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#41
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Re: The Hybrid Engine
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https://www.youtube.com/watch?v=BnR6Wn_A5gM |
#42
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Re: The Hybrid Engine
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yes ! Thanks Envoyé de mon iPhone en utilisant Tapatalk |
#43
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Re: The Hybrid Engine
Newbie question, but if some tracks are DSP and others are native, when played back they will "out-of-sync" or out of time alignment, right, because the (DSP tracks are happening much quicker then the native)? Conceptually how would this impact workflows? When does this matter and when does it not?
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#44
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Re: The Hybrid Engine
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Kyle Splittgerber Senior Principal Product Designer Avid Berkeley, CA |
#45
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Re: The Hybrid Engine
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Kyle Splittgerber Senior Principal Product Designer Avid Berkeley, CA |
#46
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Re: The Hybrid Engine
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Hi Kyle, It's at 1:04:21 in the livestream. Dave Tyler says: "I've made use of the DSP power available to put my stems and print tracks into DSP mode" Could you explain what the advantage is of this please. Does it mean you could drop in to your record track with no latency? Do all the plugs on the stems etc have to be DSP? He does kind of explain it but it's not very clear. How is he doing that if the upstream plugins and tracks are all running Native?
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Mac Pro 7,1 16 core, OSX 12.7.3, HD-Native TB, Trinnov MC, MTRX Studio, 2xRME ADA-4, Sync HD, AJA IO XT, Avid Dock, Avid S1, PT Control, Soundflow, PT 2023.12 |
#47
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Re: The Hybrid Engine
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He's talking about PEC/Direct monitoring for post production dubbing workflows. That workflow generally has multiple Pro Tools source machines playing back which then get summed and printed to a Pro Tools recorder (dubber) system. Part of that workflow is punching in when making mix changes. When you do that you want to be able to monitor those hardware inputs (Pro Tools source machine outputs) in low latency just as you would when overdubbing a guitar, for example. The other use case he mentions is offloading plugin processing to DSP to free up the CPU for other tasks. For your last question above about upstream Native plugins, see post #45. Hope that helps.
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Kyle Splittgerber Senior Principal Product Designer Avid Berkeley, CA |
#48
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Re: The Hybrid Engine
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That's a very clever use of the way voices used to work. And, I can see that being a frustrating casualty of our architectural changes. That said, we don't need to change the way voicing works to bring this feature back. We'd just have to formalize it as a comping feature and develop it in the way that makes the most sense with how the system operates today. Should we revisit comping workflows in the future, we'll be sure to keep your workflow in mind. Thanks, Kyle
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Kyle Splittgerber Senior Principal Product Designer Avid Berkeley, CA |
#49
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The Hybrid Engine
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Hi Kyle and thanks for all the explanations. I work in post with HDX1 and always use input monitoring to record my stems and masters and I been using the “blue mode” latency compensation off in a track by track basis. With the hybrid engine if I use my stem master tracks to input monitoring, the compensation will be automatically ? And I will be able to monitor my recorded stems and inputs without changing it to blue mode ? Give us now the hybrid engine please!!!! I need it so urgent !! I been switching back and forth between native and HDX for a while now with a troublesome switching and cabling every time I work with huge 5.1 sessions over my voice limitations. I really love HDX with the ability also to really put a lot of hardware inserts and really do hybrid mixing! I will be staring a new mix in a couple of days and this upgrade will explode my workflow and my Mac Pro 2019 that is so needed to help me !! Thanks Pablo Sent from my iPhone using Tapatalk |
#50
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Re: The Hybrid Engine
Hey Kyle,
