Tag Archive for 'Digidesign User Conference'

Audio region labelling techniques for large speech recording projects

More and more of our work can revolve around games audio where there is a need to reliably and accurately label audio files with the correct file name. This thread came up on the Digidesign User Conference recently. ‘JamesSosound’ asked…

The company I work for are embarking on a project recording Speech for a AAA computer game for the first time. We will need to be able to label audio regions in between takes during recording as efficiently as possible. Pausing recording, then double clicking a region, copying from a script then pasting the text back in to Pro Tools would be quite time consuming for thousands of files. Is there a more straightforward solution using a plugiin or feature of Pro Tools I am currently unaware of that will ease this process. Would anybody be happy to shed light on standard industry practice for this type of process.

‘nucelar’ came back with this suggestion….

Take a look at voXover. It is not Pro Tools-based but it fits these kind of jobs perfectly. Once the recording session is done, you can of course import the files to PT for further tweaking.

‘clusterer’ suggested a workflow that uses Excel, Pro Tools and Quickeys…..

The excel-sheet had titles for each cue/take BELOW each other. so I recorded a few work steps with quickeys..:

  1. In the excel-sheet – I recorded the double click of the first title/cue, then command+c,
  2. Record the “down arrow key” to select the next title (the titles of course have to be below each other).
  3. The next recording was command+tab (to change to Pro Tools). there I hit “enter” (set marker); then command+v (to paste the name of the first title/cue); then enter again; then I recorded the PT-short-cut to move the curser forward/NUDGE for 30 seconds (nudge must be changed to 10 seconds or anything you prefer) .
  4. next step was change over to excel (command+tab)again. the next/following title in the sheet should be selected now.


so with that – you have got a “loop”. Save this as a Quickey and a shortcut.. and let it work for you. When you’ve finished the recordings you have to record a quickey that allows you to copy the marker-names into the regions regarding to the markers..

‘mjryder1′ suggested another workflow using Strip Silence….

I’ve done a bit of this before using the strip silence function on Pro Tools in the edit drop down menu.
This allows you to duplicate and name lots of regions in 1 go but is only useful if they need sequential names. (eg: VO1, VO2, VO3, etc)
Don’t know if that’s any use? if you got them named like this though you could give a folder of them to someone to rename somewhere else therefore not clogging up you studio.

‘JamesSosound’ rounded up with a thank you….

Thank you all for your excellent suggestions. The voXover software fits the bill perfectly and is a very worthwhile investment for only £250. I have been using the trial version this morning, very straightforward and versatile. Problem solved. Thanks again.


Pro Tools 8.0.4 news

Some folk have had trouble finding the Release Notes for the 8.0.4 update, so here are some URLs…

Release notes…

Read me file!! (Known issues list)…

Mac leopard 10.5.8 and snow leopard 10.6.2 & 10.6.3 download page…

Also a new bug has already surfaced in Pro Tools HD 8.0.4. You read the full thread on the Digidesign User Conference.

‘Mark the amazing guy’ posted…

Apologies if this has been posted already- I couldn’t find anything about it. When working with Timeline and Edit selection unlinked, if you
-select an area with edit selection, then
-move your timeline marker,
your edit selection gets wiped every time. Can anyone else confirm this, or know of a workaround?

‘laki’ added….

Well Mark, I saw this just today. Oddly enough, it’s not the selection that gets wiped (the markers are still where they were in the timecode track). PT is actually deselecting the tracks that were selected. If you have track selection follows edit selection enabled, you can reselect the tracks and you’ll see that your selection has not been lost. And, not to be a stickler for the rules, but you might get some more responses if you specify your system specs. See the “Help us help you” sticky in the PTHD Mac OSX forum. Good luck. I usually don’t work in unlinked.

‘DigiTechSupt’ quickly chipped in and confirmed…

Mark – Thanks for the report. We’ve been able to verify this and will get it in the queue for a fix asap. The best work around we can find (and it’s not really a valid workaround) is activating “Link Track and Edit Selection” and then when your edit selection has been blown away from the timeline just selecting the track again remakes the selection (it’s still stored in the timeline, just not in the edit).
__________________
Avid Audio Tech Support

Avid Audio (Digidesign) announce updates for Structure, Hybrid, Strike, and Velvet

If you use Structure for Post as I covered in this post a while back then you should update your Structure plug-in according to Avid Audio…

Avid is pleased to announce that updates are now available for our A.I.R. virtual instruments on Mac and Windows computers. See the pages below to learn more about, and download, these updates.

Mac and Windows

Structure 1.0.5 and Structure LE 1.0.5 Update

The Structure/Structure LE 1.0.5 update resolves issues in the following areas:

  • Structure Import of EXS files on Mac and Windows
  • Pro Tools hangs when scanning plug-ins if Internet Explorer 8 is installed

Windows

The following updates resolve an issue with these plug-ins on Windows systems:

  • Pro Tools hangs when scanning plug-ins if Internet Explorer 8 is installed.

