Program Button

The PROGRAM button selects the current program or sync function. Press the button once and an LED flashes rapidly to indicate the currently selected program. Press the PROGRAM button repeatedly to advance to and select a particular program or sync function.

MIDI Input LEDs

The red input LEDs flash when MIDI data is received by the Studio 64 XTC. The input LEDs also indicate when a user program is selected.

Sync Button

The SYNC button is used to edit settings for the three sync functions: Sample Rate, Sync Ref, and SMPTE. Once a sync function is selected with the PROGRAM button, press the SYNC button to step through and choose from the various sync options.

Sync Status LEDs

The green Sync Status LEDs provide a means for monitoring and editing sync settings. Following is a description of the options for each sync function. Sample Rate Function When the sync function is Sample Rate, the sync status LEDs indicate the sample rate of the Word Clock and Super Clock generated by the Studio 64 XTC; whether Pull Up or Pull Down is used; and if an Alesis ADAT is connected and online. The sync status LEDs are lit steadily when a sample rate or Pull Up/Down mode is selected. Use the SYNC button to step through any of the following combination settings: 44.1, 44.1/P-UP, 44.1/ P-DN, 48, 48/P-UP, or 48/P-DN. For more information on Word Clock, Super Clock, and Pull/Up Down, see Word Clock and Super Clock (pg. 51). The ADAT status LED is lit when an ADAT (turned on) is detected by the Studio 64 XTCs ADAT Sync port. To take the ADAT offline, press the SYNC button repeatedly until the ADAT LED is selectedas a result, the LED will blink slowly, indicating the ADAT is offline. For more details, see Taking the ADAT Offline (pg. 66). If the ADAT is not turned on, or correctly connected to the Studio 64 XTC, the ADAT status LED will not be lit.
Sync Ref Function When the sync function is Sync Ref, one or two of the sync status LEDs is lit steadily to indicate the Studio 64 XTCs referenced sync sources for address (playback location) and time base (playback speed). For a detailed explanation of how the Studio 64 XTC works with address and time base sources, see Time Base and Address (pg. 49) and Sync Reference Modes (pg. 50). Following are the available choices for sync source references: Internal: Studio 64 XTC generates an internal timing source. SMPTE: SMPTE time code from the SMPTE IN jack is referenced. MTC: MIDI Time Code received from one of the four MIDI inputs, or from a computer program, is referenced. Video: Blackburst or composite video signal received from the Blackburst/ Video IN port is referenced.

DUAL COMPUTER CONNECTION

The Studio 64 XTC can be connected to either an IBM PC or Macintosh. Whats more, the interface can even be connected to both types of computers at the same time. However, when connecting to both a Mac and PC, the Studio 64 XTC can communicate with only one computer at a time. Dont worry though, the Studio 64 XTCs auto-sensing capability always knows which computer to respond to.

Blackburst/Video In

The Studio 64 XTC receives Blackburst (house sync) or composite video via this BNC connector.

MIDI Outputs

The Studio 64 XTC transmits MIDI to any of four MIDI outputs. Each output port (identified by number, 1 - 4) represents a discrete set of 16 MIDI channels. Two MIDI outputs (A and B) are provided for ports 1 and 2. Therefore, devices sharing ports 1A and 1B, for instance, receive the same MIDI information.

MIDI Inputs

The Studio 64 XTC receives MIDI from any of four MIDI inputs. Each input port (identified by number, 1 - 4) represents a discrete set of 16 MIDI channels.
IBM PC CONFIGURATION Connect Hardware
IMPORTANT: If you have other serial devices (such as a mouse or modem) connected to a COM port on your PC, please see Appendix D: PC Serial Ports on page 91 before proceeding. To connect the Studio 64 XTC to your PC: Turn off your computer, peripherals,

and MIDI instruments.

Plug one end of the provided serial
cable into the PC port of your Studio 64 XTC; plug the other end of the serial cable into your computers COM port. Make note of whether you are connecting to COM1 or COM2. If your COM port has a 25-pin connector, use the provided PC cable adapter.
Using standard MIDI cables, connect
the MIDI OUTs of your instruments to the MIDI INs of the Studio 64 XTC; then connect the MIDI INs of your instruments to the MIDI OUTs of the Studio 64 XTC. For more details, see Chapter 5: MIDI Instrument Connections.
Plug the small end of the provided
power adapter into the Studio 64 XTCs 9VDC 300MA jack; plug the other end into an AC power source. Make sure your power adapter is set to or compatible with the AC voltage in your area.

Run the Setup Program

To install the necessary PC software for the Studio 64 XTC: Insert the PC disk and double-click

the Setup program.

Turn on your computer, peripherals,
Studio 64 XTC, and MIDI instrumentsin that order. For best results, use a power strip to turn on/off all equipment simultaneously.
When prompted, specify which
Studio 64 XTC software components you wish to install and click Next. First-time installers should install all components.
Serial Port Considerations (PC) An IBM PC compatible may have up to four COM ports: COM1 - COM4. Separate COM ports can share the same IRQ, but they cannot operate at the same time. Generally, COM1 and COM3 are assigned to IRQ4, while COM2 and COM4 are assigned to IRQ3. If your COM port has a 9-pin connector, use the provided PC serial cable to connect to the Studio 64 XTC. If your COM port uses a 25-pin connector, plug the provided PC cable adapter between your computer and the provided PC serial cable, which plugs into the Studio 64 XTC.

restart your Macintosh.

After restarting, launch the
OMS Setup application and configure a New Studio Setup. Consult your OMS Manual for help with Studio Setup configuration.
CHAPTER 4: Macintosh Configuration
STUDIO 64 XTC AS A SECOND INTERFACE
If you have an existing MIDI interface, you can use the Studio 64 XTC as a second interface. Simply connect one interface to the modem port and the other to the printer port. Then when configuring OMS, make sure to enable both ports before searching for interfaces. For information on connecting additional MIDI interfaces to the Network port of the Studio 64 XTC, see Appendix B: Networking.
If you wish to receive SMPTE time code in an OMS application, the Studio 64 XTC appears as a sync source. If you are using Studio Patches and have created a Studio Patches document, any of its virtual instruments and virtual controllers are also accessible from OMS applications.

Non-OMS Applications

The Studio 64 XTC is compatible with non-OMS applications. When using such an application, the Studio 64 XTC acts like a standard MIDI interfacethereby providing only 16 MIDI channels. In standard interface mode, the Studio 64 XTC merges all MIDI inputs into the computer; additionally, all transmitted MIDI is simultaneously sent to all four outputs. IMPORTANT: To use non-OMS applications, the current Studio 64 XTC user program must route MIDI to and from the computer.

Figure 4.1:

USING MACINTOSH MIDI SOFTWARE OMS-Compatible Applications
Once you have configured an OMS Studio Setup, using OMS-compatible applications is quite seamless. Any devices contained in your Studio Setup document are automatically available in OMS applications, and you can even select them by name. If at some point you make changes in your current Studio Setup, OMS applications are updated.

CHAPTER 5:

MIDI Instrument Connections
MIDI INSTRUMENT CONNECTIONS
The Studio 64 XTC is a multiport MIDI interface. This means that each of its four discrete input and output ports supports 16 MIDI channels, providing a total of 64 channels. The Studio 64 XTC receives MIDI data from MIDI inputs 1 - 4, and sends data to MIDI outputs 1 - 4. NOTE: Two MIDI outputs (A and B) are provided for ports 1 and 2. Therefore, devices connected to ports 1A and 1B, for instance, receive the same MIDI information.

MIDI Out MIDI In

Studio 64 XTC

MIDI Out

Drum Machine

MIDI Controller

Figure 5.1: Instruments sending MIDI data
Types of devices from which you will want to receive MIDI include: Master keyboard controllers sending performance data; Devices sending timing information like external sequencers, drum machines, sync boxes, and MMC compatible recorders; Instruments transmitting system exclusive data for storage purposes.

computer in DOS mode.

