Music Editors Gear for sound stages

[Gioinla]

I have been getting more and more in to music editorial work. My Pro Tools HD 3 rig is more based on my music producer past. I have a Rosetta 800 with a Big Ben . Seems that music editors need to bring a rig to the stage with tons of digital outputs. I only have 8!!! IS investing in a Xlogic Delta-Link a good idea?. How compatible is that ( MADI) with most stages in LA? Or should I just rent as need it ?. I been using a MOTU midi Xpress XT to synk SEMTE.. do I have to get a Digi Synk IO?
Thanks

[Floater99]

Lately, my experience has been mostly on ICON stages where my music editorial sessions are incorporated into the mixers' PT master session. If I have to do any edits, I do them offline on a MacBook running PT LE. Which is SO much easier than having to arrange cartage for my HD rig, etc. The mixers then either import the edited tracks from my session or, if it's simple edits, I consolidate the edited regions which timestamp them and then the mixers can import & spot simple audio files to timestamp. So for offline edits, you only need to hear your own LE session, which I do with a MBox Pro 2 but you can do so with much less (Mbox-wise).

With that being said, on more "traditional" stages where you'll have a full rig synched to run-in audio, a SYNC I/O is preferred for receiving house sync & TC. As for outputs, AES seems the norm in my experience. You can always rent 192's, et al, for more outputs as needed. Realize that you're on the stage a couple weeks out of a multi-month project so maybe renting is the better way to go when you need it. Of course, as more and more stages go ICON, this slowly may be becoming moot.

Maybe some of the mixers on here can input how they're receiving the MX stems on their stages.

Good luck!

- Marc

[soundboy]

Angle splicer. Sinc block, squawk box

[Floater99]

Originally Posted by soundboy

Angle splicer. Sinc block, squawk box

Yea! Mag!



- Marc

[Gioinla]

I did 3 films last year. 2 at Tood A O. Euphonix stages and one at a Control 24 stage.
I used a LE set up with an M box . and as I did edits I would send them up to the server. Pretty simple stuff. However I got 2 calls from a post production sup were he seemed to be a bit concerned that I did not have a bigger stage set up. Perhaps it was because the film was smaller and my rig was going to be the Music rig on the stage ?, who knows.!
I think the rental thing is great I do have an HD3 so I can hook up anything .
Who rents those by the way ? SIR ?.
Again thanks for the input

[Gioinla]

Ahhhh I finally got the MAG reference. Funny. My first film score (as a composer) was done in Italy at Cinecitta in 1990 . I showed up form America with DATS. They freaked out !. I had to go to the main scoring stage ( underneath a cathedral ) to transfer the whole thing to MONO MAG. Sweet baby jezus

[soundboy]

Absolute Rentals in Burbank(they deliver)
Audio Rents Hollywood(they also deliver)
Todd AO can arrange for an extra HD system on the stage if you ask for it.

[Gioinla]

Thanks soundboy .... now off to the sound cave
that is a good name for a post house The Soundcave " You'll go batty for our work ! "

[Jfriah]

Originally Posted by soundboy

Angle splicer. Sinc block, squawk box

Just wanted to give a high-five on that one! Ahhhh, mag...

[drBill]

Originally Posted by Floater99

Lately, my experience has been mostly on ICON stages where my music editorial sessions are incorporated into the mixers' PT master session.

I believe this is the wave of the future as well.