[James Reid]

Glad the “invert” polarity worked for you.

And just repeat myself, (because I’ve been in the audio business for 30 years), this has nothing to do with “phase”.

“Polarity:
In electronics, two points that have opposite electric potentials (one is positive, the other negative). This is not the same as being 180 degrees out of phase (although the results can be similar).
Phase implies a relationship with time, polarity does not.
What most engineers, consoles and preamps refer to as a “phase” switch is actually a switch reversing signal polarity.”

[James Reid]

[sararosepro] “We’ve tried Voltaic….nothing…it just came out white.”

That’s odd.
I’m on a lowly G5 DP 1.8 (PCI-X) and with Voltaic 1.02d in demo mode I am able to convert samples from a Sony HDR-SR1 to AIC.
Slow, but it works.

[James Reid]

In Soundtrack create a mutltrack project.
Bring in the full mix to tracks one and two, the music and FX to three and four.
If these are stereo files they will apear with both channels on one track for each of the mixes.
If they are in perfect time alignment, if you toggle off the FX and music tracks, the level of both will decrease.
