There is one virtual MIDI output for each channel and all commands are priority-merged with the accurate clock. This enables you to send any MIDI commands from a DAW to your connected slaves while syncing to audio clock. If you want, you can have your multiclock with an extra class-compliant USB Midi Add-On. If you got them configured, channel settings can always be named and saved as a preset for later recall. An analog LFO is available with various waveforms and a range of 0-5V. Again, individually for each channel and in realtime.Įach channel can be set to either emit MIDI Clock, DIN sync (sync24) or analog clock.Īnalog clock signals are configurable in polarity, start / reset behaviour and feature a flexible clock divider. If you have set your machines up to be on the spot, start playing with shuffle. the problem is the delay compensation in live which is dynamic and does not get updated fast enough to compensate the inputsignal according to it constantly. The shift range is completely configurable and has a maximum of i400ms, the resolution is 20us. i am using a erm multiclock which generates its clock out of an audiosignal coming from live. To compensate for any time lag of connected gear, you can shift each output channel individually and in realtime back and forth relative to the master clock. Moreover, you can use it as a standalone generator or hook it up to follow other MIDI, DIN or analog master clocks. Synchronisation of the multiclock to a DAW relies on a sample accurate audio clock stream, which in consequence guarantees absolutely tight clock signals with i1 sample of jitter. The multiclock solves your sync issues in the studio and on stage once and for all.
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