Hybrid 1.5.4 Update for Windows

Strike 1.0.4 Update for Windows

Velvet 1.0.4 Update for Windows

_________________
Avid Customer Support

Problems when copying Pro Tools sessions from drive to drive

‘MX582′ posted this question recently on the Digidesign User Conference having experienced some problems when copying Pro Tools sessions from one drive to another…

So we did a session the other day on our internal drive in our mac pro running pro tools 8 and some how it saved all but a few of the audio files created during that session into a separate external hard drive that was hooked up to the computer. It created a session folder in that external drive with the session name but the only thing that was in it was the audio files folder with just the new files we recorded. I’m completely puzzled how this would happen. We didn’t have round robin allocation set or anything like that as far as i know…

‘DigiTechSupt’ asked….

Were you using a template or a previously created session that would have used the other drives folder for it’s audio?

‘johnnyv’ added…

Digi, we just had the same issue. Here’s our situation: Brand new Harpertown 8-core, fresh internal drive, fresh Leopard install, fresh PT8 install. A client brought us a session from another city, we copied that session in its entirety onto our hard drive. It was a 7.4.x session, which we opened in PT8. We worked on the song for several hours. When we finished the session, we put a full copy back onto another hard drive owned by the client. When he got home, he said that many of the audio files were missing. We went into the audio folder on our drive, and many of the files were there (roughly half). We could open the session fine, and we could see all the files, but WHERE WERE THEY? We found them on another hard drive hooked to our computer…just as the guy described above. On that drive, there was a folder with the session name, and inside of that, there was a single “Audio Files” folder which contained JUST THE MISSING FILES. So, IN THE MIDDLE OF A SESSION, for some reason, the location of our recorded files started to be stored on another hard drive! I was totally stumped.

‘Rail Jon Rogut’ correctly pointed out…

Just a heads up – never copy sessions with the Finder when sending out a copy for a client on their drive.. Use Save Copy In… and select to copy all the audio files.

‘Howardk’ agreed with Rail…

You can’t go wrong if you follow Rail’s advice on this. . . and by the same token, anything someone brings in on a transfer hard drive, open it on the drive, and use Save Copy In to copy it over to your work drive. THere are other ways to do this, safely, but this is simplest.

‘johnnyv’ responded…

Rail – Yes, that is advice well taken. From now on, that’s what we’ll do.  However — I can also imagine us keeping backups for clients, and it’s troubling to know that PT is somehow switching up hard drive locations without anyone’s knowledge, so we should definitely get this sorted out. We also had no round robin allocation selected.

‘Rail Jon Rogut’ also suggested….

Make sure the drive in the Workspace was a “Record” drive.

‘johnnyv’ replied…

Well, that’s the weird thing, Rail. Half the audio files went where they should go…in the Audio Files folder in the ProTools Session Folder. The other files ended up on some random drive we have attached to our system; a drive having absolutely nothing to do with the session, PT8, the client’s files, etc. And this all happened within the span of one recording session over the course of about 8 hours. Totally weird.

‘Rail Jon Rogut’ asked the right question…

Can you open the session and check the disk allocation for the tracks which went to the wrong drive?

‘DigiTechSupt’ then asked…

And did you possibly have ‘Round Robin’ enabled in the Disk Allocation window?

‘mixboy’ added…

I have also experienced this. Disk allocation shows everything going to the correct place and round robin NOT selected. Yet files end up on some other drive – a drive on which that project has never resided before. Internal for me, as I only use externals for transfers/backups and they are powered off before I boot PT. But I have 5 internals in my G5. It’s literally like PT randomly decided to change disk allocation yet leaves no bread crumbs for finding out where they went.

‘johnnyv’ replied….

Digi, no Round Robin selected (checked it when this happened). It’s just like Mixboy Bob suggested…it’s like ALL OF A SUDDEN PT decides to put audio on some random drive without letting you know. I’ve never seen anything like it.
Rail, will have to get in front of the session again to answer your question 100% accurately. We were checking many things when we found the problem, and I want to answer your question accurately…which I will do later today…

‘carlos santana’ suggested a possible work round…

to not allow the system to have this error again you must set the recording drive to (R) and all of the others to transfer only (T) this way protools will only reccord & work on the one you want it to & not n the others

‘audiogeekzine’ suggested….

Also get to know the Copy and Relink function in the project browser

‘Howardk’ followed on….

Yes, the project browser is very handy for this. . . just sort the listing by drive/folder (click on the header way over on the right) and if anything is in a different drive or folder it is easy to see, and then you can right click on the filename to copy and relink. Everyone gets fooled by this and sometimes it can be very serious (when mistakes compound). . . I believe there really should be an indicator on the top of the edit window to goes red whenever there are files outside of the designated audio folder (ProTools really should have a dashboard with key information like this). . . .here is one thread on this topic.

DigiTechSupt then stated…

Pro Tools has never, in any test I’ve done, placed files randomly on a drive. I’ve heard this complaint on several occasions and have even gone to customers studios to witness it, only to find something in their workflow that’s causing the problem. I’m not saying it’s not possible – well, it really shouldn’t be – but I’ve yet to see concrete evidence that it’s putting files randomly on a drive.

‘johnnyv’ replied….

