Geo's sound post corner

[georgia]

happy to help.

cheers
geo

[georgia]

A History of the X Curve

The X curve celebrates nearly a quarter century of helping interchange in the industry.

In the history of multichannel sound, the standardization of the electroacoustic frequency response for monitoring film stands as one of the most significant developments. It was standardizing the monitor frequency response at the ear of listeners that provided for better interchangeability of program material, from studio-to-studio, studio-to-theater, and film-to-film. Work started on formal standardization of the monitor frequency response for large rooms for film in 1975 on both the national and international levels. The work resulted in the standards ANSI-SMPTE 202 in the U.S., the first edition of which was officially published in 1984, and ISO 2969 on the international level. Actually, the standardized response was in use for some years before the formal standards were adopted.

The X Curve: The measured electro-acoustic frequency response presented to the ears of listeners in a dubbing stage or motion picture theater. The curve is to be measured under specific conditions, and is to be adjusted for room volume as specified in the standards referenced in the text.

The background behind this work began with Texas acousticians C. P. and C. R. Boner, who established in the 1960s that a "house curve" was a needed concept. They showed that a flat electroacoustic frequency response in a large room sounds too bright on well-balanced program material. This was subsequently found to be correct by other researchers, such as Robert Schulein and Henrik Staffeldt, as well. While Boner's practice was for speech reinforcement systems that did not require theater-to-theater uniformity in the same way that film does, nonetheless the concept of a house curve traces back to them. This development paralleled the introduction of 1/3 octave room equalization, since there would be little point in establishing a house curve if sound systems could not be adjusted to it.

Ioan Allen of Dolby Laboratories realized that the idea of a house curve was a valuable one after applying Dolby A-type noise reduction to optical soundtracks and extending the bandwidth of the track. While we think of Dolby A as principally noise reduction of between 10 and 15 dB depending on frequency when used in a tape context, in the case of the application to optical soundtracks, most of the advantage in dynamic range was taken to extend the bandwidth. The ordinary mono Academy-type soundtrack had sufficiently low noise for its time only by imposition of a strong high-frequency roll-off that made the effective bandwidth of soundtrack reproduced in theaters about 4 kHz. If such a track was reproduced with a wide-range monitor, the noise was excessive. By extending the high-frequency bandwidth of the monitor, and applying Dolby A NR to tame the noise, a very useful extension of bandwidth from about 4 to 12 kHz was achieved, while lowering the noise a fairly small amount.

Then came the question of the best frequency response for the monitor. In an English dubbing stage, Allen did an experiment with a nearfield, flat hi-fi loudspeaker vs. the farfield film monitor loudspeaker, a VitaVox. He adjusted the frequency response by equalizing the film monitor until the balance was similar, although the monitor loudspeakers of the day only extended to about 8 kHz before giving up the ghost. The electroacoustic response curve Allen found measured with a microphone was flat to 2 kHz, then down 1 dB per one-third octave, to -6 dB at 8 kHz, and falling beyond. This was named the X curve, for eXtended response, whereas the older Academy curve got dubbed the N curve, for Normal response (although one wouldn't consider it normal today).

When extended-range compression drivers and constant directivity horns became available around 1980, the question became, "How should the X curve be applied to this new development?" The new systems had a full octave of high-frequency bandwidth over older systems, but delivered nearly the same output response across a range of angles, rather than concentrating the response on axis as frequency went up as the older driver-horn combinations did.

One theory floated in the middle '70s was that the need for a house curve was based on an artifact of the method of measurement rather than a real need for sound to be rolled-off at high frequencies in large spaces. This was because the quasi-steady-state pink noise stimulus measured by a real-time analyzer in a room is time blind, lumping the direct sound, reflections, and reverberation together indistinguishably. If the different soundfields had different responses, the pink noise stimulus plus RTA could not sort out the differences and would basically average all the responses. Since the microphone is in the farfield of the loudspeaker where reverberation is dominant, then the response with a collapsing directivity horn vs. frequency could be expected to be rolled-off at high frequencies, since the contribution of all the off-axis angles would dominate over the direct sound. Nevertheless, in this condition, the direct sound could be flat, and we might respond to the flat direct sound and ignore the later-arriving response as listeners.

