Uploaded June 2015 | Updated September 2026, 3 weeks ago
Video post houses, film mixing stages, and audio studios doing audio-for-video, at one time all used a sync generator signal that was distributed to all of the video recorders, digital audio and video workstations, timecode generators, switchers, digital consoles, and other gear that had a video clock input.
This was very important in audio studios using DAWs, when the audio and video were handled as double system, meaning that the video was being displayed from a separate player as opposed to the DAW's timeline, as it is in most situations today.
The house sync signal, which was typically NTSC or PAL black burst from a video sync generator, would insure that all devices were clocking at the same rate and therefore maintaining sync.
Today, in most audio studios house sync is probably not necessary. Although, when multiple I/O devices are being used, a digital clock signal (similar to house sync) is required to insure that these devices operate properly.
Video post houses, film mixing stages, and audio studios doing audio-for-video, at one time all used a sync generator signal that was distributed to all of the video recorders, digital audio and video workstations, timecode generators, switchers, digital consoles, and other gear that had a video clock input.
This was very important in audio studios using DAWs, when the audio and video were handled as double system, meaning that the video was being displayed from a separate player as opposed to the DAW's timeline, as it is in most situations today.
The house sync signal, which was typically NTSC or PAL black burst from a video sync generator, would insure that all devices were clocking at the same rate and therefore maintaining sync.
Today, in most audio studios house sync is probably not necessary. Although, when multiple I/O devices are being used, a digital clock signal (similar to house sync) is required to insure that these devices operate properly.
