7 ?

[FunkNotPunk]

not going to happen, and that realtime bounce is really a Good Thing (tm) because you will have to listen to what you bounce and can have more confidence about what audio you have after bounce - that way you don't have to re-listen the bounced audio, which you would have to do if the bounce would be non-realtime; thinking this way, realtime bounce saves time.

the bottom line is, it would be nice if ProTools had non-realtime as an option. So those who want to use the realtime can, and those who don't aren't forced to wait.

there are two separate issues here. one is a listening and mix issue, the other is a math issue.

yes, it's just good mixing common sense to know what is getting mixed down. but that's why I spend hours mixing something, so that by the time I hit "bounce" I already know what should be the end result. Yes, I am going to listen to it after the bounce, as a matter of fact, I am going to listen to it dozens of times, in my car, on a boom box, in my home stereo, on other systems........... by the time I get to the point of bouncing, all I care about it getting it into a format where I can take it off the computer and get the mix out into the real-world........... hearing it "just one more time" is not going to affect that process.

and this is to say nothing of larger projects like a 25 minute radio show with three compressors and a couple of eq's. I'm running a G5 dual 2.0 with a gig and a half of ram, and it's ridiculous on these projects, where the computer is doing very little math, that I still have to wait for 25 minutes times 5 which totals over two hours of "ass time" while "realtime bounce" does it's little thing. A process which only takes 45 minutes on my slower PC running Sonar with non realtime bounce. If ProTools had non-realtime bounce, I could probably rip through the bouncing phase in less than 20 minutes.

which leads me to the next thing.....the other issue is a math issue. I have done mixes on ProTools that sound great while mixing, and then during the bounce I may hear some sort of distortion which wasn't there when I was mixing. so I cancel the bounce and go back and listen...........only for the distortion to be gone! so i bounce again, and hear distortion again, only this time in a different place in the song. so by hearing the realtime mixdown, I don't feel better because I "caught" something I didn't hear before..........I'm pissed because I have learned that I can't trust ProTools to get it's math right.

This is something I have never had to worry about on Cakewalk Sonar... which doesn't have a realtime bounce. I have confidence that the way I hear things when mixing is the way it's going to sound when bounced............and more so because even when I have pushed that computer to the brink of it's limits as far as realtime playback goes, I know that the bounce is going to be flawless 100% of the time. Even if it takes a little longer than realtime on heavily effected and edited songs, I am ok with that because I am confident that the program is going to get everything right and there will be no surprises.

[spookster]

Offline Bounce to Disk (non-real time)

Pleaseeeeeeeeeeeee

Amen, this is the one thing that I hate the most about PT. There just simply is no excuse for there not to be an option for this in the software itself. You should be able to choose it as an option just like you choose "16bit 44.1k". I get so tired of bouncing crap down in real-time after a long night of tracking/mixing. It's rediculous!! We've all been begging for this for years now Digi. I love the program, but hate that it doesn't have this option.

[spookster]

What would entise me to sell my 002?
2.Analog i/o that's not all 1/4"

Who cares if it's 1/4" TRS or XLR. They're both balanced connections. I think that making them 1/4 TRS saves room on the back of the interface. You don't loose any headroom. Balanced is balanced.

[DJ Insomaniac]

how about them coming out with a firewire 800 i/o system that features exclusively digital i/o and a higher track count for LE software. ideal for more professional users who are still satisfied with host-based performance.

hey, what about having the same number of built in analog I/O but have a DB-25 connector IN ADDITION to a 96k ADAT I/O and S/PDIF, maybe even an option for AES/EBU. With that DB 25, you could use a digisnake to connect, say, the direc outs from an analog mixer, or maybe the output of a digital mixer (TDIF)

[FunkNotPunk]

not to mention people who want 32 ins and outs usually have a board they want to fill up

which comes with pre amps on every channel

whether it's got 32 mic pres or not is not as important as it being able to interface with 32 mic pres or 32 convertors, or some sort of combo (like the 896 ) at the same time, and in the same way.

