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Steinberg Nuendo 4 Operation Manual

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    							441
    Export Audio Mixdown
    Wave64 files
    Wave64 is a proprietary format developed by Sonic 
    Foundry Inc. In terms of audio quality, Wave64 files are 
    identical to standard wave files, but in the file headers 
    Wave64 files use 64-bit values for addressing where wave 
    files use 32-bit values. The consequence of this is that 
    Wave64 files can be considerably larger than standard 
    Wave files. Wave64 is therefore a good file format choice 
    for really long recordings (file sizes over 2 GB), e.g. live sur-
    round recordings. Wave64 files have the extension “.w64”.
    Wave64 files support the same options as AIFF files.
    Broadcast Wave files
    Concerning audio, Broadcast Wave files are the same as 
    regular Wave or Wave64 files, but without compression. To 
    create a Broadcast Wave file, select either Wave or 
    Wave64 as the file format and activate the Insert Broadcast 
    Wave Chunk option. Click Edit if you wish to edit the chunk 
    information, otherwise the defaults as specified in the Pref-
    erences (Record–Audio–Broadcast Wave page) will be 
    used. Broadcast Wave files have the extension “.wav”.
    Broadcast Wave files support the same options as AIFF 
    files.
    MPEG 1 Layer 3 files
    MPEG 1 Layer 3 files have the extension “.mp3”. By use of 
    advanced audio compression algorithms, mp3 files can be 
    made very small, maintaining good audio quality.
    For MPEG 1 Layer 3 files the following options are avail-
    able:
    Option Description
    File Name
    (File Location 
    section)In this field you can enter a name for the mixdown file.
    Path
    (File Location 
    section)Here you can specify a path where you want the mix-
    down to be saved. 
    Use Project 
    Audio Folder
    (File Location 
    section)If you activate this option, the mixdown file is saved in 
    the Project Audio folder, as opposed to the specified 
    path.
    File Format pop-
    up menu (File 
    Format section)From this pop-up menu you can select the file format 
    for the export.
    Bit Rate fader 
    (File Format 
    section)By moving this fader, you can select a bit rate for the 
    mp3 file. As a rule, the higher the bit rate, the better the 
    audio quality and the larger the file. For stereo audio, 
    128 kBit/s is often considered to result in “good” audio 
    quality.
    Sample Rate 
    pop-up (File For-
    mat section)In this pop-up menu you can select a Sample Rate for 
    the mp3 file.
    Insert ID3 Tag 
    option (File For-
    mat section)This allows you to include ID3 Tag information in the 
    exported file. 
    Edit ID3 Tag 
    button (File For-
    mat section)When you click this, the ID3 Tag dialog opens, in 
    which you can enter information about the file. This ad-
    ditional information will be embedded as text strings in 
    the file, and can be displayed by some mp3 playback 
    applications.
    Outputs pop-up 
    menu (Audio 
    Engine Output 
    section)This menu lists all output busses and channels in the 
    active project. Simply select the bus or channel you 
    want to mix down.
    Mono Export 
    (Audio Engine 
    Output section)If you activate this option, the exported audio is mixed 
    down to mono.
    Split Channels 
    (Audio Engine 
    Output section)Activate this option if you want to export all channels 
    as mono files.
    Real-Time 
    Export (Audio 
    Engine Output 
    section)If you activate this option, the export will happen in real 
    time, i.e. the process will take the same time as regular 
    playback. Some VST plug-ins require this in order to 
    have enough time to update correctly during the mix-
    down – consult the plug-in manufacturers if uncertain. 
    When Real-Time Export is activated, the exported au-
    dio will be played back via the Control Room.
    Update Display
    (Audio Engine 
    Output section)If you activate this option, the meters will be updated 
    during the export process. This allows you to check for 
    clipping, for example. 
    Audition Volume 
    fader (Audio 
    Engine Output 
    section)The fader below the Real-Time Export checkbox allows 
    you to adjust the Control Room volume. Note that this 
    fader is available only if the Control Room is activated.
    Close dialog 
    after exportIf this option is activated, the dialog will be closed after 
    the export, otherwise it will be left open. Option Description 
    						
    							442
    Export Audio Mixdown
    Ogg Vorbis files
    Ogg Vorbis is an open source, patent-free audio encoding 
    and streaming technology, offering compressed audio files 
    (extension “.ogg”) of small size, but with comparatively high 
    audio quality.
    For Ogg Vorbis files the following options are available:
    Other file formats
    Steinberg also offers optional Dolby Digital (AC3) and 
    DTS encoders for export directly to AC3 or DTS format. 
    Please go to www.steinberg.net for more information.
    Windows Media Audio Pro files (Windows only)
    This is a continuation of the Windows Media Audio format 
    developed by Microsoft Inc. Due to the advanced audio co-
    decs and lossless compression used, WMA Pro files can 
    be decreased in size with no loss of audio quality. Further-
    more, WMA Pro features the possibility of mixing down to 
    5.1 surround sound. The files have the extension “.wma”.
    Exporting a WMA mixdown
    ÖDepending on the chosen output, not all options may 
    be shown.
    Option Description
    File Name
    (File Location 
    section)In this field you can enter a name for the mixdown file.
    Path
    (File Location 
    section)Here you can specify a path where you want the mix-
    down to be saved. 
    Use Project Au-
    dio Folder
    (File Location 
    section)If you activate this option, the mixdown file is saved in 
    the Project Audio folder, as opposed to the specified 
    path.
    File Format pop-
    up menu (File 
    Format section)From this pop-up menu you can select the file format 
    for the export.
    Quality fader 
    (File Format 
    section)The Ogg Vorbis encoder uses variable bit rate encod-
    ing, and the Quality setting determines between which 
    limits the bit rate will vary. Generally speaking, the 
    higher the Quality setting, the higher the sound quality 
    but also the larger the files.
    Outputs pop-up 
    menu (Audio En-
    gine Output sec-
    tion)This menu lists all output busses and channels in the 
    active project. Simply select the bus or channel you 
    want to mix down.
    Mono Export 
    (Audio Engine 
    Output section)If you activate this option, the exported audio is mixed 
    down to mono.
    Split Channels 
    (Audio Engine 
    Output section)Activate this option if you want to export all channels 
    as mono files.
    Real-Time Ex-
    port (Audio En-
    gine Output 
    section)If you activate this option, the export will happen in real 
    time, i.e. the process will take the same time as regular 
    playback. Some VST plug-ins require this in order to 
    have enough time to update correctly during the mix-
    down – consult the plug-in manufacturers if uncertain. 
    When Real-Time Export is activated, the exported au-
    dio will be played back via the Control Room.
    Update Display
    (Audio Engine 
    Output section)If you activate this option, the meters will be updated 
    during the export process. This allows you to check for 
    clipping, for example. 
    Audition Volume 
    fader (Audio En-
    gine Output sec-
    tion)The fader below the Real-Time Export checkbox al-
    lows you to adjust the Control Room volume. Note that 
    this fader is available only if the Control Room is acti-
    vated.
    Close dialog af-
    ter exportIf this option is activated, the dialog will be closed after 
    the export, otherwise it will be left open. 
    						
    							443
    Export Audio Mixdown
    The following options are available:
    General tab
    In the Input Stream section, you set the sample rate (44.1, 
    48 or 96 kHz) and the bit resolution (16 bit or 24 bit) of the 
    encoded file. These should be set to match the sample rate 
    and bit resolution of the source material. If no value matches 
    that of your source material, use the closest available value 
    that is higher than the actual value. E.g. if you’re using 20 bit 
    source material, set the bit resolution to 24 bit rather than 
    16 bit.
    ÖThe setting in the Channels field depends on the cho-
    sen output and cannot be changed manually. 
    The settings in the Encoding Scheme section are used for 
    defining the desired output from the encoder, e.g. whether 
    it should be a stereo file or a 5.1 surround file. Make set-
    tings appropriate for the intended use of the file. If the file 
    will be downloaded or streamed on the Internet, you might 
    not want too high bit rates, for example. See below for de-
    scriptions of the options.
    Mode
    The WMA Pro encoder can use either a constant bit rate 
    or a variable bit rate for encoding to 5.1 surround, or it can 
    use lossless encoding for encoding to stereo. The options 
    on this menu are as follows:
    Bit Rate/Quality
    This menu allows you to set the desired bit rate. The avail-
    able bit rate settings vary depending on the selected 
    mode and/or output channels (see above). If the Mode 
    “Variable Bitrate with Quality” is used (see above), the menu allows you to select from various levels of desired 
    quality, with 10 being the lowest and 100 the highest. 
    Generally, the higher the bitrate or quality you select, the 
    larger the final file will be. The menu also shows the chan-
    nel format (5.1 or stereo).
    Advanced tab
    Dynamic Range Control
    These controls allow you to define the dynamic range of 
    the encoded file. The dynamic range is the difference in 
    dB between the average loudness and the peak audio 
    level (the loudest sounds) of the audio. These settings af-
    fect how the audio is reproduced if the file is played on a 
    Windows XP computer with a player from the Windows 
    Media series, and the user activates the special “Quiet 
    Mode” feature of the player to control the dynamic range.
    The dynamic range is automatically calculated during the 
    encoding process, but you can specify it manually as well.
    If you want to manually specify the dynamic range, first put 
    a checkmark in the box to the left by clicking in it, and then 
    enter the desired dB values in the Peak and Average 
    fields. You can enter any value between 0 and -90 dB. 
    Note, however, that it is usually not recommended to 
    change the Average value, since it affects the overall vol-
    ume level of the audio and therefore can affect the audio 
    quality adversely.
    The Quiet Mode in a Windows Media player can be set to 
    one of three settings. Below, these settings are listed to-
    gether with an explanation of how the Dynamic Range set-
    tings affect them:
     Off: If Quiet Mode is off, the dynamic range settings that were 
    automatically calculated during the encoding will be used.
     Little Difference: If this is selected and you have not manually 
    changed the dynamic range settings, the peak level will be 
    limited to 6 dB above the average level during playback. If you 
    have manually specified the dynamic range, the peak level will 
    be limited to the mean value between the peak and average 
    values you specified.
     Medium Difference: If this is selected and you have not manu-
    ally changed the dynamic range settings, the peak level will be 
    limited to 12 dB above the average level. If you have changed 
    the dynamic range, the peak level will be limited to the peak 
    value you specified.
    Mode Description
    Constant Bitrate This will encode to a 5.1 surround file with a constant 
    bit rate (set in the Bit Rate/Channels menu, see be-
    low). Constant bit rate is preferably used if you want to 
    limit the size of the final file. The size of a file encoded 
    with a constant bit rate is always the bit rate times the 
    duration of the file.
    Variable Bitrate Encodes to a 5.1 surround file with a variable bit rate, 
    according to a quality scale (the desired quality is set 
    in the Bit Rate/Channels menu, see below). When you 
    encode with variable bit rates, the bit rate fluctuates 
    depending on the character and intricacy of the mate-
    rial being encoded. The more complex passages in the 
    source material, the higher the bit rate – and the larger 
    the final file.
    Lossless Encodes to a stereo file with lossless compression. 
    						
    							444
    Export Audio Mixdown
    Surround Reduction Coefficients
    Here you can specify which amount of volume reduction, if 
    any, should be applied to the different channels in a sur-
    round encoding. These settings affect how the audio is re-
    produced on a system incapable of playing back the file in 
    surround, in which case the surround channels of the file 
    will be combined into two channels and played back in 
    stereo instead.
    The default values will normally produce satisfactory re-
    sults, but you can change the values manually if you wish. 
    You can enter any value between 0 and -144 dB for the 
    surround channels, the center channel, the left and right 
    channels and the LFE channel respectively.
    Media tab
    In these fields you can enter a number of text strings with 
    information about the file – title, author, copyright informa-
    tion and a description of its contents. This information will 
    then be embedded in the file header and can be displayed 
    by some Windows Media Audio playback applications.
    ÖFor more information about surround sound and en-
    coding, see the chapter “Surround sound” on page 202. 
    						
    							35
    Synchronization 
    						
    							446
    Synchronization
    Background
    What is synchronization?
    Synchronization is said to exist when you make two pieces 
    of equipment agree on time or tempo and position info. 
    You can establish synchronization between Nuendo and a 
    number of other types of devices, including tape recorders 
    and video decks, but also MIDI devices that “play back”, 
    such as other sequencers, drum machines, “workstation 
    sequencers” etc.
    When you set up a synchronization system, you must de-
    cide which unit is the master. All other devices are then 
    slaved to this unit, which means they will adjust their play-
    back speed to the master’s.
    Nuendo as slave
    When a synchronization signal is coming in to Nuendo from 
    another device, this device is the master and Nuendo is the 
    slave. Nuendo will adjust its playback to the other device.
    Nuendo as master
    When you set up Nuendo to transmit synchronization in-
    formation to other devices, Nuendo is the master and the 
    other devices are the slaves; they will adjust their playback 
    to Nuendo.
    Nuendo – both master and slave
    Nuendo is a very capable synchronization device. It can 
    operate as both a master and a slave at the same time. For 
    example, Nuendo might be slaved to a tape recorder 
    transmitting timecode, while at the same time transmitting 
    MIDI Clock to a drum machine, acting as a master for that.
    Synchronization signals
    Basically there are three types of synchronization signals 
    for audio: timecode, MIDI clock and word clock.
    Timecode (SMPTE, EBU, MTC, VITC etc.)
    Timecode appears in a number of guises. No matter which 
    “format” it has, it always supplies a “clock on the wall” 
    type of synchronization, that is, a synchronization related 
    to hours, minutes, seconds and two smaller units called 
    “frames” and “subframes”.
     LTC (SMPTE, EBU) is the audio version of timecode. This 
    means that it can be recorded on the audio track of an audio 
    or video recorder.
     VITC is the video format timecode, i. e. it is stored in the actual 
    video image.
     MTC is the MIDI version of timecode, transmitted via MIDI ca-
    bles.
     ADAT sync (Alesis) is only used with the ASIO Positioning 
    Protocol, see “About the ASIO Positioning Protocol (APP)” on 
    page 452.
     Sony 9-pin is a standard that uses serial (RS-422) communi-
    cation. Sony 9-Pin contains timecode as well as machine con-
    trol messages (see “Setting up Sony 9-Pin” on page 457).
    For the ASIO Positioning Protocol, other high precision 
    timecode formats may also be supported.
    Format recommendations for timecode – without ASIO 
    Positioning Protocol
     When synchronizing your system to external timecode, via a 
    synchronizer, the most common timecode format is MTC. 
    Contrary to some reports you might have heard, MTC delivers 
    good precision for external sync. This is due to the fact that 
    the operating system can “time stamp” incoming MIDI mes-
    sages, which increases precision.
     Sony 9-Pin is not recommended for external sync and should 
    only be used when no other option is available. However, you 
    might of course use 9-Pin for machine control, see “Sony 9-
    Pin” on page 455.
    !For a description of the VST System Link feature 
    (with which you can synchronize separate computers 
    running Nuendo or Cubase for example), see “Wor-
    king with VST System Link” on page 460. 
