Bouke

:-) You mean, me. There is nothing wrong with open source, but I agree, there is no such thing as 'free'. But do not mix 'free' with 'open source', it's really different.

This I don't get. System noise is system noise. No matter how you put it in the bytes, not? So basically you are telling me you can hear the difference between the a signal recorded at -34 and gained in post by 25 dB and the same signal recorded at -9? That I find hard to believe, (from a technical point of view based on the 24 bits) and want to see in a phase reverse test (yes, see, I like numbers and pictures :-). Assuming of course the limiters are off, as the -9 otherwise definitely will be different.

For the second part: 24 bits has a dynamic range (in theory) of 144 dB A human voice has a dynamic range (also in theory, and between whispering and extreme yelling) of some 100 dB. (And I take it in drama you know when to expect yelling, other genres might be more difficult.) Why don't you all keep some 25 dB headroom while recording? (If you don't have channels to spare to record the same tracks X dB lower.)

Can someone explain me what Neverclip actually is? And, while you're at it, why is all 24 bits sound so loud? (I mean, recorded at about final level. Practical in Avid as the clip gain only goes up to 12 (that must be a Spinal Tap decision), but totally not needed I would think...)

Hey Gordon, Could you please elaborate a bit on the subject of cards, so the next time I don't spill BS anymore? (Can be offlist if you like.) Thx,

Them are fighting words! Who claimed that?

Well, after 30 years I've seen close to any piece of hard/software fail at some point. But, I very much doubt that in this case any card will fail. (Unless it's broken of course.) Avid started out with this a very long time ago. Back in the days one needed a very well configured system to make things possible, and the early Avids were not computers with extra cards and a piece of software, no, they were magical 'black boxes' to edit on. (Even nowadays the interface does not allow you to open a project with the 'file' menu...) And, of course you could only use Avid blessed drives, that were exactly the same as stock drives but branded and extremely more expensive. But, just for ease of mind I also bought Avid Approved hardware, up to some 10 years ago when I decided that it really served no purpose. (Having had lots of experience with a turn key system that did not work as well...) I don't record field audio only, I have a SD PIX recorder that does video as well, increasing the data by at least a factor 30 compared to a high end multichannel (field) audio recorder. I recently swapped out the SD drive (I hate cards), and bought the first (branded) drive I could find. No issues at all. I dare to say, if you encounter problems, chances are way bigger you have a rotten card than an 'out of spec' card. So, I would invest in recorders that record on at least 2 pieces of media simultaneously, rather than invest in this. Having said this all, who cares, me typing / you reading all this is more expensive than the difference between the cheapest and most expensive card :-)

I don't get it. At all. At max quality (2channels 96Khz @ 24bits) you need a whopping 600 KB / sec. Please point me to a 32 gig card that is not capable of doing that. (The cheapest 32 gig card I've found (12 euros) is 150 times faster than this.)

That were 2 minutes of my life I never get back...

No problem whatsoever. (If he's on any half decent version...)

Although this is correct, the density of a complete human body is less than salt water. (You knew that already, you float better on salt water.) Hence, the human body contains air, so the solution (no, the answer to the question, not salt in water) is there. Insert the antenna into the body for a nice air gap, while hiding it at the same time!

Yes, WA can change the sampling rate, but it will NOT resample, hence the pitch and duration will change. From 44.1 to 48 I would think that is not acceptable.

Any half decent NLE? PT? (Not sure if Reaper keeps metadata...) If that all is not possible, outsource? (I can do it for sure...) Why would you want it? Any editor who has to work with the files can do it without a problem. (Unless you don't want to show them you've recorded 44.1 that is...)

To add: (Since I've encountered this torture...) As a second backup, re-route TC to a spare audio input. Then the third backup, make sure all devices have their time / date set correctly. If everything fails, you have at least file creation time / date that brings you in sync approximately just one or two seconds off. (If the file format does not contain a record timestamp internally, make sure you offload retaining the OS time/date!)

Neither am I, so any open source documentation is welcome.

Marianna is the Avid Customer Advocate. I've altered my original post

Contact Marianna if in doubt. marianna.montague@yahoo.com

I'm totally supporting Constantin here. This is what YOU say, but there is NOTHING that can backup your story. IOW, it's irrelevant.

I assume, this is 'Used to indicate NON integer frame rates' Please point me to the proper docs! (and yes, this is purely hypothetical nerd talk.) Bouke

'Sync' vs 'TC jam' (since we seem to be doing bashing more than developing new ideas..)

Well, I totally agree on the misleading name. But, this is about flipping one BIT (!), indicating frame length * frame rate equals one second or not. (And for the sake of the argument, I used drop/non drop to indicate just that.)

So, no need to get involved. I'll read up when I have time.

You are forgetting one thing: It was about making clear if a TC stream is 23.976 or 24. Measuring duration takes time to be sure. If you read the DF / NDF bit (that is in every frame), that could be a dead giveaway of what it 'should' be. (thus, instead of looking for frame duration with a 0.1% difference.) Next, if DF keeps the TC 'as good as possible' in sync with the time on the wall, thus 24, 25 and 30 also should/could be called DF. (drop nothing if not needed.) Now, please open Wave Agent (still in beta), and see that they have both 30 DF and NDF. (That makes no sense to me...)

And I wrote: How many frames are dropped? 0 (aka ZERO). And that makes it in sync with TOD. Then: So, also ZERO frames dropped, but OUT of sync. (With the 'time on the wall') Hence, 24 can be seen as DF, while 23.976 can be seen as NDF. Now, I KNOW what I'm talking about. (the whole idea of a cam slaving to LTC was suggested by ME to Ambient BEFORE Arri introduced it.) Please, grasp the concept, then react.

What? No. Why would you even say that? Because it is true? DF is designed to make the TC drop frames in order to stay in sync with the TOD. 24 drops exactly enough to stay in sync with the TOD. 23.976 on the other hand drops the same amount, but does NOT stay in sync, making it a NDF format. Now, there is a bit in LTC that says drop/non-drop, why not use that to make a difference between 23.976 and 24? You did not really understood what I wrote, did you? Please re-read it, it's not hard.