If we then were to change to a constant directivity horn, with its output more constant over all angles within its coverage, and the system is tuned to a "house curve," then it might be expected to sound duller than the older horns, at least on axis at a distance. That's because, under these conditions, both the direct sound and the reverberant sound would be rolled-off and on the same curve. So one of the first experiments I did on this combination was to play conventionally mixed program material over constant directivity horns equalized to the X curve to see if the sound was too dull. It was not; in fact, with the bandwidth extension from 8 to 16 kHz, it actually sounded somewhat brighter, but this was due to the extended compression driver response instead of having to do with the equalization curve.

So what's going on here? This was later explained by Dr. Brian C. J. Moore, author of numerous refereed journal articles on psychoacoustics and the book, An Introduction to the Psychology of Hearing. The rolled-off house curve has a good basis in psychoacoustics, because a soundfield originating at a distance is "expected" to be more rolled-off than one originating nearby. It is a little like optical illusions in vision that show, despite occupying the same area on the retina, pictures look bigger on a larger screen, even when a small screen is closer and takes up the same horizontal and vertical angles. As it turns out, both spectrum and level are affected by the perception of the size of space you are in, and "getting it to match" perfectly from large to small room in physical sound pressure level and response does not result in sounding the same.

With the additional octave of high-frequency extended range of more modern drivers and horns came the need to calibrate the X curve to the highest audible frequencies. Later editions of the SMPTE and ISO standards show the roll-off to 8 kHz as originally standardized, but added rolloff from the extended curve in the bands above 8 kHz. Some users don't employ this additional roll-off, staying on the original X curve to 16 kHz, but in an experiment I did at USC, I found that following the letter of the standard was an improvement in high-frequency balance and interchangeability of program material. This was done in a very sensitive experiment, reported earlier in Surround Professional, that involved playing trailers in a large theater exactly as they sounded in the dubbing stage, with the agreement from the people who had supervised their mixes that they sounded correct, and this involved eight trailers mixed in a variety of studios. Both level and response standards had to be perfect to accomplish this, and just a 1 dB error over several octaves that crept in during setup was heard, and had to be corrected.

Another development of the X curve is how it should vary with room volume. Although a variation in the response with room volume was written into the original standard, further work shows that the response should be "hinged" at 2 kHz, and turned up at high frequencies in smaller rooms. Curves that extend the range out to higher frequencies before breaking away from flat do not seem to interchange as well.

Today, the major factors affecting interchangeability no longer have to do with the target curve, since the X curve is very well accepted, but rather have to do with how the curve is to be measured and adjusted electroacoustically. The standard calls for such needed items to make good measurements of quasi steady-state noise as spatial averaging, temporal averaging, and the proper use of measurement microphones. The largest variations among different practitioners are in the use of microphones. The problem is that the soundfield seen by a microphone in a large room is a mixture of direct sound, early reflections, and reverberation. Standard measurement 1/2-inch microphones demonstrate very different high-frequency response when measured anechoically on axis and with a diffuse field. Differences are on the order of 6 dB in the top octave between the two, and response in rooms is highly affected by the differences between these two. Only by the use of small, low-diffraction microphones, such as 1/4-inch or smaller diaphragm mics, are the differences kept small.

The best usage of measurement microphones today is to calibrate small ones for grazing incidence across the diaphragm rather than perpendicular to the soundfield, because, this way, the microphone will demonstrate the most similar response for the direct sound (across the diaphragm) and reverberation (a diffuse field). One of the primary ways in which problems show up in this area is in the difference exhibited between sound originating from a more-or-less point sound screen channel vs. a surround array: 1/2-inch microphones make serious errors between these two because the soundfields generated under the two conditions are so different.

