TIMECODES 25fps Vol. 1

TIMECODES 25fps Vol. 1

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TIMECODES 25fps vol. 1

5 minutes lengths starting every whole hour between 01:00:00 - 10:00:00 .wav/48kHz/24bit/-6dBFS. 

Prod. no.: NF001. Download size: 354 MB. Unzipped: 461 MB


The Timecodes from Noisefile are created to be readable even by very picky equipment and are all phase aligned to wordclock locked timecode, They all have "built-in" event/song numbering. They all have a convenient 15 sek. preroll and all SMPTE codes are timestamped .wav files.

All this in a simple SMPTE timecode? Yes. These files will speed up your work, when preparing your show and at the same time provide that extra level of service that we all aim for.


Please take a minute to find our free version of this code to test it in your particular setting. It's in our Try Before You Buy section.






When conducting a large scale production with a lot of automation, be it light, pyro, video and/or audio mixing, it is important to know that all involved parties are referring to the same timecode. What we often find, is that it’s very handy, very early in the planning stages, to “marry” a particular performance, (i.e. a song/click) with some code. Event/song 1 gets timecode 01:00:00:00, event/song 2 gets timecode 02:00:00:00 etc. This way those who want or need to, can start programming way before we even go the venue. Two audiofiles with the same lenght are created per song: 1) timecode 2) the song - or you can get fancy and make one with the song/audio in the left side and tc in the right, but sometimes this will confuse more than clarify.

On top of that, we found that it’s clever to have the start of a song hit at excatly one whole hour (i.e. 01:00:00:00) this way it’s easier for everybody involved to talk about changing stuff. “We want red light from 2 min and 10 sec. into the song”. This method will demand that the code you use have a little preroll in order for all the machines to lock up, and for the artists in-ear precount.

All the timecodes that Noisefile supply have what’s needed for all this, and we’ve successfully used this method during the last 4 years on the Danish leg of the ESC and on the Eurovision final in Copenhagen in 2014.
— Peter Juul Kristensen, Music Sound director, ESC 2014