| Solving the clocking issues between two DAWs [message #99843] |
Sat, 02 August 2008 19:41  |
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Deej [5]
Messages: 373
Registered: March 2008
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Senior Member |
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In another post to Mike Audet I was jabbering on about how I thought the most
powerful DAW scenarion I ever used was when I was running Cubase lightpiped
into Paris but that the clocking issues with a 4 x MEC setup were a show
stopper.
I think I know what would solve this......as follows:
Paris ADAT sync out to an RME HDSP 9652 or Creamware SyncPlate to lock up
the two DAWs.
Set up Paris to interface on a 1:1 basis with the ADAT I/O on an insert on
each track, therefore creating a digital loop in and out of each Paris channel.
Route the 8 x ADAT lightpipe outputs of the Paris ADAT module to the ADAT
inputs of an RME ADI-192DD. Set the ADI-192DD to upsample these to 88.2 and
output them to the inputs of another ADI-192DD at 88.2.
Down sample the outputs of the second ADI-192DD to 44.1 and return them to
the ADAT lightpipe inputs of native DAW. then return the outputs of the native
DAW to a Paris ADAT input to complete the loop.
Now do the same thing with the Paris ADAT outputs on as many other MECs as
you have.
When the RME ADI-`192 DD is synced to the same master clock as the gear that
is feeding, it will decouple the original clock sources that are being fed
to it via ADAT, resynch them and then return a fully resynchronized digital
stream that is clocked to the master clock to the host (Paris) DAW. I think
this would "theoretically" solve the trainwreck that happens when multiple
MECS that are subject to clocking errors due to the inherent delay between
the interfaces are being interfaced with a native DAW.
The ADI-192DD's cost about $1750.00 each so for every 8 x Paris ADAT channels,
you'd be spending $3500.00, but I'll bet you that you could reliably sync
a 8 x MECs and accomplish a digital feed of 128 tracks to a native DAW this
way without a trainwreck.
If this didn't work, I'll bet if you added another pair of ADI-192DD's to
uncouple and reclock the outgoind ADAT signal back into Paris, it would work.
Of course, now we're talking about $7,000.00 per every 8 x channels, but
at least you'd have reliable sync.
OK.....now I;'m off to buy a lotto ticket.
;)
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| Re: Solving the clocking issues between two DAWs [message #99847 is a reply to message #99843] |
Sat, 02 August 2008 20:22  |
Luiz Orsano
Messages: 14
Registered: January 2007
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Junior Member |
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Huh?
"Deej" <noway@jose.net> wrote:
>
>In another post to Mike Audet I was jabbering on about how I thought the
most
>powerful DAW scenarion I ever used was when I was running Cubase lightpiped
>into Paris but that the clocking issues with a 4 x MEC setup were a show
>stopper.
>
>I think I know what would solve this......as follows:
>
>Paris ADAT sync out to an RME HDSP 9652 or Creamware SyncPlate to lock up
>the two DAWs.
>
>Set up Paris to interface on a 1:1 basis with the ADAT I/O on an insert
on
>each track, therefore creating a digital loop in and out of each Paris channel.
>
>
>Route the 8 x ADAT lightpipe outputs of the Paris ADAT module to the ADAT
>inputs of an RME ADI-192DD. Set the ADI-192DD to upsample these to 88.2
and
>output them to the inputs of another ADI-192DD at 88.2.
>
>Down sample the outputs of the second ADI-192DD to 44.1 and return them
to
>the ADAT lightpipe inputs of native DAW. then return the outputs of the
native
>DAW to a Paris ADAT input to complete the loop.
>
>Now do the same thing with the Paris ADAT outputs on as many other MECs
as
>you have.
>
>When the RME ADI-`192 DD is synced to the same master clock as the gear
that
>is feeding, it will decouple the original clock sources that are being fed
>to it via ADAT, resynch them and then return a fully resynchronized digital
>stream that is clocked to the master clock to the host (Paris) DAW. I think
>this would "theoretically" solve the trainwreck that happens when multiple
>MECS that are subject to clocking errors due to the inherent delay between
>the interfaces are being interfaced with a native DAW.
>
>The ADI-192DD's cost about $1750.00 each so for every 8 x Paris ADAT channels,
>you'd be spending $3500.00, but I'll bet you that you could reliably sync
>a 8 x MECs and accomplish a digital feed of 128 tracks to a native DAW this
>way without a trainwreck.
>
>If this didn't work, I'll bet if you added another pair of ADI-192DD's to
>uncouple and reclock the outgoind ADAT signal back into Paris, it would
work.