VERIFYING MAC CONNECTIONS WITH TEST STUDIO
An easy way to trouble-shoot MIDI communication on the Macintosh is with Test Studio, which is enabled from the Studio menu in the OMS Setup application. Once Test Studio is enabled, click on any MIDI device in your Studio Setup document to test MIDI output, or play some notes on your keyboard controller to verify MIDI input. If Test Studio is unsuccessful, choose Studio>MIDI Cards & Interfaces to reestablish communication with the Studio 64 XTC. Consult your OMS manual for more details on using Test Studio.

Figure 6.1:

At the DOS prompt, type:

C:\64XTC\XTCDIAG

NOTE: This example uses the default install location for XTCDIAG. If you specified a different install directory or hard drive, please make the necessary change in this step.
Then press the ENTER key.
The XTCDIAG program launches.
When prompted, specify your COM
port and IRQ settings. The XTCDIAG program tests the interface connection. If the interface is not found, see Chapter D: PC Serial Ports for checking possible serial port conflicts.
Once your connection is verified as
valid, use the programs Trace command to test MIDI input; and to test MIDI output, use the Scale command.
PART 2: Studio 64 XTC Programs

CHAPTER 7:

Studio 64 XTC Programs

USER PROGRAMS

The Studio 64 XTC has four user programs that specify how it processes MIDI input and output, and how it works with synchronization. User programs are stored in nonvolatile memory and recalled from the front panel with the PROGRAM button. When a user program is selected, its settings are always activewhether a MIDI software program is running, or even if the Studio 64 XTC is not connected to a computer. User programs are displayed and edited from the Program Edit Window, which can be accessed from the: Program Editor under Windows (see Chapter 8, page 33), or with the. OMS Setup application on the Mac (see Chapter 9, page 39).
Each Studio 64 XTC user program can control the following: MIDI Routing and Merging: Routings between any MIDI input and output are defined in the Connection Grid of the Program Edit Window. Each defined connection can have its own discrete settings for message and channel mutings. Message Filtering: MIDI messages can be filtered for each defined connection. Channel Filtering: MIDI channels can be filtered for each defined connection. Channel Shifting: For each defined connection, channel specification for MIDI messages can be shifted with the channel bump option. Sync Settings: Each user program stores settings for Sync Reference, Sample Rate and Pull Up/Down, Digital Phase Lock on/off, ADAT ID and offset, and SMPTE settings (frame rate, start time, freewheel, and MTC routing).

CHAPTER 9: Editing User Programs on the Macintosh
Channel Filters: Specifies which channels are routed for the selected connection(s). A green dot indicates the channel is routed. A red circle indicates the channel is not routed. A gray, empty area indicates the channel setting is different for the selected connections. Selecting the All option automatically routes all channels. Channel Bump: Shifts the channel assignment for MIDI messages for the selected connection(s). Rename button: Lets you rename the current user program. Program pop-up: Specifies which program is being displayed and edited. Choosing a program from this pop-up menu also sends it to the edit buffer of the Studio 64 XTC, which does not store it in nonvolatile memory (to do this choose Studio 64XTC>Store Program). Digital Phase Lock: When checked, this option provides the most accurate sync when using Word Clock and Super Clock with digital audio hardware. If, however, you are not using digital audio hardware or an ADAT, uncheck this item for faster lock-up when syncing to SMPTE or MTC. For more info, see Digital Phase Lock (pg. 53). NOTE: The Studio 64 XTC still generates Word/Super Clock when Digital Phase Lock is disabled. In this mode, however, audio sync is not as accurate.
IMPORTANT: Digital Phase Lock must be checked if you are controlling an Alesis ADAT from the Studio 64 XTC. Sample Rate: Determines the sample rate, and whether Pull Up/ Down is used, for the transmitted Word Clock and Super Clock. For details, see Word Clock and Super Clock (pg. 51). Sync Source: Determines the Sync Reference mode for the Studio 64 XTC. See Sync Reference Modes (pg. 50) for an explanation of each mode. MTC Source: When the Sync Reference mode is specified as MTC or MTC/Video, this pop-up determines the source of the MTC (one of the four MIDI IN ports, or Computer). Choose Computer as the source when receiving MTC from a software application. See MIDI Time Code (pg. 61) for details. Adat Offset: Specifies an offset for SMPTE transmitted to the ADAT Sync port. For details, see ADAT Offset (pg. 64). ADAT ID: Sets the ID for the ADAT connected directly to the Studio 64 XTC. For details, see ADAT ID (pg. 64). ADAT Online: Determines whether the Studio 64 XTC sends control messages to a detected ADAT. For details, see Taking the ADAT Offline (pg. 66).
To open the SMPTE Window, choose Studio 64XTC>SMPTE Window.

Reading 29.97 Non-Drop When receiving 29.97ND, the Studio 64 XTC always detects it as 30ND. It is not possible for hardware or software to tell the difference between these two SMPTE formats. For proper synchronization to 29.97ND, make sure that the Studio 64 XTCs current user program and your music software are both set to this format.

Jam Sync

When the Studio 64 XTC reads incoming SMPTE, it regenerates identical time code to the SMPTE OUT jack. Regeneration allows re-striping of a damaged sync track or bouncing from one sync track to another. In the case of a severely damaged sync track, or if you need to extend the length of a sync track, the Studio 64 XTC can use Jam Sync (a Freewheel setting in the SMPTE Window). When Jam Sync is enabled and the Studio 64 XTC locks onto time code, it will regenerate SMPTE indefinitely.

SMPTE Freewheel

The Studio 64 XTC provides dropout protection on SMPTE input. This allows a sequencer or other program to reliably sync to SMPTE even when receiving corrupted time code (such as from tape dropout). The Freewheel setting in the SMPTE Window determines the number of dropped frames (None, 2, 6, 10, 30, 60) the Studio 64 XTC will tolerate. The default Freewheel setting is 10 frames. NOTE: Because the Studio 64 XTC cannot distinguish between bad time code and time code that has merely stopped, your MIDI sequencer will continue to sync for a brief time after the tape has stopped.

SMPTE CONNECTIONS

The Studio 64 XTC has SMPTE IN and OUT jacks for direct connection to multitrack tape recorders, video decks, and other equipment capable of receiving/ transmitting sync information. The sync signals are output as line-level audio, so special equipment is not required. In general, SMPTE signals should bypass mixing consoles, equalizers, and any other signal processing equipment that could add distortion to the signals and affect synchronization. For connections, use shielded audio cables with 1/4 phone plug termination. IMPORTANT: An optimum SMPTE signal has a level between -10 db and -3 db, and should not be processed by equalization, compression/limiting, or noise reduction.

Figure 11.5: SMPTE Window (PC), MTC routed to Computer and Port 2
On the Mac, MTC destination ports are specified in the Connection Grid.
Figure 11.6: Connection Grid (Mac), MTC routed to Computer and Port 2
CHAPTER 12: ADATs and other MMC Devices
The Studio 64 XTC turns your personal computer into a remote control center for Alesis ADATs and MIDI Machine Control (MMC) devices.
WORKING WITH ALESIS ADATS
Slaving Alesis ADATs from the Studio 64 XTC requires very little in the way of setup and configuration.
ABOUT MIDI MACHINE CONTROL
With the Studio 64 XTC and the appropriate MIDI software, your computer can use MMC commands to control the transports of compatible recording devices. MMC instructs your recording device(s) to play, record, pause, stop, fast-forward, rewind, and even record-enable tracks. This makes it very easy to integrate external multitracks and hard disk recorders with computer sequencing or digital recording softwarethereby using a single transport to control the playback and recording of many devices.

Sync In

Alesis ADAT, Device 1
Additional ADATs, daisy-chained
Figure 12.1: Controlling one or more ADATs from the Studio 64 XTC
All the information necessary for controlling ADATs is communicated from the Studio 64 XTCs ADAT Sync port. Whats more, additional ADATS can be daisychained and the Studio 64 XTC will easily control them as well.

