i got a conductive labs mrcc that also would do the distribution job, but the clock sending out perfectly synced clocks to multiple midi ports is basically what i expect from a midi clock (since there is no lock like on other studio or broadcast clock systems).
By this, i could clock the mrcc, drum computers, the OXI and daw parallel in perfect sync and not serial.
Since you have an MRCC simply send the clock from the CS:M to all the OUT ports. That’s what I do.
ok, that’s serial again, but since this is your setup:
does using the clockstep instead of the mrcc’s internal clock really make an audible difference? I thought the mrcc’s clock is quite ok already.
I guess it might be useful to ask what you’re trying to accomplish?
If the MRCCs clock is doing what you need, why add another device to the mix?
I personally use the CS:M in combination with my MRCCs because:
The idea would be to distribute a single MIDI Clock signal via a splitter or router.
You do want to avoid too much serial routing, this is true, especially when using “soft thrus”. However, a good MIDI router will add around 1ms of latency, and then all of the router’s outputs are on the same footing from there while also affording the opportunity to reroute signals between all the connected gear selectively (and possibly even add filtering if needed).
So, if the question is about the design philosophy behind CS:M, I believe first of all that most MIDI set ups contemplating this sort of clock will still ultimately resort to the use of a MIDI router no matter how many MIDI OUTs are on the clock device itself.
Then second is the matter of size. And third would be the matter of cost.
Along with that was an overall goal to build a device that bridges various clock protocols in an effective way (MIDI, CV, Audio). You can see on CS:M that CV and Audio play just as important of a role as MIDI. (I don’t mention this often, but CS:M can also do DinSync, you just need to right kind of cable)
However, I would definitely contemplate getting a clock device with lots of MIDI outputs if I needed several compartmentalized MIDI clock signals (not just the same MIDI Clock in parallel), but that’s a different kind of use case not covered by CS:M.
I’m sure the MRCC sends its own clock just fine. You can get lots of gear to send a MIDI Clock stream that works fine as such. I hope it’s clear that CS:M is made for doing more than that.
Thank you both pmags and jmkmusic for your excellent and helpful answers!
I’ve taken a brand new approach to sync with the latest firmware update. If you ever wanted a MIDI clock/sync signal to follow a live drummer in real-time, you will want to check this out.
This is great stuff! For ages I’ve been looking for ways to sync MIDI to a vinyl DJ setup, as I often play records that have fluctuating BPM (e.g. disco with a live drummer) that I’d like to add some beats or basslines to.
After trying many options the best I could find is the live beat tracking on the TX-6, but that’s an expensive device with controls made for ants, only does MIDI over USB and has a lot of other features I don’t need.
Would the Clockstep work for such scenario, or is it really only intended for syncing MIDI to a live drummer with a feedback loop? If it does, this could be an additional use case to market to. That said it would be very useful if a future update would have a display showing BPM.
I have that use case in mind, but for right now the mode was made specifically to adapt to a live drummer playing a kit.
What you are saying is technically possible now, but probably not so practical. The main thing is, you have to touch off the clock at the same tempo of the music initially and match the downbeat … which you can easily by first using tap tempo and them having good execution of the start command. That assumes that the material itself has peaks that can be detected and everything is calibrated for those peaks.
I’ll probably try to demonstrate that at some point with this firmware, but I feel like there’s a better path to follow with special programming for that mode, so I’ll be looking into it more.
I am giddy waiting to try this out. Any idea when stock will refresh?
Yeah, I had a run on them the last few days, but I have a few back in stock just now. Working to keep up.
I read your blog post about Follow Beat and I am so curious about how you pulled this off when so many others have tried and failed. Have you documented the inner-workings any further or do we just have the blog post and youtube videos for now? Not trying to make you spill your secrets, just enthusiastic 
Thanks.
While I did write everything in these algorithms from the ground up, I don’t think I’m the first to succeed at it, nor would I try to make that claim. As far as I’m aware though, I may be the first to put all the pieces in a stand-alone Master Clock hardware device.
The product documentation may have some tidbits that aren’t discussed in either the video or the blog. I know I wrote a bit more about the methodology and practical tips on using it in there.
There’s also somewhat of a large reddit thread where I talk more about the methods in response to questions.
If you have a specific question, I’d be more than happy to see what I can explain and how much I’d be willing to share at a high level.
I will check out the documentation and see if I can find the reddit thread. I’ll be purchasing as soon as I sell off some gear. I worked for months and months this year trying to make this workflow happen. I’ll be sure to take some video once we get it working.
Looking at what I’ve published again, I did think there was room for another blog post that gives an engineering perspective for those who have more technical curiosity.
This may not be the final draft of the blog … I sometimes cheat and make little updates over time for clarity. I think this one might get a couple visual aids eventually.
Super good read. Thanks for that.
Edit/ ordered.
Cool. Going out today and you should have it by Tuesday latest. Are you going to use it with MIDI Drums or Acoustics?
Acoustics. Any recommendations for mic setups? I also have contact mics if that helps.
Having a dedicated mic for Kick and one for Snare is my method. The mics on those tend to be cardioid pattern, to reject noise, except what is in front of them.
As I try to type this, there are so many things my mind starts throwing into the pot. It can be such a broad topic. The real key is having a signal where the peaks are high enough above the noise floor (the shell resonance and cymbal wash), even if using only 1 mic in the center of the kit.
If you can successfully gate the signal on the Bus going to CLOCKstep, so that the peaks are isolated with quick rise and fall, you’ll be in good shape. It doesn’t have to sound good coming from this Bus … in fact, the best performance probably won’t sound good.
There’s audio calibration inside CLOCKstep that will also let you set a threshold for capturing the peaks. I view it more as a finishing touch to calibrating the audio for CLOCKstep, but it could be used like a very simple gate also. (side note: The audio calibration stage in CLOCKstep is crucial in any event. You don’t want to overlook it)
There’s also always the possibility of drum triggers on the snare and kick that will convert to MIDI, but there’s no reason that you can’t use mics and get the same performance. It just takes a bit of care and mix engineering.