>Of course, now we're talking about $7,000.00 per every 8 x channels, but
>at least you'd have reliable sync.
>
>OK.....now I;'m off to buy a lotto ticket.
>
>;)
>
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| Re: Solving the clocking issues between two DAWs [message #99848 is a reply to message #99843] |
Sun, 03 August 2008 02:58 |
TCB
Messages: 1261
Registered: July 2007
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Senior Member |
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You are a sick, sick man.
TCB
"Deej" <noway@jose.net> wrote:
>
>In another post to Mike Audet I was jabbering on about how I thought the
most
>powerful DAW scenarion I ever used was when I was running Cubase lightpiped
>into Paris but that the clocking issues with a 4 x MEC setup were a show
>stopper.
>
>I think I know what would solve this......as follows:
>
>Paris ADAT sync out to an RME HDSP 9652 or Creamware SyncPlate to lock up
>the two DAWs.
>
>Set up Paris to interface on a 1:1 basis with the ADAT I/O on an insert
on
>each track, therefore creating a digital loop in and out of each Paris channel.
>
>
>Route the 8 x ADAT lightpipe outputs of the Paris ADAT module to the ADAT
>inputs of an RME ADI-192DD. Set the ADI-192DD to upsample these to 88.2
and
>output them to the inputs of another ADI-192DD at 88.2.
>
>Down sample the outputs of the second ADI-192DD to 44.1 and return them
to
>the ADAT lightpipe inputs of native DAW. then return the outputs of the
native
>DAW to a Paris ADAT input to complete the loop.
>
>Now do the same thing with the Paris ADAT outputs on as many other MECs
as
>you have.
>
>When the RME ADI-`192 DD is synced to the same master clock as the gear
that
>is feeding, it will decouple the original clock sources that are being fed
>to it via ADAT, resynch them and then return a fully resynchronized digital
>stream that is clocked to the master clock to the host (Paris) DAW. I think
>this would "theoretically" solve the trainwreck that happens when multiple
>MECS that are subject to clocking errors due to the inherent delay between
>the interfaces are being interfaced with a native DAW.
>
>The ADI-192DD's cost about $1750.00 each so for every 8 x Paris ADAT channels,
>you'd be spending $3500.00, but I'll bet you that you could reliably sync
>a 8 x MECs and accomplish a digital feed of 128 tracks to a native DAW this
>way without a trainwreck.
>
>If this didn't work, I'll bet if you added another pair of ADI-192DD's to
>uncouple and reclock the outgoind ADAT signal back into Paris, it would
work.
>Of course, now we're talking about $7,000.00 per every 8 x channels, but
>at least you'd have reliable sync.
>
>OK.....now I;'m off to buy a lotto ticket.
>
>;)
>
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| Re: Solving the clocking issues between two DAWs [message #99849 is a reply to message #99847] |
Sun, 03 August 2008 03:08 |
John [1]
Messages: 2229
Registered: September 2005
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Senior Member |
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this is what happens when he is off his meds
"Luiz Orsano" <me@me.com> wrote:
>
>Huh?
>
>
>"Deej" <noway@jose.net> wrote:
>>
>>In another post to Mike Audet I was jabbering on about how I thought the
>most
>>powerful DAW scenarion I ever used was when I was running Cubase lightpiped
>>into Paris but that the clocking issues with a 4 x MEC setup were a show
>>stopper.
>>
>>I think I know what would solve this......as follows:
>>
>>Paris ADAT sync out to an RME HDSP 9652 or Creamware SyncPlate to lock
up
>>the two DAWs.
>>
>>Set up Paris to interface on a 1:1 basis with the ADAT I/O on an insert
>on
>>each track, therefore creating a digital loop in and out of each Paris
channel.
>>
>>
>>Route the 8 x ADAT lightpipe outputs of the Paris ADAT module to the ADAT
>>inputs of an RME ADI-192DD. Set the ADI-192DD to upsample these to 88.2
>and
>>output them to the inputs of another ADI-192DD at 88.2.
>>
>>Down sample the outputs of the second ADI-192DD to 44.1 and return them
>to
>>the ADAT lightpipe inputs of native DAW. then return the outputs of the
>native
>>DAW to a Paris ADAT input to complete the loop.
>>
>>Now do the same thing with the Paris ADAT outputs on as many other MECs
>as
>>you have.
>>
>>When the RME ADI-`192 DD is synced to the same master clock as the gear
>that
>>is feeding, it will decouple the original clock sources that are being
fed
>>to it via ADAT, resynch them and then return a fully resynchronized digital
>>stream that is clocked to the master clock to the host (Paris) DAW. I think
>>this would "theoretically" solve the trainwreck that happens when multiple
>>MECS that are subject to clocking errors due to the inherent delay between
>>the interfaces are being interfaced with a native DAW.