    						
    							447
    Synchronization
    Format recommendations for timecode – with ASIO 
    Positioning Protocol
     LTC and VITC are the formats with the highest precision and 
    are recommended when available.
     MTC is the next best option and probably the most common 
    choice, since few audio hardware solutions have built-in LTC 
    or VITC readers. However, LTC and VITC offer even higher 
    precision when available.
     The choice with the least precision is Sony 9-Pin.
    MIDI Clock
    MIDI Clock is a tempo-based type of synchronization sig-
    nals, i. e. it is related to the number of “beats per minute”. 
    MIDI Clock signals are suitable for synchronizing two de-
    vices that agree on tempo, such as for example Nuendo 
    and a drum machine.
    Word Clock
    Word clock is basically a replacement for the sample rate 
    clock in for example an audio card. Word clock hence 
    runs at the same rate as the sample rate in the audio, 
    44.1kHz, 48kHz etc.
    Word clock does not contain any position information, it is 
    only a “simple” signal for clocking the audio at its sample 
    rate.
    Word clock comes in many formats, analog on coaxial ca-
    ble, digital as part of an S/PDIF, AES/EBU or ADAT audio 
    signal, etc.
    Synchronizing the transport vs. 
    synchronizing audio
    How timing is handled in a non-synchronized 
    system
    Let’s first look at the situation where Nuendo is not syn-
    chronized to any external source:
    Any digital playback system has an internal clock that ulti-
    mately affects the playback speed and stability, and PC au-
    dio hardware is no exception. This clock is extremely stable.
    When Nuendo is playing back with no external synchroni-
    zation, all playback is internally synchronized to the inter-
    nal digital audio clock.
    Synchronizing Nuendo’s playback
    Let’s assume now that we use external timecode synchro-
    nization with Nuendo. For example, we might synchronize 
    playback to a tape recorder.
    Timecode coming from an analog tape recorder will al-
    ways vary slightly in speed. Different timecode generators 
    and different tape recorders will also supply timecode with 
    slight differences in speed. In addition, the shuttling of 
    tape mechanisms due to overdubs and re-recordings can 
    cause the physical tape to wear and stretch, which affects 
    the speed of the timecode.
    If you use a synchronizer that generates word clock and 
    set up Nuendo to sync to incoming timecode, it will vary 
    its overall playback speed to compensate for such fluctu-
    ations in the speed of the timecode – that’s the whole pur-
    pose of synchronization.
    What happens with the digital audio?
    The fact that Nuendo’s playback is synchronized to the 
    timecode does not affect the playback of the digital audio. 
    It still relies on the perfectly stable, built-in clock in the au-
    dio hardware.
    As might be expected, problems will appear when the per-
    fectly stable digital audio gets related to the slightly vary-
    ing speed of a system synchronized to timecode.
    The playback timing of each event will not be in total ac-
    cordance with the tape or the MIDI playback, since the 
    playback speed of the audio is determined by the digital 
    audio hardware’s built-in clock.
    !MIDI Clock is not suitable as a master sync source 
    for an application like Nuendo. Therefore Nuendo will 
    transmit MIDI Clock signals to other devices, but it 
    will not receive MIDI Clock. 
    						
    							448
    Synchronization
    Resolving to word clock
    The solution to this problem is to use one external clock 
    for all components in the system. One master clock is 
    used to derive whatever type of clock signal each compo-
    nent in the system needs. For example, something called a 
    house clock can be used to generate sample rate clocks 
    for the digital audio hardware and timecode for Nuendo. 
    This ensures that all components in the system use the 
    same reference source for their timing.
    Synchronizing digital audio to external clocks running at 
    sample rate is often called “resolving” or “synchronizing to 
    word clock”.
    If you aim to perform synchronization to external signals, 
    we strongly recommend that you obtain proper synchroni-
    zation equipment. This encompasses:
     An audio card that can be slaved to external word clock.