ADAT ID and Offset

Stored with each Studio 64 XTC user program are ADAT settings for ID and offset. These two settings cannot be edited from the Studio 64 XTCs front panel; if you wish to change them you must therefore use the included PC or Macintosh software.
IMPORTANT: The ID numbering scheme for the Alesis ADAT is off by one. For instance, if your Studio 64 XTC user program is set to 0, the front panel of your ADAT will actually display 1. ADAT Offset The ADAT offset only affects location information sent to the ADATs (from the Studio 64 XTCs ADAT Sync port). This allows you to have the ADAT play any location on the tape relative to incoming time code. The offset is needed because ADAT tapes only provide about 40 minutes of play time, while time code could come in at any time within a 24 hour range. For instance, suppose you were trying to sync to something on video that began at 02:30:00:00, and you wanted to start 10 minutes into the ADAT tape. In this example, you would specify an ADAT Offset of negative (-) 02:20:00:00 (2 hours, 30 minutes minus 10 minutes). NOTE: If the incoming time code is later than the corresponding location on the ADAT tape, a negative offset must be specified. If, on the other hand, the time code source started at 00:01:00:00 and you wanted to begin at 5 minutes in to your ADAT tape, you would specify an ADAT Offset of positive (+) 00:04:00:00.

Figure 12.2: Sync settings from Program Editor (PC)
Figure 12.3: Sync settings from OMS Setup (Mac)
ADAT ID When an ADAT is connected to the Studio 64 XTC, its ID is automatically configured to the ID setting stored in the current user program. If more than one ADAT is connected, each units ID is configured incrementally (for instance, first ADAT set to 0, next ADAT set to 1). It is important that the ADAT ID setting in your user programs match the ID specified in your sequencing software. If you are using OMS, make sure the device defined as your ADAT is also set to that ID.

MMC Setup for ADATs

To control one or more ADATs via MMC with your Studio 64 XTC: Turn off your Studio 64 XTC and any

ADATs you wish to slave.

Also, make sure the user program has the ADAT routed to and from your computer in the Connection Grid; and choose the desired SMPTE Frame Rate in the SMPTE Window.
From either your PC or Macintosh,
save and store the user program in your Studio 64 XTC.
Connect the Studio 64 XTCs ADAT
Sync port to the Sync In of your ADAT.
If using an OMS application, add a
device to your current Studio Setup and assign its port number to 5.
If you have additional ADATs, connect
the Sync Out of the first ADAT to the Sync In of the second ADATand so forth.
Turn on the Studio 64 XTC and

ADATs.

From the front panel of the
Studio 64 XTC, use the PROGRAM button to call up the Sample Rate function. Check the status of the LED for the ADAT on the Studio 64 XTCs front panel. If lit, the Studio 64 XTC is connected successfully to the first ADAT. If not lit, turn everything off and check connections.
Add a device assigned to port 5.
Using either the Program Editor (PC)
or OMS Setup (Mac), configure and save a Studio 64 XTC user program with the following settings. Sync Reference (Source): Internal Sample Rate: 48k (default for ADAT) MTC Source: Computer Digital Phase Lock: On ADAT Online: On ADAT ID: 0 In addition, see ADAT ID and Offset (pg. 64) for details on setting an appropriate ADAT Offset.
In addition, make sure the device is set to send and receive both MTC and MMC. And make sure the OMS Device ID (in this example, 0) matches that contained in the current Studio 64 XTC user program.
Figure 12.4: OMS Device Info for Alesis ADAT
If using multiple ADATs, additional units should appear in OMS as daisy-chained devices on port 5. See Figure 12.5.

Taking the ADAT Offline

The ADAT Online option lets you specify whether the Studio 64 XTC communicates with a connected ADAT. If you take the ADAT offline, time code and transport commands are not sent to the ADAT Sync port. And, since the Studio 64 XTC doesnt have to wait for the ADAT to locate before it begins generating sync, this speeds up the time it takes to lock up with your sequencing software. Using either the Program Editor under Windows (see Chapter 8, page 33) or the OMS Setup application on the Mac (see Chapter 9, page 39), you can specify for each user program whether the ADAT is online or not. You can also temporarily take the ADAT offline from the front panel of the Studio 64 XTC: Turn on the Studio 64 XTC and ADAT. Using the PROGRAM button, call up

Address source: Analog Multitrack Time Base source: Analog Multitrack Super Clock destination: Pro Tools Sync Ref mode for XTC: SMPTE This scenario involves syncing to SMPTE from an analog multitrack while sending Super Clock to Digidesigns Pro Tools hardware. Any fluctuations in the speed of the time code entering the Studio 64 XTC are compensated for in the generated Super Clockthereby adjusting the sample rate playback of the Pro Tools hardware. Turn off your Studio 64 XTC,
multitrack recorder, and Digidesign audio interface.
USING WORD CLOCK AND SUPER CLOCK
Following are some examples using Word Clock and Super Clock with digital audio hardware.
Analog Multitrack and Pro Tools
Connect the audio out of the
multitracks SMPTE track to the SMPTE IN jack of the Studio 64 XTC.

Super Clock out

Connect the Studio 64 XTCs Super
Clock port to the Slave Clock In of your Digidesign audio interface.
Slave Clock in SMPTE Track out

Digidesign I/O

Turn on your equipment. Using either the Program Editor on
the PC, or OMS Setup on the Macintosh, edit and store a

Analog Multitrack

Figure 13.1: Syncing analog multitrack and Pro Tools
Studio 64 XTC user program with the Sync Reference mode set to SMPTE. Also, make sure to specify the desired SMPTE format and sample rate for the user program. And, Digital Phase lock must be enabled.
Configure your digital recording
software to sync to MTC with the Studio 64 XTC as the sync source. In addition, configure any necessary settings for SMPTE frame rate and sample rate for the audio hardware. Consult the appropriate manufacturers manuals as needed.
This example illustrates controlling the Tascam DA-88 (with SY-88 sync card) via MMC. In addition, Word Clock is sent to the DA-88 and Super Clock to Digidesigns Session 8 PC, which allows the digital audio playback of both devices to be in sync. In this example, MTC from the DA-88 is the source for both address and time base. Turn off your Studio 64 XTC, DA-88,
and Digidesign audio interface.
Connect the Super Clock Out of the
Studio 64 XTC to the Slave Clock In of the Digidesign audio interface.

Session 8 PC and DA-88

Slave Clock in
Word Clock out MIDI in/out Word Clock in
card to one of the Studio 64 XTCs MIDI inputs. Connect the MIDI input of the SY-88 sync card to the MIDI output of the Studio 64 XTC. Make sure to use the same Studio 64 XTC port number for each MIDI connection.
Turn on your equipment. Make sure the DA-88, Studio 64 XTC,
Figure 13.2: Syncing Tascam DA-88 and Session 8 PC
and necessary software are configured appropriately for MMC control. For details, see Using a Tascam DA-88 (pg. 67).

Address source: DA-88 Time Base source: DA-88 Word Clock destination: DA-88 Super Clock destination: Session 8 Sync Ref mode for XTC: MTC
Using either the Program Editor on
the PC, or OMS Setup on the Macintosh, edit and store a Studio 64 XTC user program with the Sync Reference mode set to MTC.
playback speed of the professional video deck (SMPTE source). As a result, the Studio 64 XTC generates Word Clock and SMPTE that keep the DA-88 in sync with the video. NOTE: This example assumes your professional video deck supports receiving a Blackburst (house sync) signal. Turn off your Studio 64 XTC, Tascam
DA-88, video deck, and Blackburst generator.
Blackburst, Video Deck, and DA-88
Connect the audio out of the video
deck (containing the SMPTE time code signal) to the SMPTE IN of the Studio 64 XTC.
Connect the output of the Blackburst

SMPTE out Word Clock out

generator to the Studio 64 XTCs Blackburst/Video In jack. In addition, connect the Blackburst generator to the video deck and configure as specified by the manufacturer.