>>
>>The ADI-192DD's cost about $1750.00 each so for every 8 x Paris ADAT channels,
>>you'd be spending $3500.00, but I'll bet you that you could reliably sync
>>a 8 x MECs and accomplish a digital feed of 128 tracks to a native DAW
this
>>way without a trainwreck.
>>
>>If this didn't work, I'll bet if you added another pair of ADI-192DD's
to
>>uncouple and reclock the outgoind ADAT signal back into Paris, it would
>work.
>>Of course, now we're talking about $7,000.00 per every 8 x channels, but
>>at least you'd have reliable sync.
>>
>>OK.....now I;'m off to buy a lotto ticket.
>>
>>;)
>>
>
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| Re: Solving the clocking issues between two DAWs [message #99870 is a reply to message #99843] |
Mon, 04 August 2008 21:03 |
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My Man DJ!! Miss your Frankenstein DAW experiments..Really I do..
I've been weening myself from Nuendo and have pledge to go Pro Tools (7.4)
by 2009.. I have to admit, the learning curve is a bit skewed. But, I realizr
that Pro Tools is a :
-Serious Audio editor.With old dated work flow methods
-Very Sweet Digital Mixer with some serious routing capabilities.
-Nice Multi track audio recorder
-Abopve decent midi sequencer..
Once I figured out that working in ProTools is akin to working with Soundforge,
I was on my way..
See, I was not use to working in a Full-Fledge audio editor when tracking
and editing.. Nuendo & Paris, audio editing is hidden for obvious reasons;
speed and workflow..Haveing soudforge, cool-edit or wavlab available on the
playing field can be a HUDGE distraction..Where by, you are doing more editing
than recording and mixing..
So, I'm plugging away.. Hey, my buddies who know PT in and out, are able
to really "rock" a session, like I can on Cuabse/Neundo/Paris.. But, this
music industry is Pro Tools driven. If you wasnt to work, you better know
ProTools..
Or, for label work, you better deliver it on Pro Tools..
So, making my production studio PT based, but still keeping my Nuendo & secret
weapon Paris "jacked" in for some mojo..
LaMont
"Deej" <noway@jose.net> wrote:
>
>In another post to Mike Audet I was jabbering on about how I thought the
most
>powerful DAW scenarion I ever used was when I was running Cubase lightpiped
>into Paris but that the clocking issues with a 4 x MEC setup were a show
>stopper.
>
>I think I know what would solve this......as follows:
>
>Paris ADAT sync out to an RME HDSP 9652 or Creamware SyncPlate to lock up
>the two DAWs.
>
>Set up Paris to interface on a 1:1 basis with the ADAT I/O on an insert
on
>each track, therefore creating a digital loop in and out of each Paris channel.
>
>
>Route the 8 x ADAT lightpipe outputs of the Paris ADAT module to the ADAT
>inputs of an RME ADI-192DD. Set the ADI-192DD to upsample these to 88.2
and
>output them to the inputs of another ADI-192DD at 88.2.
>
>Down sample the outputs of the second ADI-192DD to 44.1 and return them
to
>the ADAT lightpipe inputs of native DAW. then return the outputs of the
native
>DAW to a Paris ADAT input to complete the loop.
>
>Now do the same thing with the Paris ADAT outputs on as many other MECs
as
>you have.
>
>When the RME ADI-`192 DD is synced to the same master clock as the gear
that
>is feeding, it will decouple the original clock sources that are being fed
>to it via ADAT, resynch them and then return a fully resynchronized digital
>stream that is clocked to the master clock to the host (Paris) DAW. I think
>this would "theoretically" solve the trainwreck that happens when multiple
>MECS that are subject to clocking errors due to the inherent delay between
>the interfaces are being interfaced with a native DAW.
>
>The ADI-192DD's cost about $1750.00 each so for every 8 x Paris ADAT channels,
>you'd be spending $3500.00, but I'll bet you that you could reliably sync
>a 8 x MECs and accomplish a digital feed of 128 tracks to a native DAW this
>way without a trainwreck.
>
>If this didn't work, I'll bet if you added another pair of ADI-192DD's to
>uncouple and reclock the outgoind ADAT signal back into Paris, it would
work.
>Of course, now we're talking about $7,000.00 per every 8 x channels, but
>at least you'd have reliable sync.
>
>OK.....now I;'m off to buy a lotto ticket.
>
>;)
>
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