The X curve now has nearly a quarter century of use and has absolutely acted to help interchange in the industry. Combined with level standards, and de facto industry standards such as speaker directivities, the whole film industry has benefited without a doubt. Problems linger in applying the standards uniformly due to different methods of measurement. Also, when heard over a modern flat loudspeaker in a small room, program material balanced on an X curve monitor sounds overly bright. That's because the original experiment that set the curve was made many years ago, without the frequency range available from today's components. This is not too important because, so long as everyone agrees to use the same curve, then the response sounds the same to the mixer on the dubbing stage as to the audience member in any auditorium. Interchangeability of X curve material with home video can be handled with a simple re-equalization. The ATSC television standard recognizes the differences, sending a flag that tells receiving equipment whether the program material was balanced on an X curve monitor, or on a flat monitor in a small room, and home equipment can take appropriate action to re-equalize the program accordingly.

Heres a PDF that goes into more detail...



cheers
geo

[georgia]

If the PAL version was a frame-to-frame transfer, and is thus running faster than the original film (25fps vs 24, or even PAL video at 25 and HD video at 23.98), the key is to first get your stems back up to film speed, which would involve an SRC using 47952 as the source sample rate. THEN, when it's back at film speed (48k), you could do the NTSC>PAL SRC, the 4.1% thing. Maybe? Try just the center channel using the fastest setting as a test, and if it works you can do the whole thing at "Best" quality. Of course, the pitch will be faster (about 1/4 step) as well, in sync with the faster speed of the film. To get it in sync but at the original pitch you have to do a whole time-compression/pitch-shift thing which is a whole different process.

25 to 23.976, Divide those two numbers, and you get 1.0427093760427093760427093760427. When truncated and expressed as percentage, it becomes 104.27094% which is the number that you feed time conversion software such as, Prosoniq Timefactory or Nuendo timestretch

NTSC to PAL would be 23.976/25 = 0.95904 = 95.904%
NTSC to PAL SR = 48000(25/23.976) = 50050 rounded.
PAL to NTSC SR = 48000(23.976/25) = 46034 rounded.

A time-stretch version is recommended, vs SRC conversion.
MPEX2 in Nuendo is apparently a good tool.

cheers
geo

[georgia]

Some Troubleshooting tips for APPLE based PROTOOLS system that I've collected:

Pro Tools Tech Support Folder , tools and utilities to assist in diagnosing and troubleshooting is here: Digidesign | Support | Tech Support Folder - Utilities and Troubleshooting Tools

Other house keeping items:

Delete Pro Tools preferences.
Go to Users > “your user name” > Library > Preferences
Delete 'com.digidesign.protoolsLE.plist', 'DAE Prefs' (folder), 'DigiSetup.OSX' and 'Pro Tools preferences'.
Empty trash, then restart the computer.

You can also use the Pro Tools Preference and Database Helper to trash preferences and databases automatically, as well as providing a few other useful tools. (This application is provided by a 3rd party and is not tested or supported by Digidesign)

Repair Permissions
-Quit Pro Tools and launch Apple's "Disk Utility" application, located in:

MacHD>Applications & Utilities.

-Select your boot drive (the whole drive, not the volume underneath the drive)
-Go to the 'First Aid' tab and select "Repair Disk Permissions"

Apple recommends doing this any time you install new software, update your OS or reinstall any software.

Databases and Volumes

This step can be useful when receiving random 'assertion' or 'neoaccess' errors, especially when recording or saving.

-Delete the "Digidesign Databases" folders on the first level of all mounted hard drives.
-Delete the "Volumes" folder:
Pro Tools versions 7.3 and earlier it's located in MacHD > Library > Application Support > Digidesign > Databases.
Pro Tools 7.4 and higher will find it in MacHD > Library > Application Support > Digidesign > Databases > Unicode.

-Empty trash, then restart the computer.

Compatibility

First verify you are using a supported Mac and your system meets all of the minimum requirements. You can find compatibility information (computers, hard drives, operating systems, requirements, etc.) in the Support section of the website:
Digidesign | Support

Choose from the product list for compatibility information, and click on the links in the compatibility section for each product for additional information.

- Verify that you have the Minimum or Suggested amount of Ram loaded in your system
For current Pro Tools systems, that is the following:
1 GB (1024 MB) or more highly recommended. The best user experience has been reported using 2 GB or more.

- Verify that your version of the Mac OS is supported with your version of Pro Tools:
Pro Tools LE Version Compatibility Grid for Mac OS X
More Information:
Mac OS X 10.4 Requirements with Pro Tools 6 & 7
Mac OS X 10.2 & 10.3 Requirements with Pro Tools 6

- Make sure all drives are formatted Mac OS Extended (Journaled) with OS X’s Disk Utility. Pro Tools can not use UFS or HFS volumes. If the drive was originally formatted in OS 9 or with any other application, backup the drive and reinitialize it with Disk Utility. More information:
Hard Drive Requirements - Pro Tools LE for Mac OS X

IMPORTANT! You MUST use a secondary hard drive (not your main OS drive) for recording and playback of audio in Pro Tools. Recording or playback from the OS drive is known to be problematic and the cause of many different error types. If you are using your system drive and encountering errors, the first thing you should do is get a compatible drive.

Pro Tools supports recording and playback to a secondary drive that meets the following requirements:

7200 rpm or faster
9ms seek time or faster

Firewire drives must have the Oxford 911 (FW400 port), Oxford 912 (FW400 & FW800 ports) or Oxford 924 (FW800 ports) Bridge chip. USB drives are not supported and are known to be problematic. Here are some useful links to determine if the drive you have, or are considering, has the proper chipset:

Chipsets used in Maxtor external drives
Chipsets used in Seagate external drives

Pro Tools FireWire Drive Requirements on Mac OS X
Pro Tools EIDE/ATA Hard Drive Requirements on Mac OS X
Pro Tools SATA Hard Drive Requirements on Mac OS X
Pro Tools SCSI Hard Drive Requirements on Mac OS X


- If you are running a supported ATTO card make sure you install the ATTO Configuration Tool, this is a different application from Express. It can be found on the Pro Tools CD installer or in the downloads section. This application installs necessary extensions for all supported ATTO cards. More information:
Qualified SCSI HBA Cards — Pro Tools Systems for Mac OS X

General Setup

Pro Tools Technical Support, Registration and Setup Videos

These videos have information on the following topics:

Product Registration
Technical Support - Searching Answerbase and getting answers to your questions
Pro Tools System Compatibility - How to determine if your system is compatible
Mbox 2 family - Information on what's in the box
Authorizing Ignition Pack 2


- In System Preferences > Display, set your monitor resolution to a minimum of 1024 X 768.

- In System Preferences > Classic > Start/Stop tab, Uncheck Start Classic when you log in.

- In System Preferences > Date & Time, verify that the date is set correctly and that you are not using 24 hour time.

- If you are using a 2005 or newer Powerbook G4 with Sudden Motion Sensor, please disable SMS according to the Apple information located here:

Sudden Motion Sensor and video editing performance
Sudden Motion Sensor: Advanced Tips



Energy Saver

-Open System Preferences (Located in Apple Menu, Dock, or Applications Folder)
-Click on Energy Saver (in the Hardware section)
-Set the "Sleep Sliders" to Never (Computer Sleep) and Never (Display Sleep)
-Make sure the box next to "Put the hard disk(s) to sleep when possible" is unchecked
-Click on the options tab at the top
-If you have a "Processor Performance" drop down menu select "Highest"

AirPort

-Click on the AirPort Icon in the Menu Bar in the upper right corner of the screen (Left of the time)
-Select "Turn AirPort Off" from the menu
-If you don't see the AirPort Icon in the Menu Bar then:
-Open System Preferences (Located in Apple Menu, Dock, or Applications Folder)
-Click on "Network"
-Click on the "Show" drop down menu and select "AirPort" (if there is no AirPort option, then AirPort is not installed on your computer)
-Under the "AirPort" tab, towards the bottom of the window, check the box next to "Show AirPort status in menu bar"
-Follow the first two steps after that is done