I’d be THRILLED to know that we have something set “wrong”. We haven’t been using PT8 for very long, so I hold it entirely possible that it is, in some fashion, “operator error”. BUT, in this case, I DON’T THINK THAT’S THE PROBLEM.
Rail, Digi and others, check this out…when I go to the session in question, the Disk Allocation shows NORMAL, it points all tracks to the proper Audio Files folder within the Session Folder. YET, only half the audio files (well, actually less than half) are actually there…the others are on a random drive ON WHICH WE HAVE NEVER EVER RECORDED AUDIO in a folder with the proper session name and inside of that, a single folder named “Audio Files” which contains the other files that we recorded ALL ON THE SAME DAY. So, SOMEWHERE DURING OUR 8-HOUR SESSION, somehow the files were directed elsewhere. I must say, having used PT for years now after starting on Sound Tools back in the 1990′s, and owning a D-Control, HD5 Accel, Waves Mercury, etc etc, this is a weird one, and I have no explanation for it. I totally appreciate everyone’s suggestions, and as Rail pointed out, I’ll never copy via the Finder ever again. And I’m going to learn about the things others have suggested upthread. But still, something had to make this happen, and I have NO idea what it is/was.

‘DigiTechSupt’ then asked….

If you drag and drop an audio file from a different drive and do not have ‘automatically copy on import’ preference enabled, it will keep the audio file at it’s original location and play it from there. Were all these files recorded in the session or were some imported? Now, is it possible that round robin was enabled at any point? What is the nature of this other drive – how do you know for certain that audio was never recorded to it? Was the drive ever used to move a session from one place to another, possibly to another computer? If you go to the Regions bin and ‘show full path names’ – do the audio files path indicate anything about how the audio might have ended up on that drive? Was the drive name ever changed?  Was there a session template used and, if so, does the template possibly have incorrect drive allocation?

‘johnnyv’ replied…

Digi, thanks for taking an interest. Let me check into your questions and try to answer them accurately (can’t do it right now, as I’m working at the moment). To be honest about Round Robin, I never even knew about that until this issue popped up and one of my assistants looked at the setting (it was not checked). We only installed PT8 about two weeks prior to that session, and perhaps you can answer whether or not RR is “ON” by default when installing PT8 fresh for the first time on a fresh drive with fresh system, etc. I can say that the drive that this went on is a backup drive which only holds my BFD (drum software) files, and some weeks back, I copied my entire PT7 system drive onto that drive just so I had a backup in case anything ever went wrong. But, as far as I know (and I’m the main one in that room), we have NEVER ON A SINGLE OCCASION used that drive as any sort of a PT recording drive…that’s just another weird element to this. I have a Mac 8-core Harpertown with 4 internals…we record PT onto two of those internals…this drive was an external drive which happened to be hooked to the system in case we needed BFD files. I’ll report more later…

‘smlworld’ suggested…

I cannot recommend these ‘videos’ highly enough. Browser relinking is covered and all prefs are discussed in detail. As a long time PT user (back to SD2) I really appreciate Kenny’s command of Pro Tools.

‘DigiTechSupt’ asked….

If there’s some way we can get a concrete example of this occurring outside of user error, obviously we’d want to get it fixed. I’ve tried personally to make this occur on several occasions, replicating customer setups as closely as possible, but without success. If you see this occur, please note everything about the current state of your system, plus anything prior to the incident that you can recall, even if it seems irrelevant.

‘studiojimi’ posted their experiences….

I had an issue like this over the weekend and I thought I had lost my guitarist’s overdubs because they weren’t on the drive Ii was using and i had not noticed that my back up drive was online during the session and some of my templates tracks were still allocated to the BU drive because it used to be my internal. I recently purchased a terra drive and now that’s inside I was lucky that the session at least put the new info in fresh rogue folders– probably because the old backup sessions were in a project folder of their own…otherwise i would have been hosed because I had dragged and dropped to the BU drive in that project folder when backing up.  I usually manually back up the files by date and the fade files and the old sessions and backup sessions as well as the audio but as you guys know sometimes when you are tired or distracted…you do a walk away and …. hmmmm that could have been a disaster.
I feel very lucky cuz I had already called the client to tell him I had lost the files…then…miraculously I found them in those new rogue folders….and I named that a blessing immediately.

‘soundboy35′ asked….

So any ideas? I’m curious about this as well. While we’re on the topic of templates being the possible culprit, if I open a template and create a new session from drive A, then save it to drive B, and change the disk allocation to drive B, is this problem going to happen?

‘rinky’ added…

This weirdness also happened to me. I noticed that my sessions were gradually taking longer to process fades and audiosuite edits. Come to find out, my main system drive had some of the fade/audio files on it. I checked the disk allocation and sure enough, some files were being written on my system drive and some on my original 7200 rpm external drive! No idea when it started to do that since I hadn’t made any changes to prefs or to external drives… just snuck up on me! But ever since this problem my edits have been to a grind claiming that my my hard drive isn’t fast enough, etc. even after correcting the disk allocation issue. So guys, you are not alone on this.

‘DigiTechSupt’ asked…

For us to make any kind of real traction on this, we’re going to need details about the history of a session
Which drive it was created on?
How was the session created (File>New Session, from a template, etc)
Are you using the File>New Session>From a Template function, or opening a Pro Tools Session file (by double clicking or otherwise) as your template?
Did you use any custom disk allocation at any point
Was round robin ever enabled?
If you moved the session at any point how did you do it (drag and drop, backup utility, etc)?
Did you ever use Save Copy In to make a copy of the session and, if so, did you copy all audio files? Which drive did you save it to?
Is the preference to automatically import audio to the audio files folder enabled or disabled?
The more detail you can give, the easier it will be to determine what may be going wrong.

