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[thedug]

Howdy,

I’m looking into the lynx time code module that came with the JH110.

I’m wondering how I would connect this to my computer?
Would I need a piece of hardware on the computer side?
Will this allow the machine to slave to the computer? Or vice versa? Which is more solid?

For what it is worth I”m running Nuendo on a PC and Nuendo support 9pin and other standards.
That’s about all I know.

Is there a manual somewhere or a guru to talk to?

Thanks,

[ssltech]

Doug, -How's life in Austin?

-If you have only one module, you can't synchronise it to anything other than a SECOND Lynx module.

You need TWO modules. -With one, all you can do is resolve to a speed reference, you can't SYNCHRONISE.

Keith

[whit]

Hi.  I have an otari mtr90mkII and two timeline lynx modules.  Can anyone help me sync the machine to PT HD?

[Rail Jon Rogut]

You'll need a video synch generator and a Lynx cable for the Otari to start.

Rail

[sodderboy]

Why video sync?  Music only studios never used video sync.  It is only needed if any moving picture boxes* are part of the synchro system.  
Audio only can, and should use ProTools as the master.  I like the WC integrity of even MBox SMPTE much better than the Otari clock.
If you have a Sync I/O, that will generate PT SMPTE, or, if not, record SMPTE to a PT track from the Lynx.  Either way is a "code only master" setup, where the machine does not chase PT.  You have to give the Lynx a burst of code from PT before a pass to let the Otari chase and park.  The Sync I/O can generate code when parked, but it is not necessary.
Mike
* two can play at that game.  Some video guy once said "the sound stuff that goes with the video"  

[Rail Jon Rogut]

Because the Timeline Lynx 1 and 2 don't accept Word Clock... and you need to synchronize the systems to the same clock.  If you want to use WC, use a MicroLynx.

Without video synch, you're going to have to use PT as a code only master.  Using video you can have PT chase the 2".

You should use video referenced SMPTE and black when synching and you'll be able to lock correctly and you can resolve  the  2" to black while recording and it'll be running at the correct speed so you won't have any pitch problems.

Rail

[ssltech]

Well, since whit's original question was worded in such a manner that I read it as meaning that he does indeed wish to slave the 2" to Pro-Tools, then no video sync would be necessary for such a setup...

However, Rail does indeed raise the valid point that the addition of a solid video sync reference would build a system which would permit more flexibility, should whit want to do things differently then the point is a good one.

In fact, if you resolve the MTR-90 to incoming video reference, then play code into the Pro-Tools USD, I think you could syndc the two up using only ONE Lynx module instead of two...

However, that way you're ALWAYS waiting for tape rewind times...

Keith

[arconaut]

Hi All,

I scanned a Lynx I manual, but don't have a place to host this, so...

https://download.yousendit.com/bVlCckhjNDJwcFZMWEE9PQ

Noah

[sodderboy]

It's all about the Benjamins in the local studios.  They buy a mu-Lynx or Lynx I for less than a good video sync gen.  Or they find a 2600 in the trash !

I understand the proper way to do it, especially in video or broadcast suites, but in reality most 2" transfers to DAW are done, one pass, without any sync.  Code only master is the next best way.  Why complicate audio?  Nobody is mixing with DAW locked to 2"!  They cannot wait for tape to rewind.  A tech has to walk a line between knowing the "best way to do it" and breaking a budget or killing creativity.

I would never resolve a DAW to 2" resolved to anything, even video, especially when using a WC uber-generator like Apogee, Lucid, etc.  The difference in resolutions is huge.  Audio only, DAW is master.  Transfer the tape and get creative.
Mike

[Rail Jon Rogut]

If you use unreferenced SMPTE and Pro Tools as the code only master you run the very real risk of having a pitch change because the 2" will be resolving to the incoming SMPTE which will be at a different speed to the SMPTE on the 2".

There's only one way to do anything - the right way!

Oh, and you only need to resolve to black while doing the transfer.

Rail

[Dominick]

Rail Jon Rogut wrote on Fri, 02 January 2009 12:30

If you use unreferenced SMPTE and Pro Tools as the code only master you run the very real risk of having a pitch change because the 2" will be resolving to the incoming SMPTE which will be at a different speed to the SMPTE on the 2". Rail

How could the SMPTE from a Sync I/O be anything but on speed?
Isn't it referenced to the sample rate clock?
Even if the SMPTE generator has it's own independent (from word clock) reference,
why would a vid ref generator be any more accurate?
Wouldn't vid ref tie you into a 29.97 frame rate?

[thedoc]

Because the tape could have been slightly off speed when the code was recorded onto it.  You need to get the tape to play back at exactly the same speed that it was recorded at.  Some machines that are not in perfect health can also change speed slightly due to reel loads, holdback tension and takeup tension...  Especially Ampex machines without the constant tension board.

[Dominick]

thedoc wrote on Sat, 03 January 2009 08:39

Because the tape could have been slightly off speed when the code was recorded onto it.  You need to get the tape to play back at exactly the same speed that it was recorded at.  Some machines that are not in perfect health can also change speed slightly due to reel loads, holdback tension and takeup tension...  Especially Ampex machines without the constant tension board.

How would vid ref help?

[sodderboy]

I have been doing code only master transfers for over 20 years with BTX, 2600, Lynx I, II and mu-lynx and have never had a pitch issue with engineers, musicians, or other techs in video houses.  Only when picture was involved, even QuickTime video, did I need to resolve to video.  Any other time it caused more problems with engineers and other techs in non-video houses.

In our Lynx I situation here, all SMPTE, and 2" capstan resolves to Lynx clock.  That has always been good enough for rock and roll
and classical
and jazz
and whatever
unless it was ad or film work with accompanying video, in which case we resolved everything to video.
You have studios buying 2" machines with synchros thrown in for free.  They do not need video sync to dump basic tracks to DAW.  THAT is the reality.

If you "resolve" to always use video, great!  
But I think that "there is only one way to do things, the right way!" is a very limiting philosophy, especially for a tech.  It took me years to learn that.
Mike

[ssltech]

Dominick wrote

How would vid ref help?

...By making certain that the frame edges happen at the precise speed which they were created at. (assuming of course that you're not using off-rate code!)

It can be done several ways, as I mentioned earlier, but in my mind it's best to at least try to have the ability to do it the 'correct' way. -The life you one day save may be your own.

Symphony orchetra tuning references are one example where recording on one machine and playing back 'free-speed' (V.S.Override) on a different machine may be a recipe for trouble later on.


-Though I accept that most times, budget trumps all.

keith