     A synchronizer that can read timecode (and possibly house 
    clock) and generate the required sync signals from that, such 
    as the Steinberg TimeLock Pro.
    or...
     An audio system with complete built-in synchronization possi-
    bilities, preferably supporting the ASIO Positioning Protocol, 
    see “About the ASIO Positioning Protocol (APP)” on page 452.
    Using timecode without word clock
    Of course, it is possible to set up a synchronization sys-
    tem where you lock Nuendo to timecode without using 
    word clock. However, please note that the timing of audio 
    vs. MIDI cannot be guaranteed and that fluctuations in 
    speed in the incoming timecode will not affect the play-
    back of audio events. This means that synchronizing to 
    timecode may work in the following situations:
    When the timecode was originally generated by the au-
    dio card itself.
    When the source providing the timecode is extremely 
    stable (such as a digital video system, a digital tape re-
    corder or another computer).
    When you remain synchronized to that same stable 
    source throughout the entire process, both while record-
    ing and playing back audio.
    Making basic settings and 
    connections
    Setting the Frame Rate
    The frame rate is the number of frames per second in a film 
    or on a video tape. Just as there is always sixty seconds to 
    a minute, there is always a certain number of frames to 
    each second. However, the frame rate used varies with the 
    type of media (film or video), which country the video tape 
    has been produced in, and other circumstances.
    In the Project Setup dialog are two settings for frame rates:
    The Frame Rate pop-up is automatically adjusted to the 
    frame rate of the incoming timecode.
    There is an exception to this when you are synchronizing Nuendo to MIDI 
    Timecode: If you have selected 29.97 fps or 30 dfps as Frame Rate in 
    Nuendo, this selection will be kept, since these frame rates are not in-
    cluded in the MTC format.
    The following frame rates are available:
    The Display Format pop-up contains a number of for-
    mats that when selected work as the “master” setting for 
    the display format used in the various windows’ rulers and 
    position displays.
    The item “60 fps (user)” on this menu represents a user definable frame 
    rate. To make editing with frame accuracy correspond to the actual frame 
    rate in an external sync source, you need to set this frame rate to the 
    same value as the Frame Rate pop-up.
    Frame Rate Description
    24 fps The traditional frame rate of 35mm film.
    25 fps The frame rate used for all video and audio in Europe 
    (EBU).
    29.97 fps Straight 29.97 frames per second.
    30 fps Straight 30 frames per second. This is often used in the 
    United States for audio only work.
    29.97 dfps “Drop frame” code running at 29.97 frames per second, 
    most often used in the United States of America for work 
    with color video.
    30 dfps Very rarely used.
    23.976 fps Frame rate used for HDTV.
    24.976 fps Frame rate used for HDTV.
    59.94 fps Frame rate used for HDTV.
    60 fps Frame rate used for HDTV. 
    						
    							449
    Synchronization
    Proceed as follows:
    1.Open the Preferences dialog (accessed from the File 
    menu under Windows or the Nuendo menu on the Mac) 
    and select the Transport page.
    2.Enter the desired frame rate under “User Definable 
    Framerate”.
    Either type the desired value directly or use the arrow buttons to in-
    crease/decrease the value. You can enter any value between 2-200.
    3.When you’re done, click OK to close the dialog and 
    save the settings.
    The Frame Rate you specified will now be the one used 
    when you select the “User” option on the Display Format 
    pop-up.
    Making connections
    The following connections are required for external sync 
    via a synchronizer, including resolving of the audio card. 
    For details on audio card and synchronizer settings and 
    connections, see the manuals for these devices.
    Route the master clock signal (LTC, VITC, etc.) to an in-
    put on the synchronizer.
    Connect the word clock output on the synchronizer to a 
    word clock input on the audio card.
    Connect the MIDI Timecode (MTC) or 9-Pin output on 
    the synchronizer to the corresponding input on the com-
    puter.
