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Old 20th May 2020
Here for the gear

Fixed Film Spec Structure Pro Tools versus SMPTE output bus structure for DAPS

This post is about killing 2 birds with one stone.

I feel that Protools fixed internal bus structure is a huge roadblock when it comes to workflow.
My opinion is that the internal bus structure should be selectable or at least follow the selected output bus structure.

On closer examination of the Recent 3rd “ pro tools expert “ video on this, although it does solve a re rendering back into Pro Tools issue for loudness measurement, it still doesn’t provide the solution needed for a sensible composing workflow.
As this is posted under the Post Audio title ,I will explain further. ( although a large percentage of Post Audio folk are musicians as well, sometimes the fiscal division of workflows can seperate trains of thought and some work practice requirements may not be as obvious to others in a different workflow mindset )

Please forgive me if I am spelling out the bleeding obvious in the effort to clarify my thought process, I’ll try and do it in point form.

1. When composing most ( if not all) musicians work sympathetically with other content /Fx. (Especially without the interruptions of latency)
ie, Vocalist riding reverb decays, syncopating with rhythmic delays, pianist and pedal damping, guitarist and feedback etc..

2. A lot of Virtual Instruments I use are multichannel and are essentially content for creating beds.
Kontakt, Superior Drummer 3 , Omnisphere, RMC string splitter for guitars, Sound Particles etc

3. I use both the Stratus and Symphony R4 Surround Exponential Reverbs, Slapper by Cargo Cult ,Isono Anymix Pro,and Utilising send pans follows track pans is pretty standard for me when gluing things together.
Even when using stereo and mono tracks I’ll utilise surround outputs and internally created surround busses that follow the fixed internal Film standard.

4 Ideally the best case scenario would be to monitor real time through DAPS whilst creating so I can work in sympathy with evolving content (point 1).

5. I realise I can tracklay a session and then create a new one and import session data, split the multichannel files, reorder them and use them as beds , also I can use feature mono (and stereo of course) instruments as objects and mix and create the extra stereo return out of objects and utilise them for the 7.1.4 for content and reverbs.

6 . I have a 5.1, 12 core 3.2 ghz 64 gig Cheesegrator Mac with an HDX card.
With the send return method of DAPS I find I still have leftover DSP ( so far ) for AAX DSP based plugins and with 4 7.1.2 beds and 40 objects the Renderer is running around 30% usage of CPU.
Following Dolby’s instructions and utilising the Dolby Audio Bridge workflow for some reason gives me 6010 errors whereas the send return method is solid.

The fact in practice , you have compose in one session, and mix in another in this day and age is ridiculous.

Any suggestions of creative routing to achieve a one session workflow described in point 4 would be extremely welcome.