‘timragnur’ responded…

I’ve been talking with 3 colleagues of mine who has, like me, experienced this very problem. To be excact, it have occured with sessions that were made in one place, then moved (Finder, drag-and-drop) to another computer. Then, what you record/consolidate/audiosuite from this place will be put in another available harddiscs, sometimes the internal, sometimes the external. A session folder will be made in the root with the new audio files and fade files only. Obviously when you move the session, files will be missing. They were all originally made in PT HD 7.3 (new, not templates), but problems occured long after it was opened/saved with PT HD 8.0 No changes was made in the Disc Allocation, and all links appeared fine refering to the right folder. It doesn’t necessarily occur again within a troubled session. Save Copy In was not used. I know this might create a confusion, but like one wrote earlier in this thread, in the last 2-3 years using PT HD 7.3 i’ve had this problem maybe 5 times (with same kind of random choice harddisc allocation). Knowing the system very well, I think we are talking about a bug getting bigger with version 8.0.

‘Sean Russell’ also suggested this possible work round….

Change every drive you don’t need in the session to ‘T’. That solves the Disk Allocatin weirdness.

‘TimNielsen’ added….

I just want to chime in here too and say I have had this problem before as well. I have also had on many occassions, fade files that will regenerate in their ‘original’ location where they were first built, even though I have all my tracks set properly in Disk Allocation. Like, if I delete all my fades, then relaunch the session, a bunch of the fades will still redraw on the wrong drive. The only solution I found in those cases was to quit PT, take that drive off-line, delete all fades and open the session. When PT can’t find that drive it wants, then it would seem to follow disk allocation properly. I have also had the very wonky issue with PT8 where upon importing session data, tracks, and telling PT to ‘copy’ the audio, that PT will get some random part of the way through, and then just ‘reference’ the rest of them. If you aren’t watching the progress bar, and don’t see it ‘jump’ to the end, you would have never known. As far as I know, this is still present in PT8.03cs2. I now have to check upon every import that PT copied the audio. About 1 in 5 times, it will copy ‘some’ and reference the rest. It’s a disastrous bug that really screwed me several times until I realized what was going on. Save Copy In does seem to work, I haven’t had it miss any files so far. But importing session data seems still buggy. Just posting because maybe these are all somehow related.

Well I must agree that I have experienced situations when folders with some audio files or fade files folders have started to appear on other drives, but I have always found it to be due to Disk Allocation to be set to ‘the other drive’ Even for fade files. I completely agree with ‘DigiTechSupt’ that you must be very careful when moving sessions from one drive to another especially when using the Finder. The safest way to move sessions is to use the Save Session Copy, but who wants to boot up Pro Tools to move a session from one drive to another when you can drag and drop from the Finder?

The workround that ‘Sean Russell’ and ‘carlos santana’ should work but I would find it very difficult to keep switching drives from R to T in the Workspace Browser depending on what session I was working on.

The suggestion from ‘audiogeekzine’ to get to know the Copy and Relink feature is very well made and one that I have posted about here too.

I agree with ‘smlworld’ and cannot recommend Kenny’s videos highly enough.

Plug-in to make LtRt??

‘Mark 66′ asked recently on the Digidesign User Conference….

I am looking to make an LtRt from a 5.1, is there a plugin that will do this?

‘TimNielsen’ replied with….

This will encode, but I’m not sure it will go directly from a 5.1, normally you feed the LtRt input L, C, R, and a mono Surround channel to make the LtRt.  It would be fairly easy to take your 5.1 tracks and bus them appropriately to the input.
If you just want to make a stereo from the 5.1, and not a true LtRt, then you normally bus your 5.1 tracks to a stereo bus, and then drop the center channel -3dB, drop the surrounds -6 and pan the Ls to L, and the Rs to R, and either drop the Subwoofer -10 or lose it altogether. I usually then run all those through an aux track, and take the oveall level of the stereo down a couple of dB before recording too, since adding in the center and surrounds to the L and R, even dropped as they are, can and will probably still overload the channels at times.
But for doing a true LtRt, the Dolby Surround Tools is the only thing I know of, since it’s a Dolby matrix that needs to be created, not sure anything else can make you one.

‘strangeLoop’ added…..

Here is the one from Neyrinck Audio.

‘JFreak’ agreed…

Neyrinck is the one to choose, even though Dolby is Dolby, it is not that good.

‘bad jitter’ added….

Hmm… I have Dolby and the GUI is PITA, agreed. But are you saying that Neyrinck sounds better?

‘Frank Kruse’ pointed out…

The neyrink doesn´t have a decoder so you won´t be able to hear what you’re doing.

‘JFreak’ suggested….

Maybe it’s just me, but I get better end results using Neyricnk’s. That said, I don’t own either, I just trash an extra iLok key when I need those plugs :)
IMO encoder is enough, I always use a hardware decoder (home theater consumer stuff) to listen to the mix as that is what the customer is also using.

‘dr sound’ commented about Neyrinck’s lack of a decoder….

I talked with Paul Neyrink at NAB and he told me he is very close to releasing the decoder with the PLII . I will purchase one as soon as that happens.

