and…@ Paul D.

THANXXX:-)

I’ve been trying to figure it out for a loooong while!! I couldn’t hear a sound! NOW I CAN.

Thanks for sharing

S

apparently i’m one of the 7 (or is it 8 now?) users of DP in the UK, but like you, i’m using it day-in-day out and have been for about 10+ yrs now, and still with every update i find things i never knew i could do – some of that changes with the type of job i’m doing as well, be it editing, composing, foley etc etc

back to the topic though…. just a little tip to share: i started using the ‘long bounce’ (ie real-time mix) method around v5 when things started becoming really unreliable at bounce-down for me, and used it right up to a few months ago when i upgraded my studio machine to something that could cope with v7 and gave bounce a go again, and i’m pleased to say it’s dramatically improved, though i do still check everything meticulously in real-time before burning etc

when i first started doing real-time mixes i was dogged by the problem that i often couldn’t hear what was going down to the mix track. the info was appearing ok, but i just couldnt hear anything till afterwards, which made mixing a nadge tricky.

it took me ages to figure out that i needed to make sure that the Input Monitoring Mode was set to Monitor Thru Internal Effects NOT Direct Hardware Playthru, once changed – presto! i could hear everything again.

I know that sounds really simple, but it threw me for quite a while and it’s one of thos things I would have loved to have read within 5 mins of having the problem because some other spoon had done it.

Hence why i thought I’d share….

Keep up the fantastic work.

Paul D
the frozen north
UK

I’m Paul, and I’m a British DP user, and I can be a spanner at times. Don’t hit me with your Logic Pro manual just cos i’m human.

However, I just stumbled across the site, and it sounds like you may be able to help me in another matter.

I have a library of old reel-to-reel tapes, which I dumped over to ADATs a few years ago, when ADATs were popular. Way back then, before the ADATs, I would sync DP up with my 8-track reel-to-reel using a Datasync2 device recorded on one of the 8-tracks. When I dumped them over to ADATs, I did a direct track-to-track transfer, which included the sync tone.

Now, I am trying to transfer the tracks from the ADAT (two in some projects), which I am able to do, but I can’t for the life of me, get DP to respond the the track with the sync tone. I consulted MOTU about this, with no successful response.

Here’s my current gear. DP 6.x; 2-ADATxt’s sync’d via the 9-pin cable to my MOTU 424 (upgraded from the 324); Midi Timepiece2; Yamaha 02r with 2 ADAT cards; MTU’s Clockworks (latest version I think)… I have othr gear, but not significant to this.

I can dump the ADAT data via the optical connect, but I cannot get DP to actually sync to the audio sync tone. I have connect the analog output of the ADAT track containing the sync tone to the audio input of the MTP2. I’ve tried all the “Sync to” and “Transmit Syn” options in DP, as well as MMC (midi machine control) settings, etc., but DP’s location counter never moves, and the play indicator of the Master ADAT just flashes.

The object here is to get DP to sync up with the sync tone to follow the ADAT tape bar for bar and tempo as the original sequence.

I guess my main issue here is how to set all of the Clockworks settings. I never really understood Clockworks. There’s icons of all my gear in two columns (left & right). I never understood the difference between the left and right columns.

I hope all of this makes sense to you. I’ve been with MOTU since 1988, but they are practically unreachable now by phone. The online contact is even worst.

Thanks