TIMECODE 101: How to Use Timecode for Live Shows (+ a free timecode download!)
Timecode converts square audio waveforms into bits to sync hardware.
Whether you're orchestrating a live concert, setting up a multimedia exhibition, or diving into the world of video production, understanding the essentials of timecode can elevate a project to top-tier. Let's demystify this beast together, shall we? Scroll to the bottom for a free download.
Important Definitions
LTC = "Linear Time Code": an audio-based protocol for reporting a stream of realtime timing information as a digital signal. Timecode converts square audio waveforms into bits to sync external hardware devices.Primarily sent over a mono XLR or BNC cable, and sounds like a robot screaming out a mating call.
MTC = "MIDI Time Code": a MIDI-based protocol to send a similar kind of realtime timing signal. Some devices or software programs only accept a MIDI-based timecode signal, such as grandMA2 / grandMA3 OnPC software without an MA timecode hardware input. Converter hardware/softwares exist to convert LTC to MTC and MTC to LTC.
Frame Rate = the number of frames per second that the timecode signal announces the timing position. Common Timecode frame rates are 23.98, 24, 25, 29.97, and 30.
HH:MM:SS:FF = the exact readout of timecode at any given time, written as Hours, Minutes, Seconds, and Frames. the max number of frames is based on the Frame Rate
HH:MM = The abbreviated readout that teams often share with eachother for timecode offsets per song. Oftentimes we just say an Hour and a Minute in communication so we don’t go too insane. Can also be communicated as “Hour 1, Minute 3)
We used timecode to sync fireworks to the beat for “Winter Solstice”
What is Timecode?
Timecode is a standardization of square wave audio converts square audio waveforms into bits to sync hardware. hen that signal is connected to hardware or software that listen for timecode, it creates a reliable source to synchronize lighting, visuals, pyrotechnics, lasers, and much more.
What is it used for?
When I went from musician into lighting, I spent several years programming light shows using MIDI. With my musician-brain, I would program intricately detailed light shows using MIDI notes that would be sent to a lighting controller to control lights. What I kept running into though was this consistent problem that any change to the lighting programming would need to be changed directly inside the artist's playback system. Thus, a chokepoint at the playback computer would develop, slowing everyone down during rehearsals and last-minute changes prior to the first show!
I then understood why Timecode is king: You use a strip of timecode audio for each song, very similar to how a drummer will have a unique click/slate audio file per song, and all of the different production departments (lighting, video, special fx, etc) can then make any programming changes from their own timecode-supported programming environments while receiving the same timecode signal. Once timecode is set up, you rarely have to change it on the playback-side. It makes for a much more efficient and de-centralized workflow.
In simple terms, timecode is just announcing timing information multiple times a second, and is able to be generated for a total of 24 hours! As a practical way to understand how the live production industry implements Timecode, here's a few main guidelines that we typically set up for structure:
01:15
A Unique Timecode Offset For Each Song
The first rookie mistake we commonly see with timecode is that an artist might get a 2-hour long audio file of timecode, and then have that audio file run the full length of your set. In practice, this means that your DAW playhead times might line up perfectly with the timecode readout. Sounds great, right? Unfortunately, this can create significantly more work and heartache down the road to maintain this. The main reason is due to potential set changes in the future: as soon as someone wants to add even an extra second to a song, the timecodes might need to all slide forward a second. With most programming software, this might mean you have to change the timecode offset to every single song, and hence you end up chasing your tail.
We recommend building in padding between the timecode offsets so that way each song can sit in its own time offset, with enough room to breathe!
Here’s an example timecode schema Duck Lights likes to use:
00:00 - Line Check
01:00 - Song 1
01:15 - Song 2
01:30 - Song 3
01: 45 - Song 4
…
Pick a Timecode Frame Rate
When working with screens content, you want to base your preferred timecode frame rate on which frame rate of most if not all of your content is created with. So, if you mostly have content created at 30 or 60fps, then pick 30fps because it fits perfectly with the number of frames. Otherwise if there is a mismatch, you are likely to see odd behavior or choppiness.
Plan for Pre-Roll
Depending on the hardware and software you use (and how well the developers actually implemented it), the time it takes for it to lock onto the incoming timecode signal can vary.
You might even find that the lock time might vary ever so slightly each night. The fastest timecode locks weve seen can happen within only a few frames / milliseconds (such as Resolume's INCREDIBLE implementation), and the slowest we have experienced to be just under 0.8 seconds from MTC based systems. With that being said, always plan to build in as much pre-roll with the timecode signal that you can, with a general rule of requesting at least 1 second.
If you work with a band with a live drummer, you can typically just request timecode to start when the drummer's count-ins start. For us in the EDM / Showkontrol world, then we are at the mercy of what we receive, and it's worth planning around that for smooth transitions.
It's also worth noting that if you are synchronizing lighting with timecode, you will want to maximize your pre-roll to also give your mechanical robot babies a little extra time to get in their show positions before the song starts. Places, everyone!
Watch out for timecode bleed
A timecode signal is traditionally very loud and hot! Some audio interfaces, breakout boxes, and other audio equipment do a poor job of isolating the individual audio outputs, and a signal like timecode can be heard at low levels on other outputs. This could be especially problematic when someone is using a tracks left / timecode right audio split with a lack of shielding on both outputs. If you run into this, then lowering the gain some can help, but also try to stay away from analog audio snakes that are bundled with delicate musical audio signals. It’s also worth staying away the low to mid-tier audio interfaces, because they can have this problem!
Want to hit the ground running with timecode? Then click here to get our free Duck Lights Timecode audio pack, designed for easy communication and organization for up to 96 songs.
If using Ableton, turn off Warp!
A Common mistake is keeping warp on the timecode tracks. This will oftentimes mess up the timecode signal, so be sure to shift-select all the timecode regions and make sure warp is completely greyed out!
When In Doubt, Listen to Your Timecode Signal.
If you are experiencing timecode dropouts, there's a simple way you can get to the bottom of the causes, and it typically means listening to the timecode signal for anything out-of the ordinary. The two main culprits we've seen are:
audio cable is busted (you hear dropouts and crackles in the line)
playback system is sending unwanted tracks to the timecode output. listen for rogue backing track sounds muddying up your timecode signal
if using Ableton, make sure warp is disabled on the timecode tracks
Have more questions about timecode or need some help with your production? You can always reach out to us via the contact page or email info@ducklights.com. We'd love to hear from you!
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