From 6fc429e091b21c660df12f053e018318170d3eca Mon Sep 17 00:00:00 2001 From: Robin Gareus Date: Sat, 16 Feb 2013 02:04:11 +0100 Subject: [PATCH] more tweaks to the Sync manual --- _manual/19_synchronization/01_on-clock-and-time.html | 12 ++++++------ .../03_timecode-generators-and-slaves.html | 2 +- .../04_overview-of-timecode-related-settings.html | 2 +- 3 files changed, 8 insertions(+), 8 deletions(-) diff --git a/_manual/19_synchronization/01_on-clock-and-time.html b/_manual/19_synchronization/01_on-clock-and-time.html index a876824..64ed04b 100644 --- a/_manual/19_synchronization/01_on-clock-and-time.html +++ b/_manual/19_synchronization/01_on-clock-and-time.html @@ -9,15 +9,15 @@ Synchronisation in multimedia involves two concepts which are often confused: A clock is the mechanism by which two systems tick simultaneously. -In the audio world this is generally referred to as Word_clock. +In the audio world this is generally referred to as Word Clock. It does not carry any absolute reference to a point in time: A clock is used to keep a systems sample rate constant, regular and accurate. -Word clock is usually at the frequency of the sample-rate - ie at 48KHz, its period is about 20μs. Word Clock is the most common 'sample rate' based clock but other clocks do exist such as Black and Burst, Tri-Level and DARS. Sample rates can also be derived from these clocks as well. +Word clock is usually at the frequency of the sample rate - ie at 48KHz, its period is about 20μs. Word Clock is the most common 'sample rate' based clock but other clocks do exist such as Black and Burst, Tri-Level and DARS. Sample rates can also be derived from these clocks as well.

-Time – or timecode – on the other hand specifies an absolute relationship or position on a timeline e.g. 01:02:03:04 (expressed as Hours:Mins:Secs:Frames). It is actual data and not a clock-signal per se. -The granularity of timecode is Video Frames and is an order of magnitude lower than, say, Word Clock which is counted in samples. A typical frame-rate is 25 fps with a period of 40ms. -In the case of 48kHz and 25fps, there are 1920 samples per video frame. +Time – or timecode – on the other hand specifies an absolute relationship or position on a timeline e.g. 01:02:03:04 (expressed as Hours:Mins:Secs:Frames). It is actual data and not a clock signal per se. +The granularity of timecode is Video Frames and is an order of magnitude lower than, say, Word Clock which is counted in samples. A typical frame rate is 25 fps with a period of 40ms. +In the case of 48KHz and 25fps, there are 1920 audio samples per video frame.

@@ -25,7 +25,7 @@ The concept of clock and timecode is reflected in JACK and Ardour:

-JACK provides clock-synchronization and is not concerned with time-code (this is not entirely true, more on jack-transport later). +JACK provides clock synchronization and is not concerned with time code (this is not entirely true, more on jack-transport later). Within software, jackd provides sample-accurate synchronization between all JACK applications. On the hardware side JACK uses the clock of the audio-interface. Synchronization of multiple interfaces requires hardware support to sync the clocks. If two interfaces run at different clocks the only way to align the signals is via re-sampling (SRC - Sample Rate Conversion) - which decreases fidelity. diff --git a/_manual/19_synchronization/03_timecode-generators-and-slaves.html b/_manual/19_synchronization/03_timecode-generators-and-slaves.html index 08f0bb2..a2c50a7 100644 --- a/_manual/19_synchronization/03_timecode-generators-and-slaves.html +++ b/_manual/19_synchronization/03_timecode-generators-and-slaves.html @@ -43,7 +43,7 @@ Note that some timecode formats are limited to a subset of Ardour's available fp

-The video-pullup modes change the effective samplerate of Ardour to allows for changing a film soundtrack from one frame rate to another. The scope is beyond this manual, but wikipedia's entry on Telecine may get you started. +The video-pullup modes change the effective samplerate of Ardour to allows for changing a film soundtrack from one frame rate to another. The concept is beyond the scope of this manual, but wikipedia's entry on Telecine may get you started.

Ardour Timecode Generator Configuration

diff --git a/_manual/19_synchronization/04_overview-of-timecode-related-settings.html b/_manual/19_synchronization/04_overview-of-timecode-related-settings.html index b50a768..b7ff58e 100644 --- a/_manual/19_synchronization/04_overview-of-timecode-related-settings.html +++ b/_manual/19_synchronization/04_overview-of-timecode-related-settings.html @@ -21,7 +21,7 @@ Timecode related settings are accessed from the menu:

Timecode Settings

Thes settings are session specific: