Broadcast Wave BWF

[mrbil]

[b]
MOTU has to get to Broadcast Wave for the pro engineers that want to use the DP software, because they like it better then Pro Fools. But MOTU is making it very difficult for the pros to use it because of the AES Archival
demands from the major and independent labels.
When will MOTU move to make their software for professional use?

Please MOTU , help those that want to use your software by providing Broadcast Wave (BWF ) instead of SD2 for establishing data.
Pro engineers can not be paid, until the wave forms are written and stored
in BWF. That is why so many use Pro Fools and Nuendo. MOTU has the software and MIDI that rocks, just not the storage of BWF.
Ome more thing. Being able to consolidate tracks, Like the other sofware, would really make life as an engineer so buch better. It is now 2007.
MOTU get out and learn your market place.[/b]

[Mr_Clifford]

Ome more thing. Being able to consolidate tracks, Like the other sofware, would really make life as an engineer so buch better. It is now 2007.
MOTU get out and learn your market place.

It's called 'merge soundbites'. Behaves pretty much the same way as 'consoladate selection' in PT except that you might need to put a block of silence at the start if you want to extend the start right back to 0:00:00.

Also you can reach the archive guidelines by consolodating all of your tracks back to 0:0:00 (as above) and exporting them as .wav.

BTW I'm with you on the need for DP to implement Broadcast Wave, just trying to help you get by in the meantime.

[mrbil]

Merging is not the same as consolidating. And with archival, you have to have your audio files start at 1 hour to be accepted.
Please read the Archival Recomendation of Digital Media at
aesnashville.org go to technical
or go to grammy.com there is the standard there as well

[Mr_Clifford]

Merging is not the same as consolidating.

How exactly is it not the same as consolodating in Pro Tools, apart from the one difference I mentioned above?

[Mr_Clifford]

The exact paragraph from the proposal is as follows

[quote]
if no time code or positional reference was used in the recording process, all
recorded tracks (Digital and or Analog tracks) should be converted to the
continuous Broadcast Wave file format with a start time of the sample count
equivalent of 1:00:00:00 (where possible). (For example, 2••

[mrbil]

In DP you can hilight the regions and consolidate that region. BWF
not .wave which is a different format ,are not the same. BWF is the data reguired for the pro engineers to get paid. It is that simple and MOTU has yet to provide it.

[matwell]

I believe we have to infer the intent that all the audio files should start at the same time, if they are not BWF and already time-stamped.

If they were recorded on a system that actually *does* support BWF, then they will already be time-stamped. Regardless, whether time-stamped or not, all audio files should "head sync" for archival purposes.

[mrbil]

One hour. It is plain and simple. For thos working on moving fader audiomation, a head sync will not permit the automation time to sync up. That is why it is one hour start. 01:00:00:00

[chrispick]

I agree with mrbil.

DP really could use: a.) the ability to at least output BWF; and b.) an efficient, automated method to output and consolidate tracks to other file formats.

Even Sonar allows you to select tracks, pick a file format, decide whether to print effects or not, then automate output of those tracks via a single window step. DP's current Soundbite window technique is clumsy in comparison.

[matwell]

One hour. It is plain and simple. For thos working on moving fader audiomation, a head sync will not permit the automation time to sync up. That is why it is one hour start. 01:00:00:00

Sounds good on paper, but... ever work on a movie? Cues do not always start at 1 hour!

Also, unless you are going to revisit a project in the future on the *exact* same console, maintaining a connection to the original automation won't mean very much. For example: you record and mix an album on an SSL 9000 J series. 10 years later, the record company comes back and says "let's re-release this album in surround on the new wiz-bang audio format"... you will need the time-stamped audio files. If you want to try and re-use the automation (highly doubtful), you will need to work on an SSL 9000 J. You can't remix the album on a Neve.

This is why printing high resolution, wide (lots of tracks) stems for your mixes is a better archive of a project. It's very unlikely the mix automation would get re-used, unless it was a remix that happened quickly after the project was finished.

[mrbil]

Yes I have worked on movies. But where this all started was the fact that MOTU needs to update to BWF audio wave files for recording, so that life will be easier for those of us that like MOTU DP better then the others, and
1. When we have to go back and forth between software, we do not have to convert wave forms
2. The labels will pay the producer and engineerswhen the archival is in the AES/NARAS format , now there are not other formats for archival , and the AES/NARAS is where it is at for no, to get paid from the label, when the project is turned in. I
3. Consolidating easily, in regions for export is also a must.

The rest of this back and forth coversation has straid from initial point.

[pcm]

In DP you can hilight the regions and consolidate that region. BWF
not .wave which is a different format ,are not the same. BWF is the data reguired for the pro engineers to get paid. It is that simple and MOTU has yet to provide it.

I just submit an invoice, that hasn't failed yet in the thirty-five years I've been doing this. What planet has this rule?

[Tim]

It is now 2007.
MOTU get out and learn your market place.

Judging by the back cover of all the music mags, I think that they have.