The main thing is that I hope that whatever they come out with has some sort of fexibility.... a way to track a large band without having to jimmy rig different types of preamps/mixers/convertors...... and even sometimes having to have redundant pieces of hardware in the process just to track a large band.

In our setup, we have a three way splitter.......one set of signals to FOH, one to the monitor rig, and one a set of 4 MOTU 896 (8-Channel MicPre/Converters) to track into Digital Performer. Once tracked, I have to import all of my files into ProTools in order to mix. The whole proccess would be much easier if I could just connect the 896's directly to ProTools. And in our new system we are going to have two Yamaha PM5D's that I can get a multitude of cards for which could interface with the computer, but none of them will interface directly into PTLE without some other peice of hardware getting in the way first.

If ProTools were to support something like Yamaha's MLan Protocol I wouldn't need any extra hardware to track into ProTools. I could simply connect a Firewire cable from the PM5D into my laptop and hit record right into ProTools. Even the new Onyx Mixers would be great, but only if ProTools could take advantage of the fact that the Mixer has already converted the audio into digital and could accept the firewire input directly from the mixer.
It's great and all if they are coming out with 32 channel (and i hope it would be modular) hardware, but it's useless for larger live applications if you can't find a simple way to hook it all up without having redundant pieces of gear and needless format conversions going on.

my life would be so much easier and cheaper if I could just go ahead and plug my 896's into ProTools and go.

[martian]

quote
"not going to happen, and that realtime bounce is really a Good Thing (tm) because you will have to listen to what you bounce and can have more confidence about what audio you have after bounce - that way you don't have to re-listen the bounced audio, which you would have to do if the bounce would be non-realtime; thinking this way, realtime bounce saves time."

load of crap we have to wait- I often do 6 comp CD's in a week and 20 min reels of film- absolutely should do faster than realtime bounce- I wouldn't even miss a realtime bounce option cos I'd just route all my outputs to a bus and record back onto a track only I wouldn't do that as I Just want to finish and go down the pub.......

[GORILLA]

Who cares if it's 1/4" TRS or XLR. They're both balanced connections. I think that making them 1/4 TRS saves room on the back of the interface. You don't loose any headroom. Balanced is balanced.

Uh.......o.k. if you say so.

[B-Grade]

I think we are reading some strange inflections from the press release. it says:

The FWx card provides a direct FireWire connection to record or playback up to 18 tracks simultaneously using a Pro Tools LE system on Windows XP (expanding to 32 tracks in 2005).

I think the 32 track recording with be through FW, not some new LE interface. The real bummer in this is XP. Damn. Why no love for the mac? SOmetime I like to take mine out of the studio to get some air.

[Vaphoron]

I think we are reading some strange inflections from the press release. it says:

The FWx card provides a direct FireWire connection to record or playback up to 18 tracks simultaneously using a Pro Tools LE system on Windows XP (expanding to 32 tracks in 2005).

I think the 32 track recording with be through FW, not some new LE interface. The real bummer in this is XP. Damn. Why no love for the mac? SOmetime I like to take mine out of the studio to get some air.

I would agree that people are kinda getting their hopes up for something that most likely will not happen. It would be my guess that they are going to rewrite some code in PTLE to allow for 32 tracks to be recorded simultaneously purely for the Venue desk. I would also doubt they are going to create an interface that allows for 32 channels of I/O when the PTHD interfaces can only handle 16 I/O.

[bb_aus]

[QUOTE]

If ProTools were to support something like Yamaha's MLan Protocol I wouldn't need any extra hardware to track into ProTools. I could simply connect a Firewire cable from the PM5D into my laptop and hit record right into ProTools. Even the new Onyx Mixers would be great, but only if ProTools could take advantage of the fact that the Mixer has already converted the audio into digital and could accept the firewire input directly from the mixer.

not going to happen - while all on firewire they all work differently
anyway to use mLAN you would still need multiple mLAN cards in the PM5D to interface it
and digi arnt going to want to pay licencing of mLAN when nobody uses it anyway not to mention have to use seperate 1394 ports to decode the mLAN signal within the digi hardware
lots of ADAT capable of running in double channel mode for upto 96KHz would be a better way to go as ADAT has become a more universal format