PT Dubber

[Arrisound]

hi

at the NAB Show there was a rumor that a Protools Dubber Version will be
available soon, we are a post house an record on Tascam MMR 8 dubbers,
unfotunately these machine is not supported any more and threfore we look for
alternate workflows for instance recording direct on Protools.
Will there be any solution for replacement MMR8 Dubbers in the near future and if so
what Features can we expect

Best from Hans

[bigbadhenchman]

hi

at the NAB Show there was a rumor that a Protools Dubber Version will be
available soon, we are a post house an record on Tascam MMR 8 dubbers,
unfotunately these machine is not supported any more and threfore we look for
alternate workflows for instance recording direct on Protools.
Will there be any solution for replacement MMR8 Dubbers in the near future and if so
what Features can we expect

Best from Hans

We've been using the Tascam MXMX24 for a couple of years, and are looking at the new 48 track Tascam.

[DigiTechSupt]

Glad you asked.

There are a couple of facilities here in L.A. that have already started to use Pro Tools as a dubber and a few more that are testing it as we speak.

Most, but not quite all, of the work done to make Pro Tools work as a dubber has been completed and is working in Pro Tools 6.9 and greater.

The two main features to allow this type of functionality were 1) Trackpunch mode, the ability to punch in and out, at will, on a per track basis, and the other 2) was Input mode on a per track basis. These were completed in Pro Tools 6.6 (but were not in 6.7. they are, however, in 6.9 and greater).

Also, Machine control, in particular Remote mode, has been improved significantly since Pro Tools version 6.6 and now works great with several different syncrhonizers including SoundMaster, MicroLynx, Colin Broad and JSK. Several facilities have put it to the test since 6.6 with extremely positive results.


A current potential downside for some (not all) is that Trackpunch is a form of Quickpunch so the stems that are created on a Pro Tools acting as a dubber are not contiguous files. This requires that the tracks/sessions be consolidated at the end of the session/day to create contiguous stems. This process takes little time on a newer CPU. Some are OK with this, some prefer to be able to destructively record rather than consolidate at the end of the day. Although Pro Tools is not able to destructively record in Trackpunch mode, we hope to in a future version of Pro Tools.

A few of the upsides to using Pro Tools as a dubber...

1) A single PT system is capable of high track counts of record and playback. We, technically, currently only support 16 or 24 tracks of record in Trackpunch but as usual these are conservative. Playback tracks can also be used in addition to these record tracks. This number should increase in the future.

2) The sessions and files a PT system creates is completely compatible with all other Pro Tools systems, conversion or translation is NOT necessary. Sessions coming in from composers, editors, foley, ADR, etc. are immediately compatible. Any updates or revisions that may need to be made are done so in a fraction of the time it would take to accomplish the same on any other dubber.

3) A PT system is networkable, so your sessions can be transferred to and from the PT dubber via ethernet very quickly and easily. No more hot swapping 9 and 18 gig drives. By the way, this one feature can increase the performance and stability of a Pro Tools system. Hot swapping drives of known and/or unknown origin, different formtats, etc. is probably one of the biggest "Archilles heals" of a Pro Tools system.

4) With the high track count available in PT, you can put ALL reels into a single session. Moving onto the next real is as simple as locating to a marker as opposed to swapping out a number of drives which can take a long time.

5) Get rid of all those old, small SCSI drives. You can (and several are) use an internal SATA drive at 200, 250 gigs or more for your record/playback drive(s). This feature alone, is worth it for many.

6) Other dubbers that create Pro Tools sessions, have not always been really good at it. There are version issues, compatibility problems, etc. A Pro Tools system as a dubber avoids that.

7) You can put a Mojo (or V10 on a PC Pro Tools system) and have near sample accurate video on your dubber.


There are more reaosns but I think you get the picture. Keep your eyes open for more and improved dubber functionality in Pro Tools in the future.

Jon Connolly
Digidesign Product Specialist

[TVPostSound]

OK John!!!
I'm going to give it a shot.
Using my Microlynx, I assume, the Microlynx 9-pin cable plugs into the remote 9-pin to mini din 8-pin cable, that then would
plug into the Keyspan 28X, or can it go into my SYNC IO?? So what machine profile would I call up on the Microlynx???
Using a MicroLynx, I could only arm 8 tracks right??