‘laki’ suggested a different route…

SRS Labs make a plug too. It’s decent but I prefer the Neyrinck. Not that it sounds better, but it is adjustable. My only gripe with the Neyrinck is that every instance eats up a whole DSP chip!
If you’re doing an involved 5.1 mix and need to do multiple fold-downs for stems etc, you may run out of DSP. The SRS plug is less DSP hungry.

But ‘Stylin’ Audio’ pointed out….

SRS left us owners for dead – they are not supporting/developing their plug anymore.

‘Postman’ said…

Please, let’s not confuse the terms LtRt and LoRo. In PT you can route the surround mix to LoRo, a.k.a. good old stereo. Yes, Dolby decoder will play it just like any other stereo recording can be played, but what emerges from the surround speakers is not the same as when the surround mix is encoded into an LtRt by an actual encoder. LtRt and LoRo/stereo are not the same thing.

‘TimNielsen’ apologised…

Yes, sorry if I confused anyone, the method I listed will NOT make an LtRt, which is a Dolby Specific ‘encoded’ system of merging L, C, R and a Mono Surround channel into a stereo stream. I was simply listing a fold-down method to make an LoRo, as was noted, which is simply a normal stereo stream that won’t lose information, like would happen if you just took the L and R of a 5.1, obviously you’d lose your center and anything in the surrounds. So what I was listing was a crash-down, just in case the person posting wasn’t talking about a true LtRt. Sometimes I hear people refer to a stereo mix as an LtRt, when in fact they’re simple talking about a crashdown, which as was noted. So I didn’t mean to imply I was listing a formula to make an LtRt without a plugin or hardware encoder, it can’t be done. You have to use either the Dolby or the other one (which I didn’t even know existed).

‘Postman’ replied…

Hi Yes, that was my main point. Thank you for clarifying. I’m seeing regular intermingling of the terms because some people (not you, but some others) do not know any better. It is a regular mistake in the Post forum too.

‘gsilbers’ commented…

we do the “crashdown” (foldown) to make LTRT and we go through a dolby E encoder to layback 5.1+LTRT. it passes QC fine but maybe its different than ltrt for a dvd. Although we send tons of foldown ltrt to dvd houses/blueray and never have had any problems.so maybe they do something else to it. so now im a bit curious on the plugin route and why would it be different.  btw we do this we many many movies and tv shows for fox , univ, disney etc.

TimNielsen came back…

Please be clear on the terminology here. If you say you are using ‘crashdown’ method to make your LtRt, then you are NOT making an LtRt, you are making an LoRo! There is a HUGE difference. All you are doing is making a stereo version of your mix. It has no information for the center channel, or surround channel. Now the dolby DECODER might still stear some information to those channels when you play it back, but what you have made is mostly certainly not an LtRt. The term LtRt (Left Total, Right Total) only applies to a 4 channel stream (L, C, R, S) that has been specifically encoded through the Dolby Matrixing scheme, to embed the C and S information into the L and R channels, so that a decoder can properly find them, extract them, and steer them to the C and S channels.
Hence it is, and must be a two part process. You must specifically encode, and decode an LtRt. You absolutely cannot make a true LtRt any other way. What you are making is fine, we make them all the times as well, a simple stereo version, for instance for the editors to drop into their Avid. But it is NOT an LtRt, which is a very specific thing for a film print or DVD. The nice thing about an LtRt is that it can play just fine as stereo, it doesn’t need to be decoded, if you don’t decode, you just hear stereo. So this is used on the stereo track on a DVD. Then if a person at home has a Dolby Surround decoder in their receiver, it will extract the channels and give surround. Of course nowadays, I can’t imagine there are many left using Dolby Surround decoders, everything is Dolby Digital and now moving towards Dolby True HD, but anyway…  So really, what you are doing, you should call it an LoRo (Left Only, Right Only), and not an LtRt. Hope that clears up any confusion. If you’re not encoding it via a hardware of plugin, you are not making an LtRt.

‘CCash’ agreed…

Right. That is not an LtRt, even if you label it that way. You are getting away with it because it is usually very difficult to determine if someone has given you stereo or an encoded LtRt, even when decoding it to LCRS. That’s because the decoders do a pretty good job of steering things to the correct speakers… but you will be at the mercy of the decoder’s speaker steering, and it will not retain any of the rear-front panning decisions you made in the 5.1.

‘MixMonster’ chipped in…

I use SurCode by Minnetonka Audio. It’s both encoder and decoder, easy to use and I’ve never had any problems with it.

‘The Missile Silo’ added….

Having worked in DVD/Audio Restoration for a number of years we used Neyrinck (specifically the Sound.Code for Dolby Digital version for our AC3′s.). I did a shootout once between or Dolby plug-in encoder and the Neyrinck, hands down Neyrinck was the obvious choice.

‘TimNielsen’ mussed…

Curious, obviously the decoding matrix will usually steer dialog to the center correctly, since it’s perfectly in phase on the L and R. But will a decoder street ‘anything’ the surround channel from an LoRo? Never tried, but that’s the part I assume would just go missing, and instead you’d get a usable LCR out of it. Which, as you said, is what makes it hard to know from listening to a file if you have a real LtRt or not.