Bluetooth

-Open System Preferences (Located in Apple Menu, Dock, or Applications Folder)
-Click on "Bluetooth" under the Hardware section
-Click on the "Settings" tab at the top of the screen
-Make sure "Bluetooth Power: Off" if not click the "Turn Bluetooth Off" Button

Firewire Networking

- Open System Prefs (Located in Apple Menu, Dock, or Applications Folder)
- Click on 'Network'
- In the drop-down box next to 'Show', select 'Network Port Configurations'
- Uncheck the box next to 'Built-in Firewire'
- Click on 'Apply Now' button in the lower right hand corner of the window.

Pace Drivers

You want to make sure you have the most current version of these drivers.

-Visit the PACE website at:

Welcome to PACE Anti-Piracy

-Below where it says "END USERS" on the right side of the page, there is a 'Download Drivers' drop down menu
-Click on the menu and select 'Mac OS X Extensions'
-This should start downloading 'macextsx.dmg'
-Once this file is downloaded, double click on 'macextsx.dmg'
-This should bring up a temporary disk called 'InterLok Extensions Installer'
-Open the 'InterLok Extensions Installer' disk, and double-click 'InterLok Extensions Install'
-Proceed through the installation
-Restart your computer when installation has finished


Troubleshooting tips

Please download and install the Pro Tools Tech Support Folder , which has tools and utilities to assist in diagnosing and troubleshooting potential problems you may encounter.

Delete Pro Tools preferences.
-Go to Users > “your user name” > Library > Preferences
-Delete 'com.digidesign.protoolsLE.plist', 'DAE Prefs' (folder), 'DigiSetup.OSX' and 'Pro Tools preferences'.
-Empty trash, then restart the computer.

You can also use the Pro Tools Preference and Database Helper to trash preferences and databases automatically, as well as providing a few other useful tools. (This application is provided by a 3rd party and is not tested or supported by Digidesign)

Repair Permissions
-Quit Pro Tools and launch Apple's "Disk Utility" application, located in:

MacHD>Applications & Utilities.

-Select your boot drive (the whole drive, not the volume underneath the drive)
-Go to the 'First Aid' tab and select "Repair Disk Permissions"

Apple recommends doing this any time you install new software, update your OS or reinstall any software.

Databases and Volumes

This step can be useful when receiving random 'assertion' or 'neoaccess' errors, especially when recording or saving.

-Delete the "Digidesign Databases" folders on the first level of all mounted hard drives.
-Delete the "Volumes" folder:
Pro Tools versions 7.3 and earlier it's located in MacHD > Library > Application Support > Digidesign > Databases.
Pro Tools 7.4 and higher will find it in MacHD > Library > Application Support > Digidesign > Databases > Unicode.

-Empty trash, then restart the computer.


Uninstall and reinstall Pro Tools
-Run the Pro Tools installer from your CD-ROM or web download.
-Click on the Custom Install menu and choose "Uninstall".
-Click continue and then choose the option for "Clean" uninstall
-Click OK when it reports that the uninstall was successful and then reinstall Pro Tools.

New User Account

Try creating a new user with admin privileges in System Preferences > Accounts.
-Click the Lock to authenticate
-Enter password
-Click the "+" (plus sign) under the list of users
-Type In Pro Tools for the Name
-Enter a password and verify (optional)
-Check the box 'Allow user to administer this computer'
-Click 'Create Account'

Then login to this new account and run Pro Tools

-Go to the Apple menu and go to 'Log Out (Username)'
-Login in to Pro Tools
-If there is no icon in the Dock, navigate to MacHD>Applications>Digidesign>Pro Tools
-Double-click on 'Pro Tools LE'

Disable Virus Protection
Disable any Virus Protection Software. Check for evidence of anti-virus software in Library > Startup items. Move these items out of this folder and restart the CPU (do NOT remove the DigidesignLoader or PACESupport folders).