Blackburst in

Video Deck
Connect the SMPTE OUT of the
Figure 13.4: Syncing Tascam DA-88 to Blackburst generator and video deck
Studio 64 XTC to the SMPTE input of the SY-88 sync card. Configure the DA-88/SY-88 to chase SMPTE time code. Consult your Tascam documentation for details.
Address source: Video Deck Time Base source: Blackburst Word Clock destination: Pro Tools Sync Ref mode for XTC: SMPTE/Video This example involves syncing a Tascam DA-88 (with SY-88 sync card) to a Blackburst generator. The Blackburst box provides the time base to the Studio 64 XTC while also controlling the
NOTE: This example does not provide for MMC control of the DA-88.

Turn on your equipment.

the PC, or OMS Setup on the Macintosh, edit and store a Studio 64 XTC user program with the Sync Reference mode set to SMPTE/ Video. Also, make sure to specify the desired SMPTE format and sample rate for the user program. And, Digital Phase Lock must be enabled.
Address source: Video Deck Time Base source: Blackburst Super Clock destination: Pro Tools Sync Ref mode for XTC: SMPTE/Video This scenario syncs Digidesign Pro Tools and the Alesis ADAT to a Blackburst signal. Again, as in the previous example, the Blackburst box provides the time base to the Studio 64 XTC while controlling the playback speed of the video deck. The Studio 64 XTC generates Super Clock (sent to the Pro Tools hardware) that keeps its digital audio playback in sync with the video and ADAT. NOTE: This example assumes your professional video deck supports receiving a Blackburst (house sync) signal. Turn off your Studio 64 XTC, Alesis

The Multimedia Properties dialog opens.
Click the Advanced tab and then
double-click MIDI Devices and Instruments. A list of installed MIDI drivers appears.
Select any entry for the Studio 64 XTC
and click the Properties button. The Driver Properties dialog opens.
Figure C.2: Studio 64 XTC setup dialog
Click the Settings button to open the
driver setup dialog for the Studio 64 XTC.
COM port and IRQ for your Studio 64 XTC connection. Click OK.
Exit and restart Windows for driver
Changing Driver Settings under Windows 3.1
To change driver settings under Windows 3.1: Launch Windows and open the
Removing the Driver under Windows 95
First, remove driver in Control Panel: From the Windows 95 taskbar, choose
A list of installed drivers appears.
Select the entry for the Studio 64 XTC
and then click the Setup button. The Driver Setup dialog opens.
Click the Remove button; then in the
following warning prompt, click Yes.
In the Device Removed dialog box,
again click the OK button. Windows prompts you that changes may not take effect until restarting.
REMOVING THE WINDOWS DRIVER
If for some reason you need to remove the driver for the Studio 64 XTC, follow the steps outlined below. IMPORTANT: Before executing these edits you should make a backup copy of your System.ini file, located in your Windows\System directory.
Click OK. Exit and restart Windows for
Next, delete the driver files, Stu64xtc.drv and Stu64xtc.386: From the Windows desktop, navigate
to the Windows/System folder.
Removing the Driver under Windows 3.1
First, remove driver in Control Panel: Open the Control Panel, located in

the Main program group.

Locate the files Stu64xtc.drv and

Stu64xtc.386.

Drag both files to the Recycle Bin. Empty the Recycle Bin. Lastly, edit your System.ini file: From the Windows desktop, navigate

to the Windows folder.

Select the Studio 64 XTC driver and

click the Remove button.

In the following warning dialog click
Locate the file System.ini and

computer and locate which one the mouse is hooked up to. Using the documentation for your computer determine the number (COM 1, COM 2, etc.) of the port to which the mouse is attached. Write this number down. If you are unable to determine the number of the COM port to which the mouse is attached you may be able to get this information by going to the Start Button > Settings > Control Panel > System > Device Manager > Mouse. Look on all pages of this driver information for any indication of the COM port, Address or IRQ which the mouse driver is configured to use. Write this information down.
If your mouse has a rectangular or
D-shaped plug, it is a serial mouse which may conflict with the interface, in which case you should proceed to step 3. If your mouse has a round plug then it is a PS2 mouse and should not conflict with the interface, in which case you should proceed to step 4.
NOTE: If you are still having trouble determining which COM port your mouse is using, contact the manufacturer of your computer and they should be able to help you determine which COM port your mouse is using.
Do you have a modem? If yes,
proceed to step 5. If not, proceed to step 6.
You need to determine the number of
the COM port which is being used by your modem. To do this go to the Start Button > Settings > Control Panels > System > Device Manager > Modem. Look on all pages for any information about the Port, Address or IRQ which the modem driver is configured to use. Write this information down.
NOTE: If you are having trouble finding this information contact the manufacturer of your modem or computer. They should be able to help you determine which COM port your modem is attached to.
You will need to either remove one of the devices (and its corresponding drivers) that is currently hooked up to one of the serial ports or purchase an after market Serial Port Card which is configurable for an IRQ and address that are not being used by any other devices in your system. Once installed this card will give you an extra serial port to which you can attach any serial port device. Proceed to step 8.
Based on your list of COM ports in

Patches can perform a wide range of MIDI processing and are constructed by connecting various modules together in the Studio Patches Editor. The patch modules include splitters (for channels, note range, and velocities), modifiers (for velocity, mono/poly aftertouch, and controller values), a transposer, and a control number mapper.
Compatible MIDI Interfaces
To use Studio Patches you must have an Opcode Studio 5, Studio 4, Studio 64X or Studio 64 XTC. Below are some important details, specific to each interface, that you should know. Studio 5: The Studio 5 has built-in RAM that can store a Studio Patch document. This means that the Studio 5 can use Studio Patches (recalled from its front panel) without being connected to a computer. Studio 4: In order to use Studio Patches, this interface must be connected to your Macintosh and an OMS application must be launched. Studio Patch processing occurs in addition to any processing performed by the Studio 4s Routing, Channelizing and Muting window. When first learning to use Studio Patches, you may want to disable all routings in this window. Studio 64X, Studio 64 XTC: In order to use Studio Patches, this interface must be connected to your Macintosh and an OMS application must be launched. Studio Patch processing occurs in addition to any processing performed by the Studio 64s User/Preset Programs, as defined in the Program Edit Window. When first learning to use Studio Patches, you may want to disable all routings in this window.
NOTE: Although Studio Patches require one of the above mentioned interfaces, you can use devices that arent attached to your interface (such as a SampleCell card) in Patch documents. For a complete and thorough explanation on creating and using OMS Studio Patches, consult the PDF version of the Studio Patches Manual included with your Studio 64 XTC package.
ADAT Sync port 10 Address 49 Alesis ADAT controlling via MMC 65 ID setting in user program 64 offset in user program 64 using with Studio 64 XTC 63 working with multiple units 66
Freewheel 49 and Studio 64 XTC 56 Front Panel Descriptions 7 Front Panel Operations 31 initializing user programs 32 monitoring/editing sync settings 32 selecting a program 31 striping SMPTE 32

Generating SMPTE 61

Blackburst/Video In jack 11 Blackburst/Video sync examples 71

How to Use this Manual 4

Configuration for IBM PC 13 for Macintosh 17 OMS 18 Connections for IBM PC 13 for Macintosh 17 MIDI instruments 21 serial port considerations (Mac) 18 serial port considerations (PC) 14 SMPTE 56 to two computers 11 verifying with Test Studio (Mac) 26 verifying with XTCDIAG (PC) 26 Initializing User Programs 32

Studio 4

Opcode Systems, Inc. 365 East Middlefield Road Mountain View, CA 94043 (650) 429-2400 http://www.opcode.com
Opcode Part Number: 110-0222-01
Copyright 1995 Opcode Systems, Inc. All rights reserved. This document may not, in whole or part, be copied, photocopied, reproduced, translated or converted to any electronic or machine readable form without prior consent of Opcode Systems, Inc.