‘Postman’ replied…

Absolutely! The less phase coherent is left-right, the more it will be drawn to the surround channel(s). With Pro Logic 1 and 2, stereo reverb gravitates toward surround always. With Pro Logic 2, there are different modes that alter its behaviors, but it tends to “bend” hard left and hard right toward the surrounds. Some music modes make the effect really great, but at the same time do not give the center channel a firm anchor, which can really screw with dialog. I’ve taken a liberty to turn your remark into a question. Sound that is out of phase between left and right will head into the surrounds, so if you hear some things like ambiences and specific panning stuff like fly overs or pass-bys sounding very out of phase ,between left and right, you are likely hearing an LtRt. But, as you point out, there is no simple way to tell for certain. Anyone can make out of phase information. The trick with true LtRt is there is a 90 degree “all pass” type of phase shift on all the surround material. THAT is not as easy to do as simple routing and 180 degree phase shift. But that is what allows a mixer to pan a mono sound partially front to back without it being pulled toward left or right. Sorry, I’m talking geek speek.

‘TimNielsen’ came back…

No, it’s good. I’m learning stuff. LtRt’s have always been a bit of a mystery to me. We always make them, but the mixers monitor it coming back from the magic device, and make adjustments based on what they hear, mostly capping volume and maybe riding the dialog a bit! So it’s good to get a better understanding of what is happening. It’s another one of those technologies that was genius in it’s day, but I wish we didn’t have now, like Dolby Digital. The most exciting thing for me about Digital Cinema, is 16 available tracks of 24, 48k uncompressed audio!

Neyrinck Or Minnetonka for Dolby E Encoding/Decoding

Found this thread on the Digidesign User Conference recently. Laki asked…

Looking at getting one of these and offloading my hardware boxes. Anybody care to weigh in on which to buy? The Neyrinck or Minnetonka version.

Mike Aiton posted…

Just a thought, but if you have the Dolby Audio Tool blue box, dont’t let go yet. The problem that I see with the software encode/decode solutions is that you can’t listen to your downmix with the metadata that you are encoding with. In the Uk on the Sky plaform, most viewers hear the downmixed 5.1 to 2.0 (as they don’t have a 5.1 decoder) so it is vital to be able to hear this. The network doesn’t transmit the LtRt that you sweated cobs over and loving put in your second programe audio on ch 7&8.. That said, I have passed this observation to Paul Neyrinck and he is “smarter than the average bear”, so I am sure a solution will be forth comming.

quadraphonics added…

I have tried both the Minnetonka and the Neyrinck software Dolby-E solutions, after using the hardware for a while and ended up purchasing the Neyrinck software. It was exceptionally easy to work with and the plug in (both encoder and decoder) worked just like the hardware – just faster. We have done well over 100 shows since we got this software. If you have any questions about how it performed in our workflow, I would be more than happy to help.

laki replied…

Thanks Randall! Tried both demos and came to the same conclusion.

Reports of increased occurences of 9019 & 9031 errors with Pro Tools 8.0.3

There is a growing thread on the Digidesign User Conference on 9019 and 9031 errors on Pro Tools 8.0.3 It was started by Nathaniel Reichman asking…

Since moving from the various 8.0.1 releases to 8.0.3, I frequently get the message:
“DAE is having trouble keeping up. Your disk may be too slow…firewire, etc., etc. (-9019)” which is followed by a beachball and then: “DAE error -9031 was encountered.”
And this repeats until we quit the app and relaunch. Sometimes hours go by with no problem, sometimes we get this 3 times in an hour. We haven’t seen this in PTHD, only on the PTLE/CPTK system listed below. We tried trashing databases and volumes folder.

After some system and workflow checks Reichman confirmed…

Nothing has changed in my typical post workflow or drive usage since PT 7.3.
Thanks for posting, but I really doubt the non-contiguous file theory. If that were true, none of my projects would have worked with any version of Pro Tools. For now, I blame the .3.

“Garnoil” responded….

Ok, so it must be .3. I am on 8.03 and although I had one massive, annoying, problem (0922 too many files corruption), 8.03 *at least for me*, has been a great improvement. I run HD2 and push it to the limit, I mean 192 voices (160 tracks+) + full HD film at 2k resolution. So far, so good but of course there are lots of bugz to fix, some worse than others. Good luck!

Then Digi Tech Support weighed in…

I see you have an eSATA hotswap tower in there – is that what you’re using for playback/record? If so, have you tested with other drive types?

9019 is a drive error related to drive communication speed – we usually see it on PC’s where drives are not in DMA mode.

The 9031 error is usually related to having illegal characters in the drive, file or folder name – is that possibly the case here (keep in mind that previously fudged illegal character acceptance is no longer possible, so what may have ‘worked’ before no longer will)?

Reichman responded….

Yes. And I know it’s not officially approved, but it’s performed flawlessly every since PT 7.3 on a G5. I thought I cleaned out all of my illegal characters in the PT6-7 transition. Thank you for writing back so quickly. I’ll report back if I learn anything.

The “smpkeys” chipped in….

I just experienced this same problem. I’ve been on 8.0.3 for about 2 weeks and have not seen this, however , tonight I was using the playlist lanes view for the first time, and that’s when it occurred. All my drives are internal SATAs – 1 for OS, 1 for audio, 1 for samples. Not using any video in my session, and no illegal characters. Reichman – have you found a solution with your setup?