Other Troubleshooting
- Remove any unnecessary USB or Firewire devices or any other extraneous hardware and then restart the computer.

- In the case of possible hardware issues with your Mac the next step is to test the Mac hardware. To do this, boot off of the Apple Hardware Test CD or Software Restore DVD (depending on Mac model) that shipped with your Mac. If you are booting off of the Software Restore DVD, hold the option key while the Mac starts up, then choose Apple Hardware Test. Once Apple Hardware Test loads, press Control+L. This puts Apple Hardware Test in loop mode. Click Extended Test, and let it go (preferably overnight). When you return, the hardware test will have found an error or it will be continuing. If it finds an error, it will give you an error code and you will be able to see which iteration of the loop it found the error on. If it has not found an error, it will still be looping and it will indicate which iteration of the loop is currently in progress. Either way, the only way to restart your Mac is to hold in the power key to shut it down first.

Login Items

Certain items that always start up when you log in to your computer can conflict with Pro Tools operations. The way to check what is starting up every time you log in is:

-Open System Prefs (Located in Apple Menu, Dock, or Applications Folder)
-Click "Accounts"
-Select your account from the list on the left hand side of the window
-Click on the "Login Items" tab on the right hand side of the window
-Go through the list and select each item and click the "-" (minus) button below the list to remove the item

StartupItems

Certain items that always start up when turn on your computer can conflict with Pro Tools operations. The way to check what is starting up every time you start your computer is to navigate to:

MacHD>Library>StartupItems

Any Digidesign Files/Folders located in this folder should be okay for use with Pro Tools. Common files/folders to have are:

Digidesign Loader
Digidesign Mbox 2
PACE Support

Any other files/folders should be backed up and removed for optimal Pro Tools operation

FileVault

FileVault is an Apple utility to help protect your files. When FileVault is turned "ON" this can conflict with Pro Tools and the installation of Pro Tools. Make sure FileVault is disabled following these steps:

-Open System Prefs (Located in Apple Menu, Dock, or Applications Folder)
-Click "Security"
-In this window look where is says:

FileVault protection is (on/off) for this account

-If FileVault is on click the button to turn Off FileVault


Spotlight Indexing

If Spotlight Indexing is running in the background, this can cause errors in Pro Tools. To disable Spotlight Indexing follow these steps:

To turn this off there are two methods, both require administrator permissions:

Manually:

Start up the Terminal (/Applications/Utilities/)
Type the following:

cd /etc

sudo pico hostconfig (enter your password or press return)

An editor will open with the following entry: SPOTLIGHT=-YES- Replace 'YES' with 'NO'

press ctrl-x, then 'Y' and then press return Close the Terminal and restart the computer.

Use Spotless:

You may also use Spotless, but it is a paid option ($12.95). Download Spotless at Spotless information page. Installation and usage instructions are included with the download.

Only the indexing will be disabled, you will still be able to search with Spotlight after using this utility.


Dashboard

If you are having performance issues with Pro Tools, you might also try disabling the Dashboard for Tiger.

How to disable Dashboard

1) Open Terminal and type:

defaults write com.apple.dashboard mcx-disabled -boolean YES

2) once that is done you need to "restart" the dock by typing:

killall Dock
(make sure you get the capital 'D')


How to enable Dashboard

1)Open terminal and type:
defaults write com.apple.dashboard mcx-disabled -boolean NO

2)once that is done you need to "restart" the dock by typing:

killall Dock
(make sure you get the capital 'D')



Plug-In Compatibility

Make sure that all Plug-Ins are compatible with Pro Tools 7.

