We're gonna bounce !

[KingFish]

I totally understand your situation, I'm mostly in a "purely music production world" so you've got different deadlines, work quota ethics etc...

I've actually abandonned the "Bounce to disk" in the file menu form for some time now, I always buss my final output to a track, and "Record the final" to that track, in real time.

I've done a fair amount of soundtrack work, ADR, etc... on sessions spanning well over an hour.

If I were working for you, knowing your criteria, within pro-tools, I'd be setting my sessions up this way, monitoring through a bussed, armed track when I started mixing so that when you pass your finished session over to your "quality control guys department' that listen to everything before it leaves, they just "pop it into record" and away you go.

If all is well, they export the track to a stereo interleaved file, if all is NOT well, you fix the problemed areas, and "punch in" on the timeline where the changes are made, crossfade the edges @ 4ms, consolodate, and export.

It sounds like what you have, with your new system, is a little more slick, and specific to your needs, however, if all of your staff, is fluent and proficient on all of those pro-tools rigs you're dumping, wouldn't it be easier to have a tech meeting to impliment and train a few simple work habbits like above, to instantly inprove work expedience? Rather then put everyone on an entirely new platform, where everything is new, and not expect prouctivity to become nearly crippled for a while, while the learning curve kicks in ?

I'm not slagging your desicion in the least, you know what's best for your company, I'm just really curious, that's all. If I were working for your company, I'd be having a heart attack, and fighting management to the death at such a massive change.

then, you'd fire me

good luck <-- Sincearly

you've got a big job in this transition ahead of you.

[Chief Technician]

Well, fast bouncing is of no use to those of us with TDM or outboard gear

Even if you mix in the box, TDM is a realtime process. After all, DigiTest won't run if your interface isn't turned on and the TDM cards don't have a clock signal. This is why native systems have had faster bounces - they are native and its purely mathematics with no other hardware involved. I too would rather see Digidesign fix the existing bugs over finding a way to faster bounces with TDM.

[infojunk]

I think the point here is that ProTools does not fit the niche. There is nothing wrong with that, it is unfortunate the ProTools does not want to be in the radio market, but that is their choice. Back in the day PT was the only option, now there are tons of options and the truth is that other companies are willing to modify their product to meet our needs (yes, I also work for Clear Channel) and Digi is happy with their place in the music industry.

Personally I would rather have stayed on the Mac running ProTools, but the truth is that it is not the best solution here. That does not change the fact that ProTools is still a great product for music production.

Aloha,

-Chris

[RobMacki]

I'm suggesting that you could set up each 20 minute "reel" on its own set of 8 - 12 tracks (48 to 72 tracks in your session) and assign each "reel" (each set of 8-12) to a different stereo bus. You could then create 6 stereo tracks, each with its input set to a different stereo bus. If you recorded in real time to those 6 tracks, in 20 minutes, you'd have rendered the whole show.

Rather than bouncing each 20 minute segment in real time, you could record them all at the same time in parallel. The entire operation would be as long as your longest "reel", in this case approximately 20 minutes.

I hope this helps!

Got a job for me?

I produce 27:00 radio shows for CSN Intl. and other radio stations as well.
That is how I would do it when I would have one show with different endings and for different markets.
I posted that in the Enuff Q: How about some tips!!!! Thread. a couple of years ago. You still have to BTD in real time, but what a time saver!
I don't want to sound smug, but I wonder if the DUC could have been a help to you sooner.
Hope the move proves well for you.

A job for me too? Or Bag all the systems and sub the work out!

[lamp]

See Ya, maybe clear channel will buy digi. NAUGHT!

[Djtricky]

See Ya, maybe clear channel will buy digi. NAUGHT!

Don't think that it wasn't considered !

j/k

Eric

P.S.

Thanks for the tips, they are great time savers (that I will no doubt use in the future with my own PT rig), but when you break it down - our new config is the best way to go for our needs. We've been down this road before - going from tape to DAW, and from Sonic Solutions to Pro Tools. My discouragement comes from the lack of understanding between our industry and Avid - despite the amazing things that we have accomplished together over the years. Our guys are VERY capable and fortunately are eager to learn new technology (sounds like management talk...hmmm wonder why??). There will be a minimal learning curve and relatively no down time. The hard part is getting our IT dept, engineering dept and production depts to speak the same language. I should've majored in language arts & counseling !! The DUC continues to be a great resource and I've learned tons from all of you. I would hire all of you, but I respect you too much to demote any of you to broadcasting !!


Oh...by the way...I listen to Stern too !!! (I'm the suit that still wears jeans and Nikes to work, don't hate !!)

Eric Caver
Senior Director of Programming/Operations
Premiere Radio Networks
A Division of Clear Channel Communications
[email protected]

[Infa]

I too would rather see Digidesign fix the existing bugs over finding a way to faster bounces with TDM.

Me too as well. I would NEVER use a faster than real time bounce anyway on a REAL final mixdown. I don't trust it, I don't feel the quality could be as good. And I really feel Digi could concentrate on making everything else be better, run better, sound better, etc.... (especially the Summing Bus !! (ha ha sorry , I had to say it. I just hope I didn't start anything here again)

But as far as our friend here that does need a faster than real time bounce, I do understand where he is coming from, and IF Digi could do cool features as like some of the other platforms do AND still improve all the other stuff I asked too,, well then that would be cool, and it would be great to see. I guess if I was in a hurry, and it was just a reference disc for an artist to practice his/her lyrics on I would actually like to use it... Plus that new thing "Audio Warp" or something like that,, that would be cool to have too. I just think ONCE, and only ONCE Digi gets all the other bugs/improvements/etc.. done, then to get all the features that other platforms have as well would be great, and a must, so we can still and always say,,,"Yeah, my Pro Tools rig does that too,,,, ONLY BETTER !!!! " That would be cool ---

[bryston]

The fact of the matter is, he needs a stereo master in the end. Even if you lay out 6 stereo masters at once, after that he' will have to make 6 20 minute bounces to end up with a stereo interleaved master. This is the format he must deliver his show in. Until digi figures out how to create an interleaved file from their system in less than real time, there is always this extra step which can waste time.

[Tiago Silva]

Even if you mix in the box, TDM is a realtime process. After all, DigiTest won't run if your interface isn't turned on and the TDM cards don't have a clock signal. This is why native systems have had faster bounces - they are native and its purely mathematics with no other hardware involved. I too would rather see Digidesign fix the existing bugs over finding a way to faster bounces with TDM.

Of course, but Pyramix uses chips and a TDM-like bus and supports a huge array of sampling rates; when doing faster than realtime bounces, they just overclock the bus to the fastest Fs (384KHz, I think). So, if you're running a 48KHz session, it's a 6x faster bounce. It's mathematics just the same, it's just the bus clock that goes faster.

No outboard processors can be in the mix, though. 'Out of the box' will always be realtime... How would you make an opto compressor attack and release faster linearly with the speeded up bounce (e.g, an L2A2)? You wouldn't.

[PTUser NYC]

>Until digi figures out how to create an interleaved file from their system in less than real time, there is always this extra step which can waste time.

1) drag the "reels" to the same track, one after the other

2) Consolidate track (MUCH faster than real time)

3) Export File (much faster than real time)