Reichman replied…

Haven’t found a solution yet, primarily because it is happening infrequently now. Occurred once yesterday when opening an AudioSuite plug-in window.
Every time it does happen, it will continue persistently until I save, quit and restart PT.
When I get out from under this mountain of work, I’ll try another drive type for a while and see if that helps.
For the record PT 8.0.3 is really stable. For PT8 doubters, now is the time to get on board (is Frank Kruse reading this? :) )

Digi Tech Support came back with a request…

Can you guys do something for me – after you experience the error, quit Pro Tools as soon as possible after it, then send me your LogFiles folder from inside your Pro Tools folder. Zip it up and send it to: vi [at] digidesign [dot] com. Put the thread number (265212) and ’9031′ in the subject of the message.

“Sunzate” added…

I’m getting these errors right now with a midi-only session, controlling the PLAY EastWest orchestral plug-in. Never seen it before today. Recently updated to 8.0.3. Let me know how I can help.

Then “Oroz” asked…

I’m getting the DAE error -9031 a lot! Can you further explain what do you mean by illegal characters in the drive? How can I solve it?

Digi Tech Support replied…

Your Pro Tools Reference Guide has a list of unsupported characters. You should make sure that no drive, folder or file name contains any of those characters.

This error on Mac is also caused by incorrect drive format. I would recommend backing up your audio/video drives and erasing them using the Disk Utility, then copy the data back and test again.

Oroz asked…

Do you think that it may be because I’m recording to a partition (dedicated to audio) of the internal drive? If so, would a USB external drive be a solution? Since I’m on an iMac there’s only one Firewire 800 port. I have read successful stories from guys using USB drive as an alternative but I’m not sure.

Digi Tech Support replied…

Recording to a partition or to a USB drive is not recommended or supported and definitely could be a cause for these errors. Please see the General Troubleshooting thread for more details. With an iMac that has only one FW800 port, get a FW800 to FW400 cable to connect to your drives and interface.

smpkeys posted…

Just happened to me again on Saturday. This time when it happened, I was changing the output of a channel. Digi, I’ve zipped and sent my log file using the directions posted earlier.  One more thing – I had trashed prefs about 2 hrs before this crash.

So a couple of lessons from this thread. You cannot use USB drives for Pro Tools sessions. USB needs processor time to negotiate the data transfer on and off them and does it when it gets round to it. Where as Firewire has dedicated chips on the interface to manage the data transfer in a timely manner.

You must have correctly formatted drives irrespective of what platform you are running on. On the Mac platform that must be Mac OS Extended with journalling. I recommend you format your drives with Disk utility rather than any 3rd party formatting software.

Check the characters that are used for naming anything. Drives, folder, file names.

Structure for Post/Sound Design

I came across this interesting thread in the Digidesign User Conference about using Digi’s sample playback plug-in for post work.

D’Animation asked…

Just a quick Q, anyone using Structure as a sample player for post/sound design work? Looking for a pretty simple player (not necessarily with sample editing as you can drag and drop edited sample from the timeline so maybe Structure LE will suffice) that can all be nicely automated with pitch etc etc – mainly for various vehicle sounds speeding up/down etc. I’ve always used NNXT within Reason but its becoming a bore and would ideally like something without rewire. I’ve used the Structure Free for awhile and its done what its needed to but need to upgrade to something else as its too restricted (OK, can’t complain cause it free…I know )

Kinda bugs me that I’m probably paying a lot for included musical sample libraries I’ll never use…

I’ve looked at MOTU’s Mach5 but they seem to be very poor with the updates and I’m not sure i need the depth/complexity of it or Kontakt 4 (still working my way through Reaktor and Absynth!). Come to think of it good RTAS samplers are a bit thin on the ground?!
Thanks
D

RussUK suggested…

I would recommend it highly after using all the usual suspects.

Especially the new version with the added import options.

Check out the videos on the AIR Users Blog.

Haven’t used the Structure Free version, so not sure of the limitations that you speak of…

latvia added…

It’s a treat to work with. Very easy to use, especially after you watch a few videos on Digidesign’s website. I like being able to spot something to timeline with Soundminer, then drag-and-drop that clip into Structure and use a MIDI keyboard to manipulate it. You can actually see it in use in an ICON For Surround Mixing webinar. I’m fairly certain that what they demonstrate there, mainly control of certain parameters with Custom Faders, you can accomplish by using any sort of MIDI controller.

guitarmongoose suggested…

As usual, check Ebay. I’ve seen just the Structure LE iLok license with out the sample license for dirt cheap. I’ve thought about getting it myself.

D’Animation responded…

Thanks everyone, the new improvements to Structure announced last week, are they available as single plugins or do you have to buy the new virtual instruments bundle to get the added features?

ProTools 8.0.3 and Canopus crash problem

This is a scary bug that somehow has slipped through the beta testing process. If you want to read all the posts then click here, but here is a synopsis of the issues and suggested work rounds…

nhaudio outlined the basic problem…

Just updated ProTools to 8.0.3 on two systems and have found a major problem:
If I save and close a session that has a video file in it (.dv which is going out firewire to a Canopus ADVC110), when we try to reopen the session, ProTools ‘Unexpectedly Quits’ when trying to rebuild windows (the last few status updates you get when a session is opening).
Sessions with no video file open fine, no problem whatsoever.
We can’t work like this! We open various tv commercial sessions all day, and rebooting each time is brutal!!!

Digidesign pitched in very quickly and asked for crash log file details…

In Pro Tools 8.0.3, we added better and more robust logging to help track down problems like the one you are seeing. When Pro Tools crashes, some information about the crash is written out to a log file. The log files are kept in the “LogFiles” folder that is next to the Pro Tools application.

Here’s what you need to do…

1) Reproduce the crash you are seeing.
2) Look in the LogFiles folder and find the latest log file. The file name ends with .dlog
3) Email this “dlog” file

There is no need to do it now as the list of posts confirming the problem grew very quickly and Digidesign quickly confirmed they could reproduce the problem…

We can now reproduce this bug in our test lab. We’re still investigating what is going with this bug and are trying to narrow down the root cause of the issue.
It looks like there is some combination of changes that were made in Pro Tools 8.0.3 and updates to the Apple QuickTime software that introduced this issue.
I’m glad to see there are several workarounds for this problem, albeit not particularly nice ones.
Bob Brown
Principal Software Engineer

Also two workarounds came through from users. The first came from nhaudio…

I’ve found a workaround for now. It seems if the Canopus is powered off when I launch a session, it opens fine. Then I can turn the Canopus back on and work as normal. So for now, I plan to turn it off before opening any session to keep workflow… well… flowing.

And the second from stustan…

I also have the exact problem but I have a different work around that is 100% effective. Instead of bothering with the Canopus Box which is out of easy reach, I rename the pix folder by adding an X to its name. PT 8.0.3 LE then opens perfectly with the relink window informing me it cannot find pix. I then relink to the renamed folder and all is well. The next time I need to boot the session I rename the folder again, usually back to the original name and go through the above steps. My pix folder’s name then flip flops between Pix Folder and XPix Folder

Then diamondscwin chipped in to say…

at the moment it seems to me that Quicktime playback and 8.0.3 is broken… people in this thread are reporting issues with Blackmagic cards, AVID Mojos, Canopus boxes and just desktop playback… only cure regardless of OS is rolling back to 8.0.1 so I dont think its apples fault.

Then uno1234 was one of several that suggested…

We are reverting all our 4 systems back to 8.01. As nasty as that 8.01 bug list is, we just can’t deal with firewire out crashing anymore. How exactly does an official software release get so bungled up like this? Was there no beta testing in a simple post production workflow? Is there ANY accountability at Digidesign anymore?

Also to note that the 8.0.3cas1 update hasn’t fixed this problem so it would seem that for video post facilities using video peripherals should say on Pro Tools v8.0.1 for now.

What to do if your Mojo dies

Mike Aiton asked this question recently here on the Digidesign User Conference

Sadly my mojo (composite version) is displaying signs of illness
Upon power up all iights come on
After power up only 48kHz and host and power remain lit- vid ref does not light

Looking at my plasma I see the avid logo card, but rolling rapidly and in black and white- as if it is asynchronous NTSC in my pal world.

I have tried rebooting the mojo (a power enema) many times to no avail. I have tried unplugging the PSU brick as well.

Incidentally Protools kindly proffers the advice that my video peripheral has a power up problem and promptly ignores the mojo which is a bummer with Avid video! My Nanosyncs is happily clocking all other peripherals in the room.
To Fix Avid UK is quoting £330…….

Mike Aiton
Dubbing Mixer/Sound Designer
BAFTA member

Postman replied…

The way I see it, Ebay prices for an analog MOJO are quite low, US$300-320 right now. That’s not a lot of money and maintains the performance you already have.

If you’ve got a spare machine for video:

1. Upgrade to Avid with video satellite: buy a satellite link $US749, upgrade MC (unless you already have MC3.1.2 at least) US$395, and stick on the lowest cost MOJO available, US$320. Takes any SD/HD material, outputs to SD monitor, with MOJO frame edge alignment is always maintained with NTSC/PAL reference but HD reference not possible. Actually the MOJO is optional but I wouldn’t recommend software only video playback, the image quality suffers and who knows what sync consistency is like. You can upgrade the video hardware later if you have “spare cash”. Total ~ US$1500.

2. Buy Video Satellite LE: Software enabler US$250, MBox micro system US$279 (if you can find one!), Blackmagic Decklink US$295, Sync HD US$2095. You can exclude SyncHD if you don’t need guaranteed frame edge alignment. Total without SyncHD ~ US$825, with SyncHD ~ US$2925. This gives SD and HD playback, Quicktime and Avid media.

click here for a relatively complete list of video options

Mike decided to send Mojo off for repair to keep his rig the same…

I am not in hurry for vid sat at the mo as I am addicted to my chromatec “in vision” ppms on my plasma and my studio/booth is wired for composite sd.

My clients are a mixture of quicktime fcpers and broadcast avid users, so sd mojo is a good frame accurate solution for me.

Postman replied…

I’m glad you found the problem at least.

I’ve wished for those meters lots of times, my meters are currently off to the side and, while I don’t care, my clients wonder what the heck I keep looking at, they think I’m trying to get their attention! Anyway, I understand the sentiment and agree with you.

VidSat and VidSat LE with hardware wouldn’t change anything in that regard. You’d still have the analog video signals.



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