Syncing AKAI MG1212 with Logic via a MOTU 828es

D

D0k

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Okay so the MG1212 has 1/4" Sync In and Sync out jacks, and the MOTU has 1/4" Time Code inputs and outputs for SMPTE. Would it really be as simple as striping the tape with SMPTE and slaving the 828es to it as described here: MOTU.com - Tech Notes. Or is it better to do it the other way around, with the MG1212 following the MOTU SMPTE output? With all the things I've read about how difficult this is and all the other intermediate hardware I'm surprised that it could be this simple.

More on this process here with another MOTU unit: MOTU.com - Generating SMPTE from DP using a MOTU audio interface

I don't currently own the 828es but wouldn't hesitate if I could set this up without any other hardware - the only wild card I think would be my external ADAT preamp Mackie Onyx 800r) that I currently use. As it is now I have to use the Onyx as the master clock with my Focusrite Clarett interface when using both devices, so I'm not sure how that would work if I also wanted to use the Onyx at the same time as the MOTU and AKAI.
 
It likely is that simple if you are going to have the Akai be the master. But I haven’t read the manual of the MOTU, so you would just need to verify it’s clock can slave to incoming time code, and then verify what kind of time code is necessary, SMPTE or FSK. Keep in mind that means the mechanical transport of the Akai essentially becomes your clock master, and what your DAW does to adjust to the variations in the mechanical transport’s speed depends on the transport. Some DAWs add or drop samples to adjust. Then there’s Cubase which I used to use. In my Cubase manual it stated Cubase didn’t really sync to incoming time code from a tape machine...you could set it up that way but that in actuality the DAW transport was free-wheeling because otherwise the adding or dropping of samples to adjust would effect the quality of the audio. So you want to read up on how your DAW actually deals with syncing to an external source and what it actually does to keep in step when the reference clock is relatively unstable (compared to digital word clock for instance).

Your second scenario where the Akai is the slave will not work in your situation. You have to have a tape machine synchronizer like a Time Line Microlynx...something that takes the MTC or SMPTE timecode produced by the DAW and compares it to timecode produced from the tape machine, and then controls the capstan servo system to keep the tape machine in sync with the master. For this you have to have a machine capable of functioning as the slave in a sync relationship (and I believe the MG-1212 can do this), but then also have the synchronizer and often very specialized cabling to hook it all up as well as deal with configuring the synchronizer and DAW to make it all work.

Setting up the tape machine as the master in a tape machine/DAW sync array is the easy way to do it and potentially compromises the integrity of your digital audio. But it’s relatively cheap and easy.

Setting up the tape machine as the slave in a tape machine/DAW sync array is the much more complicated and typically more expensive way to do it, but IMO if you wish to ensure the integrity of your digital audio is maintained, this is the *correct* way to do it.

In your case where you have the Akai, MOTU and Mackie 800r, you would slave the MOTU to the Akai, and set the MOTU as the clock master to the Mackie. Again, I believe this would *work* but you’d need to research the particulars as far as the MOTU and Akai relationship goes...and be comfortable with however the digital devices and your DAW resolve the fluctuations of the Akai.
 
Yes, that’s good, but the MMC code from Logic still has to go to the hardware synchronizer like a Time Line MicroLynx or similar to actually control the analog tape transport and capstan sync, etc. Maybe you already understand that, but I just wanted to make it clear that’s still required...your DAW and audio/midi interface can’t do the actual electro-mechanical transport control.
 
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