LIMITED WARRANTY

Opcode Systems, Inc. warrants the Studio 4 against defects in materials and workmanship for a period of one (1) year from the date of original retail purchase. If you discover a defect, first write or call Opcode Systems, Inc. at (415) 856-3333 to obtain a Return Merchandise Authorization Number (no service will be performed on any product returned without prior authorization). If the product needs to be returned to Opcode, please attach your name, address, telephone number, a description of the problem, and a copy of the dated bill of sale as proof of purchase. Write the Return Merchandise Authorization (RMA) Number clearly on the outside of the package and all correspondence. Upon receiving the returned product, Opcode Systems, Inc. will then, at its option, repair, replace, or refund the purchase price of the product. This warranty applies only to the Studio 4; Opcode software is warranted separately. This warranty does not apply if the product has been damaged by accident, abuse, misuse, or misapplication, or has been modified without the written permission of Opcode Systems, Inc. All implied warranties, including implied warranties of merchantability and fitness for a particular purpose, are limited in duration to one (1) year from the original date of retail purchase of this product. The warranty and remedies set forth above are exclusive and in lieu of all others, oral or written, express or implied.
Opcode Systems, Inc. is not responsible for special, incidental, or consequential damages resulting from any breach of warranty, or under any legal theory, including lost profits, downtime, good-will, damage to or replacement of equipment and property. Some states do not allow the exclusion or limitation of implied warranties or liability for incidental or consequential damages, so the above limitation or exclusion may not apply to you. This warranty gives you specific legal rights, and you may also have other rights which vary from state to state. Except to the extent prohibited by law, all implied warranties made by Opcode Systems, Inc. in connection with this manual and software are limited in duration to ninety (90) days from the date of original purchase, and no warranties, whether express or implied, shall apply to this product after said period. Opcode Systems, Inc. makes no warranty or representation, either express or implied, with respect to the software described in this manual. This software is sold as is. The purchaser assumes the entire risk as to its quality and performance. Under no circumstances shall Opcode Systems, Inc. be liable for any loss or damage, direct, consequential, or incidental, arising out of the use or inability to use this product. Some states do not allow limitations on how long an implied warranty lasts or the exclusion or limitation of incidental or consequential damages, so the above limitations or exclusions may not apply to you.

COPYRIGHT

This software and manual are copyrighted 1995 by Opcode Systems, Inc. with all rights reserved. The software or manual may not be copied, in whole or part, without the express written consent of Opcode Systems, Inc. except for the original purchaser to make backup copies. Unauthorized duplication is prohibited. This software is protected by both United States Copyright Law and International Treaty provisions. Opcode Systems, Inc. grants the user this license, and use confirms agreement. The Studio 4 and OMS software may be used with the Studio 4 by any number of users, and may be used on more than one computer at a time. If you have any problems with the software or hardware, please consult the users guide first. Consult the dealer from which you purchased the Studio 4, as they are your best local source of assistance. If you still have a problem, call Opcode Systems, Inc. Technical Support Line at (415) 8563331. See the Studio 4 manual for details.
If this equipment does cause interference to radio or television equipment reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna Move the equipment away from the receiver Plug the equipment into an outlet on a circuit different from that to which the receiver is powered. If necessary, the user should consult the dealer or an experienced radio/television technician for additional suggestions. CAUTION: Only equipment certified to comply with Class B (computer input/output devices, terminals, printers, etc.) should be attached to this equipment, and must have shielded interface cables. Finally, any changes or modifications to the equipment by the user not expressly approved by the grantee or manufacturer could void the users authority to operate such equipment.

Figure 4.4: Update Setup Dialog Box
Click Update Setup or hit the return
key. A dialog box appears. There is a check box for each Macintosh serial port. You should check only those ports that are
connected to the Studio 4 or any other MIDI interface you wish to appear in your Studio Setup document.
the Studio Setup document to reflect the actual Studio 4 port numbers to which devices are connected.
Figure 4.5: Interfaces Dialog Box
Figure 4.7: Updated Studio Setup Document
Your old interface disappears from your Studio Setup document and is replaced with a Studio 4 icon. Any devices that were attached to old interfaces appear unconnected in the updated Studio Setup document.
Save your Studio Setup document.
STUDIO 4 ICONS IN A STUDIO SETUP DOCUMENT
The Studio 4 icons that appear in your Studio Setup document depend on the number of Studio 4's and how they're connected to the Macintosh. Each Studio 4 is given its own icon and shows the name of the Macintosh serial port to which its connected. If the words 2 cables appear, it indicates that two connecting cables are used. The following sections show specific examples of Macintosh-to-Studio 4 connections and the resulting Studio Setup icons.
Figure 4.6: Unconnected Setup Document
Connect the device icons to the
Studio 4 icon using techniques discussed in the OMS manual. Each device that you connect to the Studio 4 will have a port number in its path. You must set MIDI port numbers in

One Studio 4

If you have only one Studio 4 connected to your Macintosh when you search the
serial ports, then your Studio Setup document will contain one Studio 4 icon. Figure 4.8 shows the possible ways to connect a single Studio 4 to a Macintosh and the Studio Setup icons that result.
Mac <-> Studio 4 Connection Studio Setup Icon

Two Studio 4's

There are numerous ways to connect two Studio 4's to a Macintosh. Some of these connections are shown in Figure 4.9 along with the resulting Studio Setup icons.

With an OMS patch. OMS patches allow you to design very advanced MIDI routing and processing paths using the Macintosh (not the Studio 4) to process MIDI data. OMS patches are discussed in the Studio Patches Editor manual.
USING THE STUDIO 4 WITH OMS-COMPATIBLE APPLICATIONS
Unless you use the Studio 4 for strictly for live performance, you'll probably use it with sequencers, librarians and other MIDI applications. These programs require you to enable MIDI input devices within themthat is, you need to tell the application which MIDI device(s) you'll use to input MIDI data. With OMS-compatible applications (such as Vision and Galaxy) you need only make sure the input is enabled within the application in order to route data from the device, through the Studio 4 and into the application. When you enable input devices within OMS-compatible applications, OMS tells the Studio 4 driver which inputs are enabled. The Studio 4 driver then tells each Studio 4 in your network which inputs to route to the Macintosh.
In OMS-compatible applications, if you choose the Studio 4 as a MIDI input, only timecode from the Studio 4 and MIDI beat clock from any devices connected to the Studio 4 are sent to the application other types of MIDI data from devices attached to the Studio 4 are not sent. Select devices by name (rather than selecting the interface) if you want to use them as MIDI inputs. For example, look at Figure 5.1.
USING THE STUDIO 4 WITH NON-OMS APPLICATIONS
The Studio 4 acts like a standard interface or a MIDI Time Piece when used with non-OMS applications. Use the Network Routing windows Compatibility columns to enable MIDI inputs and outputs, and the Port columns to choose port assignments. The Network Routing window is discussed in Chapter 6.
STUDIO 4<->MACINTOSH COMMUNICATION SPEED
For each Studio 4 that's connected directly to a Macintosh, you must set a basic communication speed to match both the position of the Studio 4s front panel 1MHz/Fast switch and the communication speed settings you choose in your MIDI applications. If youre using Fast mode, you may also optimize the Studio 4-to-Macintosh communication speed for maximum MIDI throughput. To establish communication speed, you must: Open the current OMS Studio Setup
document and double-click a Studio 4 icon to open the Studio 4<>Macintosh Communication Speed dialog box.
1. In Vision, choosing Enable Input Devices opens this dialog box 2. Use this dialog box to tell Vision which devices will send it data.
Figure 5.1: Enabling Inputs in Vision
In this example, the GeoSkin Drums, Masterman 88 and MIDI Tuba are enabled as input devices in Vision (they are highlighted). Vision sees MIDI data only from these devices. Data from other devices connected to the Studio 4 is not sent to Vision. See your OMS-compatible application manuals for more information.

