A method for slaving a DAW to the SMPTE timecodetimecode from an ATR. The DAW initially will sync up to the timecode when starting play or record, but once started will use its internal clock. This feature is available on most DAWs. If you use trigger sync when recording to the DAW, no two passes will correspond to the ATR exactly because of its speed variations. Tracks from separate passes will start together, but drift in and out of sync over time. This is acceptable for short segments, and in the DAW, a longer audio segment can be sliced up into smaller segments so that trigger sync is appropriate. As opposed to continuous sync.