Oh yes, you do have left and right, 90° out of phase. So you could theoretically double the amount of zero crossings.
But on the other hand, you still have to be careful when your sample reads 0. Is it a zero crossing, or is it a glitch? Maybe you missed a zero crossing, because the exact zero went between two samples? Or maybe there is a big scratch which degrades your timecode signal… If you have to follow the entire sine wave to know if a zero crossing is about to happen for this, you are back to FFT, which is slower than just counting zero crossings of a known sine wave. I bet it is safe to say that the extra channel cancels out due the complexities of noise, dirt on a record, or “near zero” samples.
A digital platter has 3600 discrete points. Fair enough, probably dust and mechanical wear and tear are an issue here as well…
well, enough to be clearly heard: I could never overcome the fact that with timecode CDs, a hotcue on a beat sounded like “oom, oom, oom” instead of “boom, boom, boom”. As soon as MIDI and HID came in practical forms, I never looked back… But then again, I don’t scratch.
I haven’t disassembled a Rane twelve mk2, so I’m not sure which encoder is being used for his. Optical encoders are pretty reliable over long periods of use.
HID would be my preferred in an offering like the Pioneer turntable here, for the lower latency alone.
DVS systems already are built for noise filtering and using a noise source to know where the needle is at on the record in reference to the spindle. Hence the term Noisemap.
My assumption, which could easily be wrong, is that pioneer stuck with what Hanpin had available. And this is why they went with a noisemap tomecode instead of HID. Also, at this time, Rekordbox doesn’t have support for high resolution encoders.
Those hybrid timecode signals are only loops of the tones that serato and Traktor use.
The Traktor team said that Denon was looping the tone to trick Traktor into emergency relative mode. Like if the record was skipping in relative mode Traktor would ignore it.
yes, but in relative mode, any playhead jump is triggered by MIDI, HID or something else, which ofcourse hasn’t got the latency of absolute mode’s superimposed position signal
The software doesn’t know when you will, only that you will. When you press a hotcue, the start point is a couple ms before the set hotcue. This allows for an attack to be applied without affecting the peak transient.
I’m pretty sure I was commenting on why pioneer would go with a timecode generator and not HID at least not right away. The main reason I think, now, is just because it’s easy that way.
In digital mode the unit can only be used in relative mode. It’s tc generator is driven by the same 3600/r encoder so technically it’s hid already.
The options on the pio unit are there for all people who use some kind of turntable in their setup. But for now most turntablists prefer vinyl dvs in relative mode.
In my CDJ 1000, SL3 days with Scratch Live, I use the Timecode CDs in loop mode. That way I don’t have to deal with signal running out every 15 mins, which was the length of the CD
Set SSL in Relative mode, Press play on CDJ, make a short loop, turn off master tempo/key on decks, dj all night!
We used the laptop keyboard to fire off airhorns and hotcues!
That’s how most of the guys in my circle play as well.
When the usb cdjs became popular, some made 6 hour long Timecode files and rocked with that.
As long as the decks can make seamless loop, we were golden
I still djed with a friend recently who still uses CDs with cdj2000nxs2 …took me half an hour to realize this…I thought the CDJ was broken because I thought he was using hid
I thought the MIDI embedded in the HID stream to Serato (HID I think on it is mostly just used for the display back on the controller) allows separate positional, velocity, bend, start/stop states, and whether a scratch has been initiated, which can allow issues with W&F or stop state cogging that would be apparent on real vinyl to be glossed over when it’s just acting as a rotating platter controller. If you use timecode instead, you have not only wider software compatibility for your rotating platter/disk/record, but an assurance that use with computer software and real vinyl should both have good W&F. You could achieve good W&F on a MIDI or HID rotating platter, but it’s not a given because it’s not exactly required with the hardware doing its own tracking of what’s going on.
The joy of windowing functions’ latency. Also why they make so much sense to be using on this buffered audio on these players we’ve got, since often they’re basically prescient.
Not to mention you get an s-arm instead of an underhung strait if you buy that neat attachment mentioned for the Rane.
I have no clue how the software exactly interfaces with the hardware in regards to the platter.
One thing I know for sure is that the hardware works just like a drone so I would have to assume that the programming would have to be along the same line.
Ive come to the conclusion that most of the people asking for these ridiculous things have DJ experience that extends to playing that DJ Hero game on the playstation:)… as soon as i saw it i thought where the hell would you fit a 10" screen on a turntable, and how many booths across the world would have to be modified to implement it. If anything it should be the DJ mixer that has the screen installed.
