Monthly Archive for September, 2009

Interesting threads on the DUC this week

Once a week I plan to report on various threads on the Digidesign User Conference that have caught my eye in the last week or so.

Pro Tools V8 with SSL Delta Link MADI HD Nasher asked….

hello, has anyone out there used SSL Delta Link MADI HD interfaces with Pro Tools V8 ? V7.x works strait away but V8 has bad audio (distortion etc.

The SSl Delta Link boxes enable you do do away with Digidesign interfaces and simply connect the Digidesign cards and provide MADI I/O and save you a packet of money buying loads of 192 interfaces.

It would appear to not be a simple solution and some users are reporting all is OK whilst others are experiencing problems.

One solution offered by Eric Seaberg was…

We’ve got two of them on our SSL C200 to ProTools HD4 supplying 128-I/O both directions. It works great, BUT after installing 8.0 you MUST confirm the settings for DeltaLink. Do you have the manual? Look for the page that shows you how to ‘toggle’ settings on the ‘analog out’ page in the hardware settings.

If you want more info then read the thread here.

PT 8.0.3 Pre Release For Snow Leopard This started off being a comment that the pre-release version was out but very quickly got into a discussion about the future of the Legacy Port on the back of Digidesign interfaces.

This is because as well as announcing the end of Power PC support with v8.0.1 Digidesign have also announced that…


“The following items are no longer supported with Pro Tools 8.0.3pr:

PowerPC-based Macs
Mbox (original version)
Expansion|HD Chassis
The following legacy audio interfaces:
888|24 I/O
882|20 I/O
1622 I/O
24-bit ADAT Bridge I/O”

As Snow Leopard doesn’t run on Power PC machines that made sense but the dropping of the Legacy I/O units has come as a big shock as Digidesign didn’t realise how many users were using the Legacy Port and interfaces like the 888 to get extra I/O at low cost.

Eric Lambert asked…

I’m using legacy ports on 192s and 96s to connect to 4 legacy interfaces for digital reverbs.

Can anyone confirm that the legacy ports are either functional or not functional?

Digi ceasing to “support” legacy ports is one thing – ProTools ceasing to work with legacy ports would be crippling for me.

Digidesign Tech Support then replied…

They are currently non-functional in 8.0.3PR.

Although it is not clear what “they” are. Are they all the interfaces or the legacy port itself?

However users have reported that the Core Audio application in 8.0.3 is improved which is good news although some are still not satisfied.

Working with video in Pro Tools part 5

The OMF and video files tend to be delivered on DVD±R or on a portable hard drive as the DV video files can be quite large — around 200MB per minute of video. My last project came in at over 50GB of data! There may be situations where you will still receive the video on a ‘tape’, whether it is VHS or DV or Beta. You will then need to capture this video from a player into the computer and so create your own QuickTime movie. Use your preferred video editing application to capture the video. Mac users will probably have iMovie somewhere, as it comes free with most Macs, or you can use Final Cut Pro — you don’t need the latest version and so you can pick up a second-hand copy for a song. Make sure you export it as a DV QuickTime movie, not a DV stream, and all should be fine. On Windows I would recommend getting QuickTime Pro and using that to convert the video files from, say, Adobe Premiere to QuickTime format. If you get your video on a DVD Video disc, you will have to rip the disc and then convert the results into a QuickTime movie, which is a slow process.

Wherever possible, then, get the client to supply a QuickTime movie as a video file. Pro Tools will be happy and it won’t take you forever to get the video file into the correct format. Note that if the file is delivered to you on a DVD±R, you’ll need to copy it off onto a hard drive before trying to import it into Pro Tools. Put the DV movie onto a different drive to your audio files — your boot drive will be fine if you don’t have another drive other than your audio drive. While you’re on the ‘phone to the client, try to make sure they send video with ‘burnt-in’ timecode. This is where the timecode is overlaid, in numbers, on the video so at any point you can see the exact timecode point. This is very useful to check that the video file matches the Pro Tools timeline by going to the end of the video track and comparing the burnt-in timecode with the Pro Tools counter.

Snow Leopard support is on its way

Firstly Digidesign have announced a pre-release version of Pro tools 8.

Avid/Digidesign is pleased to announce the immediate availability of a prerelease version* of Pro Tools software that provides expanded Mac OS X 10.6.x Snow Leopard compatibility to Pro Tools 8 users. If you’re a Mac-based Pro Tools 8.0.x user, Pro Tools 8.0.3pr software is provided as a convenience should you wish to begin your transition to Snow Leopard before a fully tested and qualified version of Pro Tools becomes available.

For more information, and to download Pro Tools 8.0.3pr, please see the following pages:

Product News Announcement

Download & Details

Discussion Forum on the Digi User Conference

* Important: Pro Tools 8.0.3pr software is pre-release software, and is not fully tested or supported by Avid. Technical Support is not available for pre-release software. We recommend backing up your system and work files before using this software, or installing a fresh copy of Mac OS X 10.6.x on a different system partition. In preliminary testing, we’ve found most plug-ins to be compatible with Pro Tools 8.0.3pr and Snow Leopard.

