What frame rate should I use for LTC?

Match the frame rate of the system you are syncing. Common rates are 24, 25, 29.97, and 30 fps. Film often uses 24, European broadcast uses 25, and North American video uses 29.97 drop frame. Everything in the chain must use the same rate.

What is the difference between LTC and MTC?

LTC is timecode carried as an audio signal; MTC (MIDI Timecode) is the same timecode carried over MIDI. LTC is convenient when you only have audio paths available, while MTC is used where devices speak MIDI.

What Is LTC Timecode?

Q: What is LTC timecode?

LTC (Linear Timecode) is an audio signal that encodes SMPTE timecode — hours, minutes, seconds, and frames. Because it is just audio, it can be recorded onto a track or sent down a normal audio cable to keep lights, playback, and video locked to the same clock.

Updated June 2026 · 7 min read

LTC, or Linear Timecode, is a way of carrying SMPTE timecode as an ordinary audio signal. That clever trick is why it is everywhere in live production: if you can run an audio cable or record an audio track, you can distribute a rock-solid clock that keeps lighting, playback, video, and pyrotechnics all pointing at the same moment in time.

This guide explains what LTC is, how SMPTE timecode is structured, which frame rate to choose, and how engineers use it to lock a whole show together.

SMPTE Timecode: The Clock

SMPTE timecode labels every moment of a show with a unique address in the format HH:MM:SS:FF — hours, minutes, seconds, and frames. The "frames" field counts the divisions within each second, and how many frames make a second is set by the frame rate.

Because each frame has a unique number, any device receiving timecode knows exactly where it is in the timeline at all times — not just that the show is running, but precisely how far in.

How LTC Carries That Clock

LTC encodes the SMPTE numbers into an audio waveform (a biphase-modulated signal that sounds like a harsh buzz). Because it is audio, LTC can be:

Recorded onto a track in your DAW alongside your stems
Sent down a standard XLR or TRS audio cable
Routed through a console, snake, or interface like any other channel

A receiving device "reads" the audio and converts it back into timecode numbers to chase.

Frame Rates Explained

The single most important rule with timecode is that every device in the chain must use the same frame rate. The common rates are:

24 fps — Film and many touring playback rigs.
25 fps — European broadcast and PAL regions.
29.97 fps (drop frame) — North American (NTSC) video.
30 fps — Older audio and some non-video uses.

Tip: Drop frame does not actually drop any video frames — it periodically skips certain frame numbers so that 29.97 fps timecode stays aligned with real wall-clock time. Use it when your video world is 29.97.

How Engineers Use LTC in a Show

A master generates timecode. Usually the playback computer or a dedicated timecode generator outputs continuous LTC.
It is distributed as audio. The LTC feed is split to the lighting console, media server, and any other device that needs to chase.
Each device chases. Lighting cues, video, and effects all follow the incoming timecode, so a single timeline drives the entire show.
The band plays to a click. The same playback session typically sends a click track to the musicians' in-ears so the live performance stays locked to the timecode too.

LTC vs. MTC vs. Word Clock

LTC — Timecode as audio. Position information ("where are we?").
MTC — The same timecode, carried over MIDI instead of audio.
Word clock — A sample-rate sync for digital audio; it is about clock speed, not show position. They solve different problems.

Generate LTC Timecode Free

The Hive Mind's LTC Timecode tool generates clean SMPTE timecode right in your browser at any standard frame rate — perfect for testing a chase, striping a track, or troubleshooting a sync issue.

Open the LTC Timecode Tool →