but I'd be careful of 'over-aligning' a choir - I once did it [with VocAlign] & ended up with 80 tracks that sounded like 6 people & had to start over to preserve the 'size' of the end result. A choir really doesn't align that precisely, even when they're 'good'. Melodyne might be ...


1

The two devices drift slightly out of sync like the other person said, I frequently record concerts where I have cameras and separate recorders and have up to 8 tracks all out of sync. If you don't have access to a program like plural eyes which can sync it for you, the best thing to do is line all of them up at one spot where there's an easily identifiable ...


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here are a few clues : as your protools rig and the camera do not share a common clock reference, their respective speeds will slowly drift and you will notice that on long takes, even if you sync their starting point, they will end slightly out of sync on the editing software timeline. the easiest workflow in your case, because it doesn't require any ...


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I have experienced the same issue, including just yesterday preparing for a live performance, and thought the unit was broken. Apparently based on your post, it is a bug in the 1x1 itself. To resolve the problem, unplugging the 1x1 and re-inserting it usually rectifies the issue. Very annoying... This effectively resets the unit.


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Had the same problem with E-Mu MIDI 1x1, windows 7 64 bit. Disconnectng and reconnecting the MIDI USB solved the mystery delay. Thanks.


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This exact thing is happening to me. I tried updating the drivers, but that didn't help. The only consistent feature that seems to take the lag away is to unplug the USB device, wait at least 10 seconds, then plug it back in. Once plugged in again, it works like a charm. Having the device plugged in during boot-up slows it down for some reason. I'm ...


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From what I can gather, it looks like a pretty specialized form of encoding that would need software or hardware designed specifically for writing and encoding the Audio Description information. I don't think such features are built in to Pro Tools or Final Cut. In fact, I could find very little information about any vendors with a solution for this. It ...


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I don't think either FCP or PT can generate LTC in software. Higher-end systems (like smoke) can. The usual trick is to digitize the LTC track from a beta deck or similar, and add that as an audio track in your project. If this is a continuing requirement, a sync-locked hardware TC gen isn't very expensive. Horita has one for under $300. http://www.horita....


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