Note we are still on our own – no support and make sure you have backups!! But it is getting closer.

Waves have also made a Snow Leopard announcement…

September 2009

Waves is working closely with Apple to bring Snow Leopard support to our product line.
We recommend that Mac users not upgrade to Snow Leopard until we officially announce support.

We are getting closer but by no means there yet and from the blogs and forums I am across it seems that Snow Leopard itself isn’t quite there yet with lots of printer related problems to mention just one area.

I for one will be waiting until Digidesign formally announces support and we have gone through the first set of hurdles with it in Pro Tools world.

Anyone been brave and gone for it care to comment here?

Flux finally announce theire new plug-in Syrah


This plug-in has been along time coming, there have been rumur and leaks about it but finally it is out. This is what Flux say about it….


Syrah – The Creative Adaptive-Dynamics Processor
When we started sketching our new plug-in project, our aim was to create a versatile and truly musical dynamics processor, which handles the dynamics in a way that allows you to be creative, without a complicated user interface.

The result is Syrah, a new generation dynamics processor utilizing real time dynamic detection and level dependent processing, providing adaptive dynamic capabilities, which mean that Syrah is always trying to adapt to the music and to the beat of the material.

Using parts of our exquisite ‘BitterSweet’ technology, our new adaptive-dynamics technology, and our well-recognized level independent dynamics processing, Syrah will be well suited as a creative versatile processor for recording and mixing, as well as for delicate and demanding mastering tasks.

User Interface and Workflow
As you may notice, the controls are not the usual suspects found on a dynamics processor, instead, the controls provided typically affect more than one parameter in the underlying algorithms, with everything carefully tweaked allowing for creative processing still ensuring the finest sound achievable.

The built in preset manager and the preset morphing slider, provides instant and intuitive control of all parameters and controls. In a second, with a simple one-click operation, everything is copied from one of the two preset slots to the other. even during playback. Except for only A/B comparing two set of parameters, the morphing slider will allow for mixing them, and if desired, record the morph with the host automation.

With the built in preset manager, you can save a complete snapshot (called a Global Preset) with all the settings from both of the preset slots, as well as the position of the preset morphing slider, allowing for instant recall of your morphing set.

I haven’t had my hands on it yet but from what I have read the interesting thing about Syrah is that it adapts to the audio going through it. There are three modes dynamic soft, dynamic deep and static. Static makes Syrah function like a normal compressor but the other modes look interesting. Also as you will see from the screenshot there are some ‘different’ controls on Syrah that you won’t find on a normal compressor like Thickness and Relax. Thrre is also a dry/wet mix control which should enable Syrah to be used in a parallel compression mode for very gentle compression.

For more info on Sryah go to the Flux web site.

TC Electronic announce updates and Pro Toos 8 compatibility

TC Electronic have just released a bulletin saying…

We have just completed a thorough testing and modification cycle to make sure that all of our TDM plug-ins are compatible with Pro Tools 8. The latest versions of these plug-ins can be downloaded from here on the TC Electronic site.

I have updated my MD3 and LM5D plug-ins but haven’t used them enough yet to see if there are any changes.

Minnetonka Audio announces new version of their Dolby E Suite

In the Dolby E race Minnetonka have announced the release of v1.3 of their Surcode for Dolby E plug-in. This is from their press release…

The SurCode of Dolby® E suite consists of separate encoder and decoder plug-ins, a cost effective model affording more flexibility in purchase, deployment and use than monolithic products. The SurCode for Dolby® E Encoder has had several improvements, including better interoperability across all decoder platforms as well as user interface improvements. The SurCode for Dolby® E Decoder version 1.30 delivers improved performance with a wide variety of host and plug–in settings. CPU utilization has also been reduced, alone with significant functionality additions to streamline workflow.
For Digidesign users, the new decoder version automatically detects where the Dolby E stream resides within the very strict confines of the Pro Tools 5.1 or 7.1 bus architecture so no I/O reordering is required. The new decoder optionally configures Pro Tools channels to decode a Dolby E stereo program, a 5.1 program, or all eight channels at once. Multiple programs in the data essence can be handled simultaneously, all live and in real time. For Nuendo users, Minnetonka Audio Software has added support for decode from track as well as from live input.


There also has been an interesting thread on problems with real time decoding in which both Jason from Minnetonka and Paul from Neyrinck have contributed as well as some other serious experts.

You can find this thread here on the DUC.

