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The optional Microsound I/O Module with Microsync SMPTE and Video synchronization card remains locked even with a 50% varispeed slowdown (that's an octave shift from an analog recorder). It even locks in synchronization to SMPTE striped on the analog track of a second generation VHS video cassette made without rejaming the time code!
Please Note: The Microsound I/O Module and Microsync products are discontinued. Contact MTU direct if you need these products.
Chris Andersen, Nevessa Productions, Saugerties, NY
As the chief audio engineer for the Caribbean Music Awards taped recently at Harlem's Apollo Theater television complex, I employed a single Microsound system with SMPTE synchronization for all of the playback audio including the music for each nominee, all the voice-over cues and the backing tracks for the featured performers; over 175 cues in all! Microsound's audio quality was excellent and its response instantaneous. But more importantly, it was easy to resequence and edit the cues to accommodate the myriad of last minute changes that are inevitable in the rapidly evolving and frenzied production schedule of a live award show.
Mark Karaman, for In Motion Magazine
Some DAWs take upwards of 15 seconds to sync up to incoming time code signal. Some can't survive the slightest jitter or any significant slowdown, and some demolish audio in the process of keeping in SMPTE synchronization. It all adds up to a waste of your time and talent. The MTU Microsound syncs up within one to three seconds, and latches on harder than a pit bull as it varispeed sync-locks to incoming SMPTE or video synchronization signal.
Tom Backus, Jupiter Entertainment
I have a little down time before the storm of new projects hits me next week. I have been using the Microsound system since 1990 when I bought it because the studio I worked for had no computer editing at all. I use Microeditor, Microtools, and Microsync every day, even though there were times when everyone around me was going to Protools.
Fast forward to the end of the decade and I am still using Microsound everyday and most weekends. My work here with Jupiter Entertainment has me acting like a one man band. I am responsible for creating the complete soundtracks for over thirty hours of original programming in 1998 alone for A&E and The History Channel cable networks. The deadlines are horrendously tight, the budgets are nonexistent, and the shows are one hour or longer. I design and edit all the SFr and custom music for each show, sync up everything to picture, clean up dialog, make revisions when the picture edit changes, and complete all the audio for the finished soundtrack with Microsound. I'm also responsible for providing the networks with a full stereo mix, a stereo music and effects only mix, and an on-camera dialog only mix. Just doing the laybacks to one show can take six hours.
The programs I have done recently are on A&E channel; "City Confidential," "The history of the Vatican," and a four hour special on the "History of Mexico". My recent work for The History Channel includes the series "Empires of Industry", "Golf:Links in Time" a two hour special and coming this fall on TNN/CBS The World Skating Leagues' "Power Jam" (Roller Derby '90's version). Keep up the good work.
Glenn Selby, Derek Prince Ministries International, Charlotte, NC
The Microsync card has added a whole new dimension to our studio. Since the October '95 installation of a tape based video workstation for both PAL and NTSC, the updating of closing voice-over announcements with a music bed and smoothing out audio wrinkles has been almost too easy. I simply snap the segment group to the same time code gridline as where the video close begins and lay the mix to video AT THE SAME TIME AS 2 CHANNELS OF GRAPHICS! It's like having a 3rd video player for audio. No matter what the video workstation does to complete the edits, Microsound cues up and locks right along with it. WHAT A TIME SAVER! Once I've set everything, I put Microsound in SMPTE synchronization Chase-Lock, start the video workstation, and go get coffee. David, I can't imagine ever editing and mixing audio for video without the Microsound. Thanks!
Jim Cypherd, Virtual Sound Productions, Beverly Hills, CA
I took my Microsound [with Microsync SMPTE synchronization] into a studio to remaster a multitrack song. I was amazed when it locked and tracked a really bad 8-track striped with SMPTE. One-third to one-half octave pitch shifts heard while monitoring the recording into Microsound were completely removed when played back from the Microsound disk under crystal control.
Larry Emerson, Results Video, El Paso, TX
We recorded audio for video on location in a loud echoing locker room. Microeditor's overdub icon saved the day! We set up a monitor in the sound booth, chased Microsound to the Video Tape Recorder and overdubbed 4 takes, all locked for perfect SMPTE synchronization. It made our unprofessional talent look and sound VERY professional and made a locker room sound like a recording booth!