Muting unnecessary MIDI data For example, if your master keyboard generates aftertouch, but you don't want some of your sound modules to respond to aftertouch, you could mute the aftertouch outputs to those devices.
NOTE: MIDI routing can also be performed by a sequencer or by OMS patches (discussed in the Studio Patches Editor manual). If youve designed a routing in the Routing, Channelizing and Muting window that doesnt seem to perform properly, make sure that your sequencer (or OMS patch) doesnt have a conflicting routing scheme. Its up to you to keep track of MIDI routings.
Choose MIDI Routing, Channelizing and Muting from the Studio 4 menu to open the Routing, Channelizing and Muting window.
Four separate areas make up the Routing, Channelizing and Muting grid. These areas are illustrated in Figure 7.2 and are discussed later in this chapter.
MIDI Routing Area Timecode Routing Area Channelizing Area Muting Area
Figure 7.2: RCM Window Block Diagram
Figure 7.1: Routing, Channelizing and Muting Window
When you open an RCM window it reflects the current Routing, Channelizing and Muting setup of the Studio 4.
When you edit this window, the changes are sent immediately to the Studio 4. The Studio 4 always reflects the current setup of this window. The Studio 4 remembers this setup when you close the RCM window (or you make another window active). If you want your Studio 4 to remember the most recent MIDI Routing, Channelizing and Muting configuration, turn it off only after closing or de-activating the RCM window.
RCM Window with a Single Studio 4
Notice that the MIDI Routing Area is a sixteen row by sixteen column grid. Each column represents one of sixteen Studio 4 MIDI inputs and each row represents one of sixteen Studio 4 MIDI outputs. However, a single Studio 4 has only eight MIDI inputs and eight MIDI outputs. If your Studio Setup document contains
CHAPTER 7: Routing, Channelizing and Muting Window
only one Studio 4, youll use only the first eight rows and columns in the MIDI Routing, Channelizing and Muting areas. Also, you'll use only eight of the timecode routing squares. The RCM window illustrates its active regions by dimming all unused portions of the grid as shown in Figure 7.1. The window's title bar indicates whether the Studio 4 is connected to the Modem port, Printer port, or both (2 cables).
As shown in Figure 7.4, the entire RCM window grid is active when you connect two Studio 4's to a single network. Also, notice that both Studio 4's are represented in the timecode routing area. The window's title bar indicates whether the network is connected to the Modem port, Printer port, or both (2 cables).

You can elect to mute up to eleven types of MIDI data. A MIDI message which is passed (not muted) is indicated by an arrow.
When you have muted one or more MIDI messages, an M appears in the appropriate location in the Routing, Channelizing and Muting window.

Using MIDI Channelizing

Studio4 Input Channelizing Row
Studio4 Output Channelizing Column
Figure 7.10: MIDI Channelizing Area Figure 7.9: MIDI Muting Indicator

MIDI CHANNELIZING

Use MIDI channelizing to change the MIDI channel number of data either entering or exiting the Studio 4. MIDI channelizing is particularly useful if you have devices (usually older MIDI equipment) that transmit or receive on a fixed channel. You can use MIDI channelizing to change a fixed MIDI channel.
Use the MIDI channelizing row (designated by a Ch) to rechannel incoming MIDI messages. Use the MIDI channelizing column to rechannel outgoing messages. Click one of the channelizing squares (as shown in Figure 7.11).
Figure 7.11: Click to Open Channelizing Window
A Channelizing window opens similar to Figure 7.12.
The MIDI channelizing shown in Figure 7.13 mutes data on Channel 9, thus blocking its transmission to the Vectorific. It then takes the data from Channel 1 and remaps it to Channel 9 in the Vectorific. When you have channeled one or more MIDI messages, a Ch appears in the appropriate location in the Routing, Channelizing and Muting window.
Figure 7.12: Default Channelizing Window
The top row of numbers represent the 16 possible MIDI channels. Change the bottom row of bold-faced numbers to change the MIDI channel. You can change each MIDI channel number to any other channel number (116) or you can mute (turn Off) a channel. The Normal button removes all MIDI channelizing and returns the window to its default state. NOTE: The bold-faced numbers are called numericals. Numerical editing is common to all Opcode applications. If youre unfamiliar with numericals or new to Opcode applications, please read Appendix A: Working with Opcode Applications in your OMS Manual. Figure 7.13 illustrates a simple MIDI channelizing example.

TIMECODE ROUTING

Figure 7.20: Timecode Routing Area
The timecode routing area is shown in Figure 7.20. This grid is very similar to the MIDI routing gridyou click one of the squares to route timecode (as generated by the Studio 4) to a MIDI device. The timecodes MIDI format (MTC, DTL, or DTLe) is chosen in the Stripe SMPTE window (see Chapter 10). Timecode routing sends only MTC, DTL, or DTLe. It does not send MIDI Clock or Song Position Pointer. You usually use timecode routing to send MTC (or a DTL format) from the Studio 4 to an external non-computer sequencer (such as a stand-alone hardware sequencer or a sequencer contained in a MIDI workstation).
There are two timecode columns: The column on the left always represents the Studio 4 assigned to MIDI ports 1-8. The column on the right always represents the Studio 4 assigned to MIDI ports 9-16.
If your network contains only one Studio 4, then the RCM window will look like Figure 7.21. Use the left column (labeled Timecode) to route timecode from the Studio 4 to any MIDI device(s). The right column is not used and is unlabeled since there is only one Studio 4.
Figure 7.22: Timecode Routing Area with Two Studio 4s in Network

MIDI BEAT CLOCK ROUTING

Routing MIDI Beat Clock with the Studio 4 requires special consideration since the Studio 4 can route only one source of MIDI beat clock at a time. If you try routing two or more separate beat clock sources into the Studio 4, they will merge together making synchronization impossible.
Figure 7.21: Timecode Routing Area with One Studio 4 in Network
If your network contains two Studio 4s, then the RCM window will look like Figure 7.22. Use the left column (labeled Timecode 1-8) to route timecode from the Studio 4 assigned to MIDI ports 1-8. Use the right column (labeled Timecode 9-16) to route timecode from the Studio 4 assigned to MIDI ports 9-16.
IMPORTANT: Never route more than one source of MIDI Beat Clock to the Studio 4 at any time. Always use the RCM window to mute any unnecessary beat clock inputs and outputs. The most common use of MIDI beat clock is to synchronize drum machines and hardware sequencers to each other or to a Macintosh MIDI sequencer. The following sections discuss some common beat clock routing problems and their solutions.
Syncing a MIDI Application to a Drum Machine
To synchronize a Macintosh MIDI sequencer to a drum machine: Open the Studio 4 Mute Input window
for the drum machine and make sure beat clock is not muted.
Open your Macintosh MIDI sequencer
and choose MIDI Beat Clock as your synchronization mode.
In your Macintosh MIDI sequencer,
choose the Studio 4 as your sync source. Figure 7.24 illustrates the proper selections in Vision. Other sequencers have similar ways to select synchronization modes and devicessee their manuals if necessary.