From the DUC – FCP frame rate "bug" to watch out for…

Howard Sonnenburg from Atomic Audio has posted this question…

If you are working on a project cut in FCP at TRUE 24fps (i.e Animation, or for finishing on Film via Cinema Tools) and you have exported you mix as a .WAV or .aif at that framerate… FCP puts a timecode value on audio it has imported. This value is the fps in the default capture settings -regardless of the fps of the Sequence. On most systems this will be either 29.97 or 23.976. However when you add this to a 24fps sequence FCP decides “Oh this audio has been pulled down, therefore I must pull it up to match with the 24fps timeline” – even if the audio is synced to a 24fps timeline originally. Yes, this includes BWAV files output from PT. The result is that the audio, which matches perfectly your QT movie in PT, and even in QTPro will play out of sync in FCP. Yes you read that right… FCP WILL pull up your audio without asking! So how do we work around this?

1. Have your editor make sure his default capture setting is the same framerate as his Sequence (good luck with this one…)

or

2. In QTPro, export your .aif as a .mov with the correct frame rate.

or

3. Use the Sebsky tools bwf2qt function to export an FCP movie with the correct framerate.

Gotta love that technology! Just thought I’d share this for those who may have had these weird sync issues in the past. You are NOT going crazy…

For all the details go and have a look at the thread on the Digidesign User Conference.

There is loads of discussion and advise in the thread and Howard has posted his solution which is to use point 3, he says…

Simple fix…

1. Export as .WAV (yes .WAV)

2. Open Sebsky Tools (click to download here)

3. Choose bwf2QT under tools. Check your settings, esp. that Timecode standard is set to 24fps.

4. Convert.

5. Give to FCP Editor.

I recommend anyone using exports from Apple’s Final Cut especially at 24fps frame rate take a good look at this thread.

Audio Ease announce bug fix update to Altiverb


Audio Ease have released Altiverb v6.3.5 for all platforms.

It covers two bug fixes, this from their forum…


An small update for Altiverb 6 got released today!

Altiverb 6.3.5 fixes two things:
- [Mac] fixes a crash in openGL
- [ALL] dry/wet mix settings are restored correctly (after a bug introduced in 6.3.3).

This update is available for download here

Waves get into training users on their plug-ins

Waves have announced a new product which combines their Gold Native bundle with a training and certification package.

This is from their release…

Over the past few years, thousands upon thousands of aspiring producers, engineers, and musicians the world over have completed the Waves Certification Program and learned the basics of five essential Waves plug-ins.

Now, the new Waves Gold Certification Program takes Waves training to the next level, providing a hands-on, interactive educational experience for 18 additional acclaimed Waves processors. A comprehensive course that digs in deep, the Waves Gold Certification Program will give you the audio knowledge and competitive edge you need to succeed.

Whether you experience the Waves Gold Certification Program at a recording institute, college, or independently at your own tempo, once you complete the new Gold Certification Program, you’ll not only master Waves Gold Native, you’ll own it as well—in every sense of the word.

Waves Gold Certification Program comes with an easy-to-use, richly illustrated study guide, plus two DVDs containing the complete Waves Gold Native bundle, video tutorials, multitrack demos, and more! Once you complete the required coursework and pass the final examination, you’ll receive a Gold Certification diploma suitable for framing, a Waves Gold Certification Program t-shirt to commemorate your audio achievement.

For more info go to here on the Waves web site

It seems a good idea on the surface as the normal Gold bundle is $1300 and the Gold Certification Program, which includes the plug-ins is only $300 more at $1600. So the question is, is the certification worth $300?

What do you think? Comments please…

Working with video in Pro Tools part 4

In terms of the materials needed to work to picture in Pro Tools, you will encounter three basic elements, some or all of which will need to be delivered to you. First, you’ll obviously need the movie file. Second, you’ll want an EDL (Edit Decision List) from the video edit, if one exists. This is a list that records how and where the video was edited. Third, there is what’s called ‘sync audio’, if any exists for the project you’re working on. Adverts, for instance, are often shot ‘mute’, with all sound added in post-production.

This workflow has been made a lot simpler with the introduction of electronic delivery of these elements. Before, you would get the video and audio on tapes which would then need digitising and loading into your audio editing system, and then the EDL (which often used to come on a floppy disk) would be used to ‘conform’ the audio material to match the video edit against the original timecode data from each edit. This process is rarely plain sailing, and is thankfully less common these days.

The EDL now more often comes in the form of an OMF (Open Media Framework) file: there are other formats but this is still the most common one. These are interchange standards that enable the user to import, edit and export information to and from different brands of editing station, whether video-to-audio, audio-to-audio or audio-to-video.

OMF files can come in two types, ‘embedded’ or ‘referenced’. An embedded OMF is one large file that includes all the audio used in the project and the EDL consolidated into one file. A referenced file is where the OMF file is simply the EDL data, which then points to all the individual files, in the same way as a Pro Tools Session does. The down side of the referenced format is that it is very easy to lose a few files in the transfer process, and I always ask for an embedded OMF file. These can easily be created from video workstations like Avid or Final Cut Pro. If the video editor is unsure on how best to handle the OMF export, there are loads of help guides available on the Internet. For example, for a guide for exporting from FCP see Ken Stone’s site, or for exporting from an Avid go to our site where you can download a pdf.



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