Timing – The Litmus Test

Innerclocksystems' - Timing Lackmustest

Innerclocksystems’ – Timing Litmus Test

Description © Innerclocksystems:

“Litmus Test – def: any kind of indicator used to classify something either favourably or unfavourably”.

Over many years of testing and checking the timing performance characteristics of different musical sequencing devices we rely on a very simple test that gives an accurate indication of how well it keeps time.

Take any sequencing device – in a sampler use a tight edited fast transient sound like a rim shot – look at it closely on an editor software application to make sure the start time is tight. On a ROM Player or sequencer with built-in sounds – select a similarly tight percussive sound or patch.

Ein Beispiel - AKAIs MPC 4000

For example – AKAIs MPC 4000

Make certain any sample output or patch VCA/EG settings are set to absolute zero/fastest possible attack time.

Sequence a simple two bar pattern at exactly 120 BPM with hard quantised Sixteenth Notes playing only your test sample.

Now play the pattern and record the audio output into any reasonable audio recording software application at 48 kHz for a few bars – Soundforge, Wavelab etc.”

Tested instruments:

– Roland: TR-606
– DSI: Tempest
– Akai: MPC-2500
– Akai: MPC-4000
– Analogic-ACS: TM-116 Analogue Control System
– Doepfer: Dark Time
– Korg: Monotribe
– TipTop Audio: Z-8000 Matrix Sequencer
– Akai: MPC-5000
– Kawai: R-100
– Analogue Solutions: Oberkorn MKIII
– Roland: MV-8800
– Roland: MC-909
– UREI: 964 Digital Metronome
– Akai: MPC-3000
– Akai: MPC-60 MK1
– Roland: MC-4B
– Roland: R-8MK1
– Elektron: Machine Drum SPS-1MKIIUW
– Roland: SH-101
– Linn: LinnDrum LM2
– Roland: CR-8000
– Roland: TR-808
– Roland: TR-909

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Es muss Mitte der 70er Jahre gewesen sein, als ich das erste Mal “Switched on Bach” von Walter/Wendy Carlos gehört habe. Seitdem haben Elektronische Musik und Synthesizer nichts an Faszination und Vielfalt in ihren Ausdrucksmöglichkeiten für mich verloren. Der Haptik wegen und wohl auch bedingt durch meine Wurzeln, gebe ich nach wie vor Hardware den Vorzug, selbst wenn die Qualität so mancher Plug-Ins mittlerweile beeindruckend ist. Die Entwicklungen der letzten Jahre haben eine neue Generation an Klangschaffenden und Musikern hervorgebracht, die wie es scheint nun wiederum der Faszination der alten analogen Instrumente erliegen. Genau in diesem Spannungsfeld soll sich der Inhalt unseres Magazins wieder finden. ________________________________________________________ It must have been the middle of the 70′s when I first heard “Switched on Bach” by Walter/Wendy Carlos. Since then, electronic music and synthesizers have lost none of their fascination and variety in their means of expression for me. Because of the tangibility of it and probably also due to my roots, I still prefer hardware, even if the quality of some plug-ins is now impressive. The developments of recent years have spawned a new generation of sound professionals and musicians, who seem to again succumb to the fascination of old analog instruments. It is precisely in this area of tension that the content of our magazine can be found.