    Set up the synchronizer and make sure the frame rate 
    settings are in accordance with the master clock.
    A typical synchronization setup.
    Synchronization settings
    In the following sections, you will find a description of how 
    to set up your system for the different timecode sources:
    Internal Timecode
    In this mode, Nuendo is the master. When working with 
    MMC (see “MIDI Machine Control (MMC)” on page 454), 
    the external device gives the start and stop signals, but is 
    synchronized by Nuendo.
    Use the “MIDI Timecode Destinations” and “MIDI Clock 
    Destinations” sections to specify which devices should be 
    slaved to Nuendo.
    Synchronizing other Equipment to Nuendo
    You may have other MIDI devices that you want to syn-
    chronize to Nuendo. There are two types of synchroniza-
    tion that Nuendo can transmit: MIDI Clock and MIDI 
    Timecode.
    Transmitting MIDI Clock
    If you transmit MIDI Clock to a device supporting this type 
    of synchronization signal, the other device will follow Nu-
    endo’s tempo. The tempo setting in the other device is of 
    no relevance. Instead, it plays at the same tempo as Nu-
    endo. If the device also reacts to Song Position Pointers 
    (which Nuendo transmits) it will follow when you wind, re-
    wind and locate using the Nuendo Transport panel.
    ÖMIDI Clock transport commands include “Start”, 
    “Stop” and “Continue”. However, some MIDI equipment 
    (e.g. some drum machines) do not recognize the “Con-
    tinue” command. If this is the case with your equipment, 
    activate the option “Always Send Start Message” in the 
    Project Synchronization Setup dialog (for the MIDI Clock 
    Destinations).
    When this is activated, only the Start command is used. 
    						
    							450
    Synchronization
    Activate “MIDI Clock Follows Project Position” if you 
    want the other device to follow when you loop, jump and 
    locate during playback.
    When this is activated, the sent MIDI Clock signals will follow the se-
    quencer time and tempo position at all times.
    Transmitting MIDI Timecode
    If you transmit MIDI Timecode to a device supporting this 
    type of synchronization signal, the device will synchronize 
    time-wise to Nuendo, that is, the time displays on Nuendo’s 
    Transport panel and on the other device will agree. When 
    you wind and locate Nuendo and then activate playback, 
    the other device will follow from the same position (if it has 
    this capability and is set up for it!).
    ÖIf you want to be able to loop, jump and locate during 
    playback in Nuendo and have the other device follow, ac-
    tivate “MIDI Timecode Follows Project Time”.
    When this is activated, the sent MIDI Timecode will follow the sequencer 
    time position at all times.
    Setting Up
    1.Connect the desired MIDI Outputs from Nuendo to the 
    device(s) that you plan to synchronize.
    2.Open the Project Synchronization Setup dialog from 
    the Transport menu.3.Activate the sync outputs by using the corresponding 
    checkboxes.
    You can output any combination of MIDI Timecode and MIDI Clock to 
    any combination of outputs (however, you probably don’t want to send 
    MTC and MIDI Clock to the same output).
    4.Set the other device(s) to their “external synchroniza-
    tion” mode (or some other mode with a similar name) and 
    activate playback on them if necessary.
    5.Activate playback in Nuendo, and the other device(s) 
    will follow.
    !Please note that some external devices may not react 
    smoothly to these repositioning messages. Espe-
    cially when working with some older devices, it may 
    take some time for them to synchronize accurately to 
    the project time.
    Timecode Source settings
    Input and Output for MIDI 
    Machine Control messages.
    !Some MIDI interfaces will automatically send MIDI 
    Clock to all MIDI outputs, regardless of the MIDI 
    Clock Port selection in Nuendo. If this is the case, 
    you should only select one MIDI Clock Port (consult 
    the documentation of the MIDI Interface if in doubt).
    MIDI Timecode transmitted to this output.
    MIDI Clock transmitted to this output. 
    						
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