These four steps are illustrated in Figure 7.26. They assure that beat clock from only the drum machine reaches the Studio 4, and that beat clock is sent to only the hardware sequencer.
Click the Clear button to open the following dialog box.
Step 2: Typical of all Input Mutings Step 4: Typical of all Output Mutings

Step 1 Step 3

Figure 7.28: Clear Dialog Box
Figure 7.26: RCM Window Muting Example 3
THE CLEAR AND HELP BUTTONS
Click each check box to select the routing, channelizing or muting shown to its right. Then click the Clear button to remove all checked functions. Click the Clear Everything button to clear ALL routings, mutings, and channelizing. Click Cancel to close the dialog box without clearing anything.
Figure 7.27: Clear and Help Buttons
Click the Help button to open on-line Routing, Channelizing and Muting window help.
The combination of the Network Routing window setup and the MIDI Routing, Channelizing and Muting window setup is called a Studio 4 state. You can save Studio 4 states as documents and open them at any time. When you open a Studio 4 state document, it sets the state of the Studio 4 and updates the Network Routing window and the RCM window. A single state document contains Network Routing window and RCM window data for all Studio 4's on all networks. You can save as many Studio 4 state documents as you need. The Studio 4 remembers its most recent state even after the power is turned off.
Choose Save from the Studio 4
menu. A standard Macintosh save as dialog box appears.
Figure 8.1: Saving a Studio 4 State
Type a name for the state and select
the disk or folder in which you wish to store it.
SAVING A STUDIO 4 STATE DOCUMENT
To save the Network Routing setup and the MIDI Routing, Channelizing and Muting setup as a Studio 4 state document: Configure the Network Routing
window and the MIDI Routing, Channelizing and Muting window as desired.
Click Save to store the Studio 4 state. Each Studio 4 state document contains: Network Routing window settings for each interface in the current Studio Setup. MIDI Routing, Channelizing and Muting window settings for each interface in the current Studio Setup.

Studio 4 will cease to generate SMPTE timecode when the Stop Striping button is clicked (or when the Stop field value is reached and the Stop check box is checked). NOTE: The Stop check box must be checked BEFORE clicking the Start Striping button. If you check the Stop check box AFTER clicking Start Striping, then striping will not stop automatically. As an example, lets say you wanted to stripe a tape with exactly 33 minutes of time code, and you wanted this stripe to begin at 1 hour SMPTE time. You would type 01:00:00:00 into your Start field, check the Stop check box, enter 01:33:00:00 into your Stop field, roll tape, and press the Start Striping button.
You can choose one of five SMPTE frame rates from the Frame Rate pop-up menu. When you click the Start Striping button, the chosen rate is generated within the Studio 4 and sent to the SMPTE OUT jack. The following is a brief description of the various SMPTE frame rates. 24 Frame: Film frame rate. 25 Frame: EBU (European) television frame rate. 29.97 Drop Frame: NTSC color television frame rate. 29.97 Non-Drop: Used to sync to NTSC color television without dropping frames. SMPTE time does not match real-time, but playback pitch is unaffected. 30 Non-Drop: Original NTSC black and white television standard. Often used in audio-only situations since there are no dropped frames and the SMPTE time is equal to real time.
SETTING AND USING SMPTE FRAME RATES
SETTING AND USING THE MIDI FORMAT
Figure 10.4: Setting SMPTE Frame Rate
Figure 10.5: Setting MIDI Format
From the MIDI Format pop-up menu, choose the MIDI sync format your software uses. This pop-up menu duplicates the Format pop-up menu found in the SMPTE Reader window. The Studio 4 converts SMPTE timecode into the MIDI format set in this pop-up menu. The choices are: No Sync: The Studio 4 ignores the SMPTE input signal. Also, it doesn't show timecode when striping. MTC: The Macintosh uses MIDI Time Code to read the value of the SMPTE signal. DTL: The Macintosh uses Direct Time Lock to read the value of the SMPTE signal. DTLe: The Macintosh uses Enhanced Direct Time Lock to read the value of the SMPTE signal.
The pop-up Level menu lists eight settings for the SMPTE output level. Choose one that provides the best input signal for your particular tape recorder. The following guide covers the optimum input levels for various types of machines. Adjust the Level command to give a SMPTE input value closest to the following. If your tape machine operates at -10 dB, adjust the SMPTE output level for a tape input of about -3 dB. If your tape machine operates at +4 dB, adjust the SMPTE output level for a tape input of about -7dB. If you are using a -10 dB machine with LED metering, adjust the SMPTE output level for a tape input between -1 and -2 dB. If your audio recorder uses dbx noise reduction and you cant defeat it, adjust the SMPTE output level for a tape input between -1 and 0 dB. If you have a mixer in the SMPTE signal path (and you shouldnt), make sure that the equalization is either switched out or flat. Any filtering of the SMPTE signal will render it invalid.

GUIDE TO SETTING SMPTE LEVELS

JAM SYNC

The Studio 4 has a Jam Sync mode. In this mode, it generates a fresh SMPTE signal from the SMPTE OUT jack in sync with the signal received at the SMPTE IN jack. You should always use Jam Sync mode to regenerate a SMPTE track when you copy tapes; a copied SMPTE track may degrade enough to make it unusable.
Figure 10.6: Setting SMPTE Output Level
To put the Studio 4 into Jam Sync mode, choose Jam Sync from the Studio 4 menu. A check next to the Jam Sync option means that Jam Sync is enabled. To disable Jam Sync, choose the option again. If you want to copy a multitrack tape and its SMPTE track, connect the Studio 4 between the two tape recorders and enable Jam Sync in the Studio 4 menu. The Studio 4 will generate a fresh copy of SMPTE from the original tapes signal regardless of any dropouts in the original copy. If you do not need to regenerate SMPTE (such as when you're using the Studio 4 to sync a sequencing application to tape), you should disable Jam Sync by unchecking it. This frees the Studio 4's microprocessor to handle other MIDI and timing tasks.
NOTE: When Jam Syncing or JamStriping, the SMPTE frame rate at the SMPTE OUT jack is the same as that being received at the SMPTE IN jack. The SMPTE Frame Rate pop-up menu has nothing to do with the SMPTE signal in either Jam Sync or JamStripe modes. You can view the actual SMPTE frame rate by using the SMPTE Reader window.

USER BITS

This field allows you to enter user bits as defined by the SMPTE standard. User bits are often used to mark off and identify various sections of a tape. User bits are hexadecimal, so legal values are the numbers 0-9, and the letters A-F. DTL NOTE: You can stripe timecode that includes user bits regardless of the MIDI synchronization format you specify. However, if you're reading timecode using either DTL or DTLe, user bits will not be displayed in the SMPTE Reader windowyou must use MTC.

START JAMSTRIPE BUTTON

JamStripe takes Jam Sync one step further. If a tape has a very large drop-out in the SMPTE signal, or if the SMPTE signal stops at some point in the tape, JamStripe will cause the Studio 4 to continue generating timecode without having any SMPTE present at the SMPTE IN jack. To stop generating, click the Stop Striping button. If you have a tape in need of this kind of service, click the Start JamStripe button when you make a copy of the tape. The Studio 4 will Jam Sync until it reaches the end of the SMPTE signal, at which point it will switch seamlessly into a generating mode.
The Stripe SMPTE window works with the selected Studio 4. You must select a Studio 4 from the bottom of the Studio 4 menu before opening the Stripe SMPTE window. The Stripe SMPTE window isnt affected by new Studio 4 selections after
its openthe window continues to work with the Studio 4 that was selected before it was opened. The Stripe SMPTE window shows the name of the Studio 4 with which it works.
equalization or alter the SMPTE signal in any way.
Make sure that your Studio 4 is
connected as discussed in Chapter 3: Hardware Installation.
Choose Stripe SMPTE from the
Studio 4 menu to open the Stripe SMPTE window.
Figure 10.7: Studio 4 Identication in Stripe SMPTE Window

SMPTE TUTORIAL

Follow through these tutorial sections to learn how to stripe a tape with SMPTE timecode and sync to it.
Figure 10.8: Stripe SMPTE Window
Enter the SMPTE frame rate using the
Frame Rate pop-up menu. Enter a Start time. If you wish the striping to stop automatically, enter a Stop time and check the Stop check box. If desired, enter the User Bits. Set a SMPTE output level.

