Using Timecode in Live Music - The Production Academy

Normally we don't think about timecode too much in live sound; in live music it's mostly used to synchronize lights and video. When implemented properly, it’s really effective at getting these production elements to operate consistently in time with the music, and it’s an essential part of many large-scale productions.

But even though it’s not very common in live music, it’s also possible to have timecode trigger events on our audio consoles. Usually this would be used to recall settings in a scene/snapshot. On pro consoles this could configured to do almost anything - change gains, move faders, unmute, change EQ, insert a plug-in, or change whatever parameters are allowed by that console.

So, what is time code? Standard SMPTE timecode is a string of four numbers that represents a specific frame in video or audio. This is displayed as: 00:00:00:00 (hour:minute:second:frame). As time progresses, the numbers move sequentially by frame like a clock.

In music (and video/TV) production we use linear timecode (LTC), which is SMPTE timecode that’s transmitted as an audio signal. We can record this signal alongside the music in our playback system so that each song has unique timecode. That way any given frame number corresponds to one very specific point in a song.  

In multitrack playback setups, LTC is recorded on a separate track in the playback software (Pro Tools, Ableton Live, Digital Performer, etc.). Then it gets a separate output of the interface, which feeds lighting or audio consoles (FYI - it’s standard to just use normal XLR cables for these connections). This lets the playback system trigger actions on the consoles, which keeps everything super in sync with the music.

Even though it's not something many audio engineers do, I've implemented timecode in some of my shows with some great results. I’ll set the console to recall a snapshot at a specific point in the music, which triggers something like unmuting FX or boosting a fader for a guitar solo. Of course, this only works when I'm developing a show file on a specific console for a band that I'm on tour with, mixing the same show every night.

Usually the first reaction I get from other engineers when I tell them that I do this is: “That's crazy. I wouldn't want my faders moving on their own!” And I totally get that. I mean, really good engineers are comfortable walking up to any console and getting a solid mix going for almost any band. They don’t want anything happening that’s out of their direct control.

But when I have 60+ inputs, with a bunch of things changing during the song, taking advantage of the technology and programming the console ahead of time lets me not worry about some of the minor fader moves. That way I can keep my attention on the big picture and concentrate on the overall sound of the show.

[ReneAlexisPenalozaMunoz]

I've been working on a show that uses timecode to synch the lighting rig. It would be nice to have a video showing some of the hardware available for this purpose. You explanation is really clear. Thx.

[ben]

Thanks so much for taking the time to make this. Really helpful for our upcoming tour.

[prenumenumedefamilie]

Hi Scott ! Basically a LTC Mode is MTC in this generally you have a software or a software plugin in a DAW seqvence (fps) the plus is those possible trigger points set as fps could more or less 30-65 since i know .More basically you use a "midi" command interface without using the actually midi interface protocol instead using timecode protocol !that trigger some commands via a software or a machine that can accept those commands mixers, tape, cd etc .is the same like for auto or lights ! in fact is the same because you can run multiple commands that can act as starting point or in progress in such way you want to program and to determine further actions that can split older commands or end up on a certain time ! that s a command end too.
Honestly there is another way you can use time code and that s been dj time code.this one is a buzzing code fervently some tonal combination unto a cd dvd what ever that determine the user maneuverer of the user interface ! so that the command is called by touching certain buttons or adding certain gesture from the user! this is a NTC is a non linear timecode ! and the reaction like a shape of oval or similar ! i do not understand way people use Qlab maybe because is cheap and some parts free .But other daw have extended cheaper capabilities regarding timecode on all application also is easier to a user curve learning!

[AnilKumar-zoeu]

Thank you sir for your packaged information

[lennyjayofficial]

I'm trying to send the SEMPT signal (WAV FORMAT) from our backingtrack player (CYMATIC) it starts running but timecode stops after 5 secs...do you have any idea what it could be?

[Songwritersbehindthecurtain]

Question 🙋‍♂️ this is a music 🎼 question 🙋‍♂️ when you listen 👂 to a album 💿 like r.e.m monster 👺 and when you put the cd 💿 into the cd 💿 player the song starts at 0:00 I don’t know 🤷‍♂️ what’s called for when the song 🎵 starts at 0:00 and it ends at a certain number like what’s the frequency Kenneth ends at 3:59 and by your side by tenth avenue north 4:02 and is the term is called time code or duration and are they the same or different?

[_emanmodnar]

I’m trying to learn more about Timecode... It seems that nobody has made a video explaining the signal itself – a lot of videos tell what timecode is used for...
Will I be able to take the LTC signal regardless of cable types, and hook this up with different devices (using the appropriate connectors of course)..?

[AdautoAraujo]

Wouldn't be easier if protools, for instance, send midi events to light systems to trigger scenes?

[illatmospherics]

Thank you for sharing this was more helpful then you think!!

[vanvan]

on what input does ltc signal go to the audio console?

[chrisechols]

Hello! Really just wondering where does the audio time code send come from? Is that a specific piece of audio that triggers smpte I’m just confused and need this information for a show. Hope to hear back