[DigiTechSupt]

In order for Pro Tools to work in Remote mode (like a deck) you need to use the Remote mode Machine Control cable as opposed to the normal Machine Control cable. If you purchased Machine Control from Digidesign in the last couple of years, both cables should have been included in the box.

If you purchased Machine Control before then, you can either purchase the Remote cable from Digidesign Tech support or you can build your own, the pin out is here on the Digidesign website. You may also be able to buy this cable elsewhere. It's a standard cable, not proprietary to Digidesign.

Remote cable = Female 9 pin D-sub to mini din connector. Pro Tools acts like a deck and is controlled by another device.

Machine Control cable = Male 9-pin D-sub to mini din connector. Pro Tools is the master, controlling a deck.

This is very important that you have the right cable, without it, it will not work.

Be sure to use a Keyspan USB to Serial adaptor and NOT the Sync I/O machine control port.

You have the option to make Pro Tools act like any one of a bunch of decks listed.

In the Transport window of Pro Tools set "Transport = Remote" and put Pro Tools online. You should see the transport buttons gray out, letting you know that another device has control of the Pro Tools transport.

Jon Connolly
Digidesign Product Specialist

[TVPostSound]

If you purchased Machine Control before then, you can either purchase the Remote cable from Digidesign Tech support or you can build your own, the pin out is here on the Digidesign website. You may also be able to buy this cable elsewhere. It's a standard cable, not proprietary to Digidesign.

This is very important that you have the right cable, without it, it will not work.

Ok, I made the cable per Digi's specs, and attached it to the Microlynx serial cable. via my Keyspan 28X.

Transport window of Pro Tools set "Transport = Remote" and put Pro Tools online. You should see the transport buttons gray out, letting you know that another device has control of the Pro Tools transport.

The buttons dont grey out, and the Microlynx states "machine in local"
I verified the Microlynx and remote cable were oin out correct.

I do however see code on the MicroLynx when Protools in play.

[TVPostSound]

OK, here was my problem (PT 6.92) you MUST use APPLE-J........NOT.........OPTION-SPACEBAR to put it into remote online!!!!
An old habit to break.

[Arrisound]

thanks for informations,
let`s go a bit futher there are still a couple of issues we should think about
1. avoiding crashes during the mix has the highest priority therefore we plan
a disk array Raid Level 5 Mac based, conservatively we will record on a dedicated
record rig and playback pre dubbs from a second unit. Our experince is
recording a large number of channels plus paying back a large number of tracks
ends up with intolerable lock time. The performance and beheviar of the recording device
should be the same for every pass, thats what the rerecording mixers expect.
2.as you mentioned 24 tracks of record in trackpunch is not enough also we need
a function like destructive record Tape Mode
3. we are using AVID Adrenalin PC based and ProTools Mac based all Systems are networked via
gigabit ethernet for transfers like OMF. For sound post avoiding conversions or translations
we will prefere BWF as the in house file format. Is there any recommendation concerning speed and
handling for AIFF, BWF or in future AAF, MXF

best hans

[Mubeau]

Hi Hans!

lock times are fast compared to older versions of computers and OS.
in a "normal" TV mix (around 48 to 72 Tracks with all source sound data), even with Plugs (you wont need them at Arri ),
and 24 tracks recording: 3 sek. Increasing / decreasing, of course.
stability is Ok and normal (Adrenaline also crashes! ), max 3 crashes a week. (G5, OS10.4.2, HD3).
Since restart, reopening a "normal" session on a g5 doesnt take longer than 10 min., it´s not even that bad if it happens OS9 was more stable i.m.o., but digi is always working on that.
Nuendo and Sequoia...well...it´s not so common for audiopost... and they also crash.

Gruesse nach München (?)!
Au revoir!
Mubeau

[Frank Kruse]

Open a monster-session on fairlight: 1 second. equivalent session in PT: 15 minutes

Locktime in (real) tape-mode on mfx: under one second practically instantly.

PT: 4 seconds (slower than a 35mm mag-machine or a projector from stop) hopefully without "missed sync point" window.


frank.