Striping a Tape

Unless you already have tapes with SMPTE on them, you will need to put SMPTE timecode onto a blank tape. This process is usually called striping a tape with SMPTE. To stripe a new tape with SMPTE timecode, familiarize yourself with the Stripe SMPTE window as well as the operation of your tape recorder. A typical striping operation might go something like this: Use a new roll of recording tape and
turn off any noise reduction on your tape recorder. Do not use any
Choose a MIDI Format. Put your tape recorder into Record

mode, but paused.

Click the Start Striping button in the
Stripe SMPTE window. The Studio 4 SMPTE/Power LED will begin to flash. You should see the SMPTE signal level on your recorders input meters. Verify that the proper amount of SMPTE signal is going onto tape.
Adjust, if necessary, either the
SMPTE output level on the Mac, or the input level on your tape machine.
Make sure that the Studio 4 is not in
Jam Sync mode (the option will not be checked in the Studio 4 menu).
When you are satisfied with the
levels, click the Stop Striping button in the Stripe SMPTE window.

Open the SMPTE Reader window and
choose the MIDI Format that will be sent to the Macintosh (MTC, DTL or DTLe).
Choose SMPTE Reader from the
Studio 4 menu so that you can monitor the SMPTE time.
Put your tape machine into play
Turn off the Pause on your audio
recorder to begin recording. When tape is rolling, click the Start Striping button in the Stripe SMPTE window.
Verify that the SMPTE/Power LED is
flashing. When the Studio 4 detects valid SMPTE code at its input, the SMPTE/Power LED flashes and MIDI Time Code (or, if selected, DTL or DTLe) is sent to the computer.
SMPTE timecode will stop generating
when it reaches the time specified in the Stop field if the Stop check box is checked.
View the SMPTE timecode in the

SMPTE Reader window.

If the Stop check box is unchecked,
you can click Stop Striping when you reach the end of the tape.
When you are finished striping, the
Studio 4 SMPTE/Power LED will cease to flash. Click the close box to close the Stripe SMPTE window.

Syncing to Tape

Once you have a tape with SMPTE striped on it, you can use the Studio 4 to synchronize the Macintosh to the tape. Connect the SMPTE track output of
your multitrack tape recorder to the Studio 4 SMPTE IN jack (as discussed in the SMPTE Connections section of Chapter 3).
The Studio 4 performs an operation known as flywheeling. If your multitrack tape has timecode dropouts, the Studio 4 will continue to send timecode to the Macintosh as if the signal were still present at the input. If the Studio 4 loses sync there could be one of a number of problems. See Studio 4 loses sync in Appendix A: Troubleshooting for more information.
Connect the computer as discussed
in the Computer Connections section of Chapter 3.
SMPTE, Vision and the Studio 4 The following discusses using the Studio 4 with Vision. The information is also applicable to working with Studio Vision. Vision uses MIDI Time Code for synchronization, so. Choose Stripe SMPTE from the
Studio 4 menu and choose MIDI Time Code from the MIDI Format pop-up menu.
Use a similar procedure for recording tracks into Vision while synchronized to tape. For more information concerning Visions various sync modes, see your Vision manual.
Figure 10.9: Choose MIDI Format
Disable Jam Sync in the Studio 4
Choose Options>Receive Sync
Mode>MIDI Time Code in Vision.
Device>Studio 4 in Vision.
Select the desired playback
sequence, its Sync and its Offset.
Click Play in Visions Control

See if any MIDI devices attached to the Studio 4 are transmitting data to the Studio 4 (make sure none of them are playing). Look at the red Studio 4 MIDI In LEDs. If any are lit or flashing, you know those devices are constantly sending some kind of data. You can verify if this is the cause of sync loss by turning off or disconnecting the MIDI In cables (from the instrument into the Studio 4) and seeing if the sync problem goes away. If it does, you have a few choices: If you can stop the device from sending this data in the first place, do it. Unfortunately, most devices will not let you do this. Typically, the devices that send MIDI clocks have built in sequencers; some of them only send MIDI clocks when their sequencer is actually playing. Others send MIDI clock messages when they are in their sequencer mode, and active sensing (which is far less intrusive) when they are not. If you cannot stop the device from sending MIDI clocks, you can set its sequencer to the slowest possible tempothis results in a slower MIDI clock transmission rate. You can see the tempo change on the Studio 4s MIDI In LED for that device; it will blink slowly at slow tempos, and very rapidly at fast tempos. You can mute any unwanted data coming into the Studio 4 using the Routing, Channelizing and Muting window discussed in Chapter 7.
If youre using only one serial cable between the Macintosh and the Studio 4, try using two. Use the Network Routing window in the Studio 4 menu to route timecode into one port and all other MIDI data into the other.

MIDI PROBLEMS

More than one instrument sounds on a MIDI channel The Routing, Channelizing and Muting window, OMS patches, and MIDI applications (such as sequencers) all control MIDI routing. Most likely, two or more of these settings may be routing the input to different devices. If the above isnt the cause, then. you may be using an OMS patch that contains a splitter routed to more than one device on the same MIDI channel. you may be using an OMS patch that references a Virtual Instrument containing a splitter routed to more than one device on the same MIDI channel. you may have one input routed to more than one output in the Routing, Channelizing and Muting window.

APPENDIX B: Networking a Studio 4 with a Standard MIDI Interface
You may network a Studio 4 with a standard MIDI interface. If you own an old standard MIDI interface and have more than 8 MIDI devices, the standard MIDI interface will provide a few additional MIDI ports. A network consisting of a Studio 4 and a standard MIDI interface presents two major compromises: The Studio 4 must operate at 1MHz. You cannot use the MIDI Routing, Channelizing and Muting window to route MIDI data to devices connected to the standard MIDI interface. You can access these devices only by using OMS patches or an OMS-compatible MIDI sequencer.
If your dual port standard MIDI interface is a Studio 3, Opcode strongly recommends that you connect the Studio 3 modem port to the Studio 4 B port, and the Studio 3 printer port directly to the Macintosh (as shown in Figure B-4 and discussed in Networking a Studio 4 and a Studio 3, later in this appendix). This is because the Studio 3 communicates with the Macintosh only over its printer port.
COMPUTER AND MIDI CONNECTIONS
The following sections illustrate how to connect a Studio 4 to a standard MIDI interface. Turn off the Studio 4. Connect your Macintosh to the Studio 4s A port. Connect your Studio 4s B port to the standard MIDI interface. Connect the desired MIDI devices.
Because of these limitations, you should use this network only as a temporary band aid. If you often need to access more than 8 MIDI devices, you should seriously consider purchasing an additional Studio 4. NOTE: You cannot network a self-powered standard interface (such as a MIDI Translator) with the Studio 4. If you use a dual port standard MIDI interface, you can connect its second serial port to the free Macintosh serial port to access even more MIDI ports.
The following figure shows a typical network involving a Studio 4 and a standard MIDI interface.
The following figure shows the Studio Setup document for the studio connections depicted above.

Gizmatronics

Digiwhiz 2000

Vectorific

Put the Studio 4's 1MHZ/Fast switch

in the 1MHz position.

Put the Studio 4's two MIDI/Thru
switches in the MIDI position.

USING THE NETWORK

You cannot access port 17 (or its devices) with the MIDI Routing, Channelizing and Muting window. You can, however, use either OMS patches or your OMS-compatible MIDI sequencer to communicate with devices connected to the standard MIDI interface. For example, look at the following patch document.

Turn on the Studio 4.

SOFTWARE SETUP
Create a new, custom Studio Setup

document.

Double-click the Studio 4 icon and
make sure the Studio 4 speed is set to 1MHz.
Define and connect MIDI devices to
the Studio 4. Notice that since the standard MIDI interface isn't connected directly to the Macintosh, it doesn't appear in the Studio Setup document. In the Studio Setup document, use Studio 4 port 17 to represent the standard MIDI interface. Connect any devices attached to the standard interface to port 17 in your Studio Setup document.