Synchronizing Sound Sources from a MIDI-less MTR with MIDI Equipment: A Deep Dive

Hey there, it's Hosei.

This article delves into a rather niche topic, specifically aimed at intermediate and advanced music producers. Please bear that in mind as you read on.

Introduction:

I've been obsessing over synchronizing the tracks from a MIDI-less MTR with a groovy groove box sporting MIDI ports. After extensive research and countless trials, I've finally cracked the code on how to make them sync seamlessly.

Honestly, this method might not have a broad appeal, but I'm sharing this information in case someone out there, like me, is passionate about incorporating these techniques into live performances but struggles with the 'how-to.'

The key focus of this article lies in syncing an MTR without MIDI ports with MIDI-equipped devices.

As of October 2023, several MTR products are available from various manufacturers, but most of them lack MIDI ports (probably because, ironically, MIDI used to be a standard feature in the past).

My desire to synchronize the backing tracks from my MTR with MIDI gear for live performances led me to this solution.

Additionally, this method is highly versatile, allowing similar setups with different equipment, making it a crucial point.

note:
In the world of music, vintage MTRs with classic MIDI ports might offer a quick fix, yet my standards demanded more. Current MTR models boast superior soundscapes and functionalities, making them my non-negotiable choice.

The Goal:

Imagine this musical tapestry: I synchronize the meticulously crafted beats, pulsating in time with the clock, nestled within Zoom's cutting-edge R8, with the futuristic grooves of Elektron Model:Cycles. All of this orchestrated seamlessly through the brilliance of Arturia KeyStep.

When the R8 kicks in, the orchestra of my compositions comes to life – the backing track resonates, and Model:Cycles' sequencer dances in perfect harmony. Hit pause on the R8, and Model:Cycles gracefully bows out, pausing in sync. And here's the magic touch: with KeyStep's elegant keystrokes, I paint the sonic canvas of Model:Cycles, layering melodies and harmonies in perfect synchrony.

The video above? It's not just a visual journey; it's the tangible proof of my musical experiment.

In this symphony of sound, the R8 takes the lead, setting the stage for Model:Cycles' intricate rhythms. I add live beats, crafting the heartbeat of Track 1's kicking drum and the echo of Track 2's snare in real-time. And just when you think the tale is complete, I unleash the ethereal tones of Track 4, played seamlessly through KeyStep's ivory keys.

Equipment Used in This Article:

(Feel free to experiment with similar setups using other gear)

Zoom MTR R8

Elektron Model:Cycles

Arturia KeyStep

Generic Mixer

Stereo Jack to TS Phone Cable (Sync Mono Cable)

MIDI Cable

Cable to connect R8 and Model:Cycles (referred to as MC below) outputs to the mixer

DAW Software (for dragging and dropping waveforms)

Backing track for synchronization (perfectly synced to BPM)

(Note: Ensure the BPM sync is precise)

(Additional Information)

The generic mixer is used to monitor R8 and MC audio through speakers or headphones.

Using USB to connect R8 to a PC for power allows using its card reader function, enhancing workflow efficiency.

Devices like YAMAHA YMC10 or Sonicware with sync and MIDI ports can achieve similar results, replacing KeyStep.

Step 1: KeyStep Setup

MIDI Control Center

Download the MIDI Control Center from Arturia's official site (https://www.arturia.com/support/downloads&manuals) and install it on your PC.

Connect KeyStep to your PC and configure its settings as shown in the image above. The default settings should suffice. (Detailed explanations of each setting are omitted in this article)

Step 2: MC Settings and Connections

Set the BPM of the rhythm input into R8 to 120, as the backing track synced to the clock is at 120 BPM.

Configure MC's MIDI sync settings as follows:

Clk In: ON

Clk Out: ON

Connection Diagram:

Connect MC's MIDI OUT to KeyStep's MIDI IN using a MIDI cable.

Set KeyStep's dip switches to MIDI (move both white switches upwards).

Connect KeyStep's SYNC OUT to R8's Input ch1.

Use a monaural cable (Mini pin on the KeyStep side, TS phone on the R8 side).

Step 3: Recording the Sync Sound

Play MC's sequencer, ensuring the sync sound enters R8's Input ch1.

Set R8's track 8 to MIC LINE, adjust the GAIN, and configure recording settings.

(Raise GAIN almost to clipping but not quite)

(The MIDI clock signal from MC, converted via KeyStep, transforms into the sync signal recorded in R8.)

Pause MC's playback, rewind its sequencer to the first bar, and hit record in R8.

Start MC's sequencer playback after beginning R8's recording.

Record the sync signal slightly longer than the duration of the backing track in R8.

Step 4: Confirming Sync and Recording MC

Change the cable connections:

Set KeyStep's dip switches to Sync In (move the left white switch up and the right one down).

Connection Diagram:

Connect KeyStep's MIDI OUT to MC's MIDI IN using a MIDI cable.

Connect a monaural cable from R8's PHONES (headphone jack) to KeyStep's SYNC In.

Set R8's PHONES volume to MAX. (Low volume leads to unstable signal and sync drift)

Configure R8's metronome settings:

Press TOOL, select METRONOME.

• ON/OFF → Play&Rec
• LEVEL → 100
• PAN → Center
• SOUND → Track8 (the track where the sync sound was recorded)
• PRE COUNT → OFF

Set R8's METRONOME switch to PHONES ONLY and turn the encoder all the way to CLICK.

(To ensure only the click sound comes out of the headphone jack)

Connect MC's Lch output to R8 ch1 input.

(This connection can be stereo as well)

Start R8's playback; once the sync sound flows, confirm MC syncs and plays along. Switch R8's METRONOME switch to output+PHONES to hear the sync sound too.

Adjust R8's GAIN to set MC's recording level properly.

Stop R8, rewind it to the first bar. Press stop on MC, resetting its sequencer start position. (After pressing stop on R8, MC stops automatically)

Start R8's playback and record MC's audio on track 7.

(Recording for about one bar is sufficient)

Step 5: Adjusting the Start Position of the Backing Track

Copy the following files from R8's SD card to the beginning of a new project in your DAW.

• Sync file recorded in R8
• Short file (about one bar) from MC
• Backing track

Ensure the BPM matches the backing track.

The topmost waveform in the image is the sync sound, the middle one is MC, and the bottom one is the backing track.

(Additional Information)

Sync and MC files are in sync, but MC's sequencer doesn't start at the beginning of the sync sound.

=========

Align the start of the backing track file with where MC's sound begins.

(Zoom in on the waveform and align it precisely)

Note: Do not change the length of the backing track file under any circumstances. Even if there's silence at the beginning of the track, align the file's beginning with MC's start position.

Select the range from the start of the sync sound file to the end of the backing track, then export only the backing track.

A silent portion will be added before the backing track file.

Step 6: Verifying the Synchronization Between the Backing Track and MC

Connection Diagram:

Modify connections as shown in the image above.

Move the exported backing track file to the R8 project where the sync sound was recorded, and paste it onto tracks 1 and 2.

(In the case of monaural sound, use track 1)

Delete the recorded MC track of about one bar on track 7.

(It was used only to align the start point with the backing track)

Start R8's playback; MC will play in sync with the backing track.

MC will continue to play in sync until the backing track finishes, and the sync sound ends.

That's it!

Additional Notes:

• You cannot extend the sync sound file midway; copying and pasting won't work. If an extension is necessary, you'll need to re-record the sync sound at the desired length.
• When playing the KeyStep's keyboard, you trigger MC's sounds. Changing the MIDI channel on KeyStep allows you to play different sounds set on MC's tracks.
• When altering MC's patterns, be cautious as there might be a slight misalignment in the measures.

In Conclusion:

Discovering the ability to synchronize my MTR's backing tracks with machines like MC felt like unlocking a world of endless creative possibilities. Through extensive research, I stumbled upon several enlightening videos.

Watching ENDO from SONICWARE's video was not only surprising but also incredibly informative. Thank you for the valuable insights shared in the video.

Dane Cotar's video showing the possibility of synchronizing external devices with Zoom R8 was truly unexpected.

Phil Tipping's video made me genuinely believe that I could achieve what I wanted.

Understanding synchronization via the sync sound was a journey. The most challenging part for me was synchronizing the MTR's backing tracks with external devices.

(This issue would have been resolved in the videos mentioned above if it weren't for synchronization with the backing tracks)

Partly due to a lack of understanding of sync signals, I experimented and struggled repeatedly.

In this process, I discovered that methods from the 80s, involving synchronizing cassette multitrack recorders and drum machines with MIDI, used devices like YAMAHA YMC10 (a synchronizer). They recorded the sync signal from YMC10 into the spare track of the MTR, sent that sync signal back to YMC10, converted it to MIDI, and transmitted it to the drum machine.

Amidst continuous failures and when I was on the verge of giving up, I realized a significant misconception.

It was this:

"Ignore the internal clock of MTR R8 and sync the signal without aligning it to R8's clock. Instead, make the sync signal the master, synchronizing external devices."

The joy I felt when I arrived at this answer, after frustration and doubting the equipment's capabilities, was beyond words. It felt like I had received a hint from the music gods.

Applying synchronization techniques used decades ago to current equipment feels strangely magical. I can't express enough gratitude for the pioneers who developed this technology.

Currently, I plan to use this synchronization system in an ongoing project to create music.

Stay tuned!

That's all for now.

Hosei

Note:
If you try this method and encounter issues or have any questions, please feel free to leave a comment.