The whole studio synced to a vinyl groove!
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Welcome to the epic MIDI-Sync tutorial!
00:00 Intro
00:40 Story: The Nineties
02:06 MIDI-Sync explained
03:57 Demo Track explained
04:45 Start Epic Sync Track
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Where to start and where to end with this vast subject?
I decided to start with some fun! And so I tried to sync as many MIDI-Instruments as I had in my studio. Then I extended the whole thing to the DJ-Booth. At the end, the entire studio was synced up on an old Technics SL-1210MK2. We multitracked everything in Ableton Live 11 and finally distilled the Epic Sync Track.
What would you like to know about syncing, sequencing and recording analogue gear with Ableton? Leave us a comment!The following gear was synced together:DJ-Booth: Roland DJ-505 plus integrated TR-S, Technics SL-1210MK2, Macbook with Serato Pro.
Studio: Ableton Live 11 on Mac M1 with Push2. Synths: Moog Matriarch (int. Sequencer), Radikal Technologies Delta CEP A (ext. Korg SQ-1 via RD-9 Trigger Out), ARP Odyssey (ext. Ableton), Behringer 2600 (ext. Arturia Keystep 37), Behringer TD-3 (int. Seq.), Behringer RD-8 & Behringer RD-9 (int. Seq.), Quasimidi Sirius & Polymorph (int Seq.).
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• Video
Story:
The Nineties: When I spent a few years in the nineties as a product specialist for a synth manufacturer, every third afternoon, alternating with two other traumatized colleagues, the horror descended upon me: the telephone hotline!
At that time, the difference between MIDI and audio seemed to be as big a mystery as the eternal question: How does it work with the sync between my instruments so that they all run at the same tempo?
2021: After a good 15 years of cold sleep when it came to the studio, waking up in a wireless world of analog clones and USB for MIDI, audio, and everything else, I thought I was safe and looked to the future with good cheer!
But the horror and fate knew no mercy!
In times of plug-ins and DAWs, where hardware use is reflected at best in the sporadic use of decoratively draped analog clones, syncing a drum machine with the DAW can lead to existential crises.
This is also the case with our assistant John struggling in his home studio:
But he does the only right thing! He falls back on old, long buried knowledge!
With the MIDI and the Sync it is actually a quite simple thing:
There are always two to MIDI: a transmitter and a receiver. That's why most MIDI capable instruments have a MIDI-OUT and a MIDI-IN jack.
The MIDI-OUT socket receives all MIDI command signals sent by the instrument. So notes, continuous controller, pitch bend, modulation wheel, etc. And also the MIDI sync signal, if the instrument generates a sync signal. Basically all MIDI devices like sequencers, drum machines and workstations should send a sync signal. Sometimes it is necessary to switch on the sending of the sync, because this function is often switchable.
This data wants to be received: therefore, the first important step in a MIDI setup is to wire the MIDI OUT jack of the transmitter to the MIDI IN jack of the receiver.
In addition to the devices mentioned above, synthesizers that require sync for certain parameters such as LFOs but do not necessarily send sync themselves can also be used as receivers.
Again, it is important that the receiver is first set to receive the MIDI sync signal.
Now you are ready for your first sync experience. If you start the device that acts as master, i.e. emits MIDI sync via its MIDI-OUT jack, the device that receives the MIDI sync at its MIDI-In jack automatically starts at the same tempo. If you change the tempo at the master, the receiver will follow. But you can't change the tempo on the receiver anymore.
But only two devices are boring. That's why there is a third jack on better MIDI devices: MIDI-Thru!
The trick with MIDI-Thru is as simple as it is convincing: All MIDI data that a device receives, it forwards unfiltered to its MIDI-Thru jack. This of course includes the MIDI Sync signal.
At one end, the MIDI Sync signal was converted into a trigger signal, which we used to synchronize an analog sequencer.
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