Recently during some sessions, I came across a couple of consistent Waves plugin misfires when using a Pro Tools HD TDM system.

 1. TDM vs. RTAS Performance

A Waves C1 Gate’s performance varies greatly between TDM and RTAS versions. In the following examples, the session, source file, track and plug-in’s settings were exactly the same, only the type changed. Listen how the C1 RTAS gate randomly changes amplitube and function making it unusable and drastically different from the outcome when using the TDM version of the same plugin. This was repeated and verified across more than one Mac 2 x 2.66 GHz Dual-Core system with 8 GB of RAM running OS 10.6.2 running Pro Tools 8.0.3 cs1.

2. Broken Relink Function

On any multi-mono plugin, the relink function allows you to reset your other instances to the settings of the channel chosen in the “Channel to retain” pulldown. While this worked as expected on any multi-mono plugin I tried, it did not operate as it should on a Waves C1 Gate and C1 Compressor, leaving all settings as is.

I realize that the last three blog posts have been about License Extension for wireless system users, but it’s important! The June 12 deadline for abandoning the 700 MHz spectrum, right at the start of summer tour and festival season, will arrive before you know it. And March 1 is the deadline for Public Comment. As an industry supporter, we encourage ALL wireless users to chime in!

Word just came from Shure that the NFL, James Stoffo, Ricky Minor, Saddleback Church, Hank Neuberger and Kenneth “Babyface Edmonds, among thousands of others, have all chimed in. The rest of you still have till Monday, and if you’re having troubles navigating the FCC Website, feel free to send your information and your request for ease in licensing to your local wireless system provider. If you don’t know who that might be, then Shure has made it easy. Just click here.

From the Rif Mountains of North Africa to the Caribbean Mosquito Coast, Michael J. Gassert captures music and sounds steeped deeply in the roots of humanity. Whether it’s the sunrise prayer sung from a Minaret in Beirut, a hand-busted beat thrown on a jail cell bunk in Bluefields or weaving ghaita melodies of Moroccan Masters, MikeSound’s keen ear leads him through sonic landscapes of time, culture and identity. Wisconsin songster, New York City engineer/film production sound mixer, World Music producer, Mike is a citizen of sound, archiving rhythms of life across artistic boundaries. Here, he blogs about his adventures.

Stay tuned for more from Mike!

The Editors

This mystery gear showed up onstage at last week’s Jeff Beck/Clapton concert at Madison Square Garden in NY. Anyone have any ideas?

Thanks to some inclement weather that shut down Washington and the flood of initial responses to the FCC, the committee that will hear proposals to Licensing Expansion under Part 74 of the document filing has extended the Public Comment period to March 1. Originally, the period was set to end Monday, February 22. All users of wireless systems are encouraged to file a comment that details their use of wireless in the field: application, number of systems, size of company, etc.

Click here to view the full announcement.

Monday is the deadline for public comment on the expansion of Part 74 license eligibility of the  proposal for wireless system use, and it’s imperative that all users file comments, to let legislators know the scope of wireless use in the professional world. When the FCC announced on January 15 that all professional wireless users had to be out of the 700 MHz spectrum by June 12, 2010, it wasn’t 
unexpected, but it did set in motion a series of deadlines. The first is Monday.

Already, Shure has received hundreds of filings from users, ranging from small one- or two-channel systems to production companies that employ hundreds of systems regularly. No system is too big or too small, In fact, the range of users is an important factor when considering licensing options.

Since 1977, the FCC has recognized two categories of professional wireless
 use: broadcast and motion picture and television program producers. Under
 consideration is an expansion of that eligibility to other professional
 uses, such as theater, houses of worship, system contracting and many 
others. This Public Comment period is designed to gather information on who
 should be eligible for a license and who shouldn’t. Later it will be
 determined how those licenses will be entered into a geo-location database 
and who will be in charge of monitoring licensed users.

Click here to view Mark Brunner of Shure on the importance of filing Public
 Comment.


Shure Microphones, along with other manufacturers, have spent millions of
 dollars lobbying Washington and urging support for license expansion in the 
wake of the 700 MHz announcement. All professional wireless users are 
encouraged to submit, on company letterhead, details on the types of use, the
 number of mics and wireless systems of all types, and the support for 
license expansion under Part 74. Comments may be submitted to 
http://fjallfoss.fcc.gov/ecfs/. Refer to Proceeding 10-24. Shure has offered to answer questions regarding the filing process through a special email address at wirelessmicrophones@shure.com.

“Right now, the FCC is aware of the hundreds of systems at a U2 concert or 
the tremendous needs of the Super Bowl,� says Shure’s Chris Lyons. “They are
 also aware of the thousands of single users out there. Who they really need
 to hear from are the thousands of operators who fall in the middle, the
 small theaters or houses of worship which may use dozens of systems.�

Wireless users are further encouraged to write their representatives in
 Congress in support of House Bill HR4353, introduced by Rep. Bobby Rush of
 Illinois and currently working its way through the legislative process. The
 National Football League has already signed on in support.

There’s no doubt that different DAWs have unique features you can exploit to make your productions stronger. However, collaboration across applications can sometimes be non-intuitive and bog down your creative process. The steps below outline the technique for easily taking audio between Logic and Pro Tools, and back again.
Logic to Pro Tools Transfer

1. From Logic’s File menu, choose Export/All Tracks as Audio Files. SHORTCUT: Command + Shift + E

2. Choose the location for your files from the next screen

HOT TIP: If you have markers in your Logic session, you can export them as well by creating a MIDI track with as little as one note recorded. Then, stretch the MIDI track to the length of all your other audio regions. As the Audio and MIDI tracks are imported into Pro Tools, the MIDI track, which has the location and names of your Logic markers will also be imported allowing you to locate to the same markers within Pro Tools.

3. In Pro Tools, choose Import/Audio from the File menu. SHORTCUT: Command + Shift + I

4. From the next window, navigate to your files and add them to the Regions to Import list. You can also audition files with the play button. Press Done when finished.

5. Next, choose New Track from the next window (Audio Import Options) and click OK

.

Pro Tools to Logic Transfer

1. From the Edit window, highlight all regions you wish to export by putting the cursor at the front (left) of every track, then click + drag to the end of the longest region. SHORTCUT: Place the cursor in front of every region you wish to export and push Shift + Option + Return.

2. Consolidate all selected regions by selecting Consolidate from the Edit pulldown. SHORTCUT: Shift + Option + 3

3. Once regions are consolidated, select Export Regions as Files from the Regions pulldown menu at the right of the Edit window. SHORTCUT: Command + Shift + K)

4. From the Export Selected screen that pops up next you can change the File Type, Format, Bit Depth, Sample Rate and more. Click Choose next to Destination Directory to pick where the exported files will be stored. You can also Resolve Duplicate File Names with the three choices at the bottom of the screen. When done, click Export.

5. Open a New Blank Logic session (Logic prompts you to make at least one track which is ok for now). Drag the entire folder with your exported Pro Tools files to the center of the Arrange window and choose Create New Tracks from the pulldown.

6. Click OK on the Add Selected Files to Arrange window and Logic will import your tracks with the names to your session.

One of my gigs at Mix is program director for our Mix Nashville and LDI events. Mix Nashville (MN) is coming up this year again on May 25/26 and we’ve got some great sponsors, topics and panelists on tap. Nashville engineers Bil Vorndick and Russ Long are onboard as moderators and topics cover effective collaboration, advanced analog/digital techniques, boosting revenue and more. Check out the videos from Bil and Russ below and keep your eyes here for a look at past MN’s and 2010 info as it develops.