-Open MacHD>Library>Application Support>Digidesign>Plug-Ins
-Check the Version of each Plug-In

You can check the version by selecting the plug-in and go to the "File" menu and choose 'Get Info', or hit Command-I and look at the version information under the 'General' Section

-Digidesign Plug-Ins should be version 7.0 (Dynamics III version 6.9) or higher
-Check with third party plug-in manufacturer's to confirm that the plug-in version you have is compatible with Pro Tools 7, and here:

Pro Tools 7 Plug-In Compatibility

Linked from the Pro Tools Plug-Ins section of the website:
Pro Tools Plug-Ins


General NeoAccess or Assertion errors

If you receive one of these errors, usually after recording or when trying to save a session, it can usually be resolved by following the steps for trashing preference and database files listed above.

How to Remove Expired (Demo) Plug-Ins & Software:

- See Answerbase 19348

If you're experiencing noise from the Mbox 2, there are several things to try:

- Make sure you're using balanced cables on all balanced inputs and outputs. Remember that the Mbox 2 outputs are unbalanced, and should use unbalanced connections.
- Try using a power conditioner for all your electronic gear (Furman, Monster).
- Run your outputs directly to shielded monitors and not through a mixer to see if the noise goes away.
- Some noise complaints arise from noisey power supply units inside computers - try installing and running on another computer (or if you're using a laptop, unplug the power supply and run off of batteries to see if noise goes away).
- Unplug and turn off all unnecessary gear and run only the computer, the Mbox 2, and monitors.
- Listen through headphones.
- Make sure you're not running through a USB hub or other device - the Mbox 2 always needs to be plugged directly into the computer.
- Try all USB ports on the computer to see if the noise lessens.
- Trace your cable path for long cable runs, and isolate your cables from possible interference (other gear, florescent lighting, CRT monitors, etc).

Lastly, if you feel a repair is necessary, please contact Digidesign Tech Support to set up a Return Authorization:
Digidesign | About Us | Contact Digidesign | USA & Canada Contact Information

Digi 002/002R users experiencing any combination of the following symptoms and whose serial number ends in the letter A-F should contact Digidesign Tech Support by phone for information on getting your unit serviced:

The unit keeps on clicking when powering up, or when launching Pro Tools.
"Unable to locate Digidesign Hardware" error message when launching Pro Tools.
Dots or blank scribble strips (002 only)
Firewire light in back is blinking or turned off completely
Sample Rate light is off or blinking
Unit won't power up, or only powers up intermittently
Only the Mute light is lit when powering up and you are unable to disable Mute

[jimlongo]

Originally Posted by georgia

Some Troubleshooting tips for APPLE based PROTOOLS system that I've collected:

Some great tips there Georgia, thank you.
You might want to add Applejack to your arsenal of computer maintenance items.

Let's you fix your hard drive, fsck, permissions, delete caches and virtual memory, and check for bad preferences from single user startup mode. That and periodic in the terminal is all I use nowadays.
Applejack

[georgia]

here's some starting points for wages in the industry.... hourly and weekly rates are listed.

Z-1
Motion Picture Editor
" On Call " 5-day week $2,653.16

Trailer Editor
Weekly Guarantee 45 hrs 1.5x after 40
$37.682
$1,789.89

Z-4
Supervising Sound Editor
"On Call" 5-day week
$2,066.49

Z-5(cc)
Sound Editor
Weekly guarantee 48.6 hrs
1.5x after 48.6
$40.012
$1,944.58

Z-4(a)
Head Music Editor
"On Call" 5-day week
$2,066.49

Z-5(ff)
Music Editor
Weekly guarantee 48.6 hrs
1.5x after 48.6
$40.012
$1,944.58

Z-6(c)
Assistant Editor
Weekly guarantee 45 hrs
1.5x after 40
$32.901
$1,562.78

Z-7
Apprentice Editor
Weekly guarantee 40 hrs
1.5x after 40
$29.173
$1,166.91

Z-8
Head Librarian
"On Call" 5-day week
$1,971.82

Z-9
Supervising Librarian
Weekly guarantee 43.2 hrs
1.5x after 40
$32.649
$1,462.68

Z-10
Librarian
Weekly guarantee 43.2 hrs
1.5x after 40
$31.431
$1,408.12

Journeyman
Entry Level
Y-1
Music/ Re-recording Mixer
Daily guarantee 9 hrs
1.5x after 9 hrs
$59.43/ hr
$534.87/ day
$51.51/hr
$463.59/day