Thanks for the reply. Much appreciated. >>>> That said, we don't need to change the way voicing works to bring this feature back <<<< Excellent news to hear. I always imagined that since the new architecture is now long since baked in, it might still be possible to make use of a clever "secret" voice (or voices for wider than mono track types) allocated to each track, such that displaying and utilising playlists and employing "stairstep" editing would auto-takeover (or drop through as Paul V calls it). Although one of the possible major headaches with a playlist based implementation, is when one needs to cut and paste across a whole song arrangement, and various tracks have their playlists hidden, then the playlists are left untouched. This already causes problems as the software stands if one doesn't keep their wits about them. Another trick I often employ, is to have a certain piece of audio that needs special EQ or other plugin processing treatment, placed on a track of it's own above the other voiced tracks so that it seemlessly blends into the overall playback stream, but with it's "remedy" applied in realtime (seperate spot pitch fixing etc. DSP only of course). This would play into my comment below about the use of clip FX. All this is to say that my instinct would be that not having to use playlists for this feature, might be less complicated overall. A special preference selection "treat selected/grouped tracks as one mega/macro track" or similar? As long as any audio "north" on the screen took over from lower down pieces as demonstrated in my video, that would be the holy grail. Having 16 takes of a vocal all playing at the same time, or only one playlist lane hearable in the special playlist solo mode at a time, just isn't the same. As this workflow method has historically been a TDM/DSP card only feature, it could now also be employed on Native only systems too, as on the occasions when I've been forced to work on someone else's Native only system is when I've really felt the pain of losing my cherished voice stealing workflow. >>>> We'd just have to formalize it as a comping feature and develop it in the way that makes the most sense with how the system operates today <<<< One thing for certain is, I don't only use it as a post recording/editing and comping mode method. For instance, a major part of the charm is that at any point in a session, I can put a higher up track into input or record and drop in a new piece of playing/singing etc without losing what I've already got, or confusing things hugely with multiple copies of almost identical playlists. It also aids in testing and refining song arranging overall. Often once I have a mostly completed comp of a part, I can still add another track copy or blank track voiced the same above the current master comp version, and say, copy from a later Chorus to an earlier Chorus to test that new melody or an alternative lyric, or a change of phrasing etc elsewhere in the arrangement. It's just such a flexible and beautiful way to work. I'll be honest, although I don't know much at all about post production workflows, I've always wondered why more Post operators haven't hit upon the realisation that voice sharing amongst tracks could help tremendously with voice counts in the massive sessions they run. They'd benefit from allocating tracks that (as far as I can tell from my limited experience) could easily share a common voice(s) ie: that one lone gunshot, and the Hyena laugh 5 minutes later, then the pool splash sound 15 minutes further down the timeline etc. All on separate tracks, but sharing a single voice allocation. What with DSP plugs and even clip based effects, their sessions could run many more tracks for less voice resources overall. And alternative takes above one another that merely need muting/unmuting to audition, and even just mute regions to have alternatives "drop through" benefits everyone IMHO. For anyone else reading this thread, here's the video link and short older thread link from my earlier post that I've been referring to: https://youtu.be/O9na6N7WQD8 http://duc.avid.com/showthread.php?t=316448 I keenly watched the situation with trying to add more voices to HDX systems that the hybrid engine is clearly a top notch solution to, but allocatable voices would add even more functionality to this new paradigm. A win for everyone in my opinion. We humble music guys would revive a much cherished workflow, and the Post guys could squeeze more performance from the exact same system, including benefits when switching backwards and forwards with Native only systems potentially. What's not to love? My clumsy imagined solution aside, since you've been kind enough to take a look at this method I'm personally so passionate about, my guess is yourself and the other inventive peeps over there, would probably be able to engineer a much cleverer and typically elegant implementation. It's been said many times around the forums here and elsewhere that, although Avid are not always first to an idea, once it's been carefully thought through and implemented, it's always best in class. I certainly agree with that. Again, thanks for all your hard work. Even though I'm not currently a daily HDX user, I'm very much looking forward to popping my HDX card in the machine and having a fresh play about with the new Hybrid Engine when it's ready, and hopefully be convinced I can move into the new world, as I dearly miss having access to all the new tools PT provides (Freezing, consolidating, faster than realtime bouncing etc), which would speed up my work rate considerably. Unfortunately for me, you'd have to prise TDM style voice stealing from my cold ........ I'd be very keen to contribute with further feedback or testing if that became possible, so drop me a PM if I can help in any way. Cheers. Steve Bush
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2 x Systems: MacPro 5.1 (Nehalem) 2 x 2.26 Quad Core, OSX 10.9.5 (Mavericks), PT10.3.10HD, 32 Gig RAM, PCIe HD3, 192's, Sync I/O, Midi I/O. Last edited by Bushpig; 06-15-2021 at 04:36 AM. |
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