I have a K2500 and I would like to sync the internal arpegiator to Logic Audio. I can't seem to get the K2500 to see the clock from Logic. What could be wrong? There are a couple of settings that must be changed in both the K2500 and Logic (or any other sequencer or drum machine) in order to get the Kurzweil to sync up. One: Your sequencer (in this case Logic) needs to be set up to send MIDI Clock. Be sure you are sending MIDI Clock and not MIDI Time Code (MTC). Two: You need to change the clock in the Kurzweil from internal to external. You need to go into SONG mode and then go to the MISC page to change the Clock parameter to EXT. Now your Kurzweil should sync up just fine! Why can't the CD recorder I just installed on my PC read standard audio or multimedia CDs like the internal CD-ROM that came with my computer? Simple: It's because CD recorders are not the same as CD-ROM devices, and Windows doesn't include the necessary drivers to support them directly. In order to see a CD inside a CDR device, it's necessary to install and configure CD burning software that includes drivers for your specific CDR. In some cases, a basic version of CD recording software may come bundled with your SCSI host adaptor card, but unless the bundled software has the correct drivers for your particular CDR, you won't be able to use it. When dealing with SMPTE synchronization what is pull up and pull down? Pull up and pull down functions are used when working with film that has been transferred to video for audio post-production. These two functions deliberately "miscalibrate" the sample rate clock of your audio, allowing you to compensate for the speed change that occurs when transferring film to video. The issue here is that film runs at a rate of 24 frames per second (fps), while video runs at a rate of 29.97 fps. Film is usually transferred to video using a process called 'telecining' in which every 24 frames of video are mapped to 30 frames of video. Because video is actually playing back at 29.97 rather than 30 fps, the picture is running 0.1% slower than it does on film. The result is that when the video mix is transferred back to film it will slip one frame for every 1000 that goes by. To solve this problem, post production engineers use the pull-down function to match the sample rate to the speed of the video (i.e. 47952 Hz instead of 48 kHz). After all of the production work is finished and the audio is ready to be transferred back to film, the engineers pull the sample rate back up to 48000 to insure that it will remain in perfect sync with the picture. In summary: If working with film that has been transferred to video, you will need to pull-down the sample rate in order to be in sync when recording editing and mixing to video. By doing this you insure everything will remain in sync while working with your video. If you are going to create a final mix that needs to be transferred back to film from video, you would at this time pull back up to thetrue sample rate. Remember, If you do not pull the sample rate back up when transferring back to film, you will be out of sync one frame for every thousand that go by. Got a question? Well, we've got answers! Simply mail your question to Sweetwater at 5335 Bass Rd., Ft. Wayne, IN 46808 or send e-mail to "tech_support@sweetwater.com". Master Index | Sweet Notes Index | Home | Back Page | Next Page