Y-1
Music/ Re-recording Mixer
Weekly guarantee 48.6 hrs
1.5x after 48.6 hrs
$50.410/ hr
$2,449.92/ wk
$43.840/ hr
$2,130.61/ wk


Y-3(a)
Supervising Engineer
Daily guarantee 9 hrs
1.5x after 9 hrs
$59.43/ hr
$534.87/ day
$51.51/hr
$463.59/day


Y-3(a)
Supervising Engineer
Weekly guarantee 48.6 hrs
1.5x after 48.6 hrs
$50.410/ hr
$2,449.92/ wk
$43.840/ hr
$2,130.61/ wk


Y-4
Engineer
Daily guarantee 9 hrs
1.5x after 9 and/or 40 hrs
$46.15/ hr
$415.35/ day
$40.22/ hr
$361.98/ day


Y-4
Engineer
Weekly guarantee 48.6 hrs
1.5x after 40 hrs
$40.533/ hr
$2,144.18/ wk
$35.439/ hr
$1,874.73/ wk

Y-7
Service Recorder
Daily guarantee 9 hrs
1.5x after 9 and/or 40 hrs
$40.53/ hr
$364.77/ day
$35.45/ hr
$319.05/ day

Y-7
Service Recorder
Weekly guarantee 48.6 hrs
1.5x after 40 hrs
$36.340/ hr
$1,922.39/ wk
$31.877/ hr
$1,686.29/ wk

Y-7(a)
Utility Sound Technician
Daily guarantee 9 hrs
1.5x after 9 and/or 40 hrs
$40.53/ hr
$364.77/ day
$35.45/ hr
$319.05/ day

Y-7(a)
Utility Sound Technician
Weekly guarantee 48.6 hrs
1.5x after 40 hrs
$36.340/ hr
$1,922.39/ wk
$31.877/ hr
$1,686.29/ wk

Y-8
Microphone Boom Oper.
Daily guarantee 9 hrs
1.5x after 9 and/or 40 hrs
$40.53/ hr
$364.77/ day
$35.45/ hr
$319.05/ day

Y-8
Microphone Boom Oper.
Weekly guarantee 48.6 hrs
1.5x after 40 hrs
$36.340/ hr
$1,922.39/ wk
$31.877/ hr
$1,686.29/ wk

Y-9
Recordist
Daily guarantee 9 hrs
1.5x after 9 and/or 40 hrs
$38.84/ hr
$349.56/ day
$34.01/ hr
$306.09/ day

Y-9
Recordist
Weekly guarantee 48.6 hrs
1.5x after 40 hrs
$34.942/ hr
$1,848.42/ wk
$30.690/ hr
$1,623.49/wk

Y-16
Sound Service Person
Daily guarantee 9 hrs
1.5x after 9 and/or 40 hrs
$16.58/ hr
$149.22/ day

Y-16(a)
Sound Service Person
Daily guarantee 9 hrs
1.5x after 9 and/or 40 hrs
$16.58/ hr
$149.22/ day

cheers
geo

[nathand]

What is the source for your last post on salaries?

[georgia]

Motion Picture Editors Guild... 2008 - 2009 data...

Motion Picture Editors Guild - Wages


cheers
geo

[dr.sound]

Originally Posted by georgia

Motion Picture Editors Guild... 2008 - 2009 data...

Motion Picture Editors Guild - Wages


cheers
geo

Georgia,
To be very clear, most (all people) should go under "Independent Post Production Agreement" NOT "The Majors". Also, If you're in LA, use the West Coast, New York, The East Coast agreement. These wages are base pay. Some people get "over scale" depending on their pull, experience, etc. Many places are not paying over scale these days.

[georgia]

you are most assuredly correct Doc! this was intended as a conceptual set of numbers for a starting point. obviously some people can and will charge more, some need to charge less.... And every project is different...


cheers
geo