codyman Posted June 18, 2013 Report Share Posted June 18, 2013 I have Pro Tools 10 with CPTK for 5.1 mixing on my Focusrite hardware (I have a basic HS50m with matching sub for quick and dirty 5.1 editing/mixing here at my home studio before heading off to a proper stage). It seems Avid is trying to edge me out and make me jump on getting back into their hardware but I'm happy with my current setup. Running a huge session off an SSD + the fact that PT10 w/ CPTK can load so much into the RAM means that I've had a ridiculous stable system that can plow through pretty much anything. Yes, I'd love to have faster than realtime bounces but then when would I be able to step away from my sound cave and catch a quick glimpse of much needed sunlight.... right? Quote Link to comment Share on other sites More sharing options...
ccsnd Posted June 18, 2013 Report Share Posted June 18, 2013 codyman - record to a new 5.1 audio track as you mix. When you are done, export the 5.1 audio track. if you need to make a change use the destructive record on your 5.1 mix down track and give yourself a little buffer before and after the change so you never here the edit. there - faster than real time bounce. Quote Link to comment Share on other sites More sharing options...
cory Posted June 19, 2013 Report Share Posted June 19, 2013 Pindrop-- Soundforge is not a DAW, it is a file editor. From what I understand, you want the ability to edit individual files (notch, gain, denoise, trim etc) while retaining TC info. It's very unclear to me what you're trying to accomplish... C Quote Link to comment Share on other sites More sharing options...
pindrop Posted June 19, 2013 Report Share Posted June 19, 2013 Thanks Cory, I guess I'd just like to get interesting music software manufacturers to pay attention to our niche film and tv market where we slave away making notes, naming tracks, scene, take numbers and timecode in our poly wave files and it just gets ignored, when it might not take very much to have the metadata kept, but it never seems to happen. And on topic even each iteration of Pro Tools is still clumsy with all his. You'd think it'd be possible to import multiple poly wave files, have them auto-spotted to the timeline with track names slate and take on display..... and after processing be re-exported with the metadata edited or intact. Quote Link to comment Share on other sites More sharing options...
studiomprd Posted June 20, 2013 Report Share Posted June 20, 2013 " I'd just like to get interesting music software manufacturers to pay attention to our niche " while perhaps an uphill task, you cannot do it here on jwsoundgroup.net; you have to <old hat>, get on their forums, etc. Quote Link to comment Share on other sites More sharing options...
pindrop Posted June 21, 2013 Report Share Posted June 21, 2013 " I'd just like to get interesting music software manufacturers to pay attention to our niche " while perhaps an uphill task, you cannot do it here on jwsoundgroup.net; you have to <old hat>, get on their forums, etc. Yes an uphill task indeed, I was just kind of interested to see whether others on this largely film and TV forum also found it odd and frustrating that although metadata has been defined in the Original Bext chunk and the iXML chunk,fields for professional broadcast wave files for at least 10 years (It was first specified by the European Broadcasting Union in 1997, and updated in 2001 and 2003) so little notice is taken of it and even Pro Tools only half heartedly engages with it, Final Cut doesn't see track names etc. etc. and field defined timecode is often ignored by dozens of otherwise very competent programs. http://en.wikipedia.org/wiki/Comparison_of_digital_audio_editors Perhaps we could get a posse together and ride over for a little law enforcement? Quote Link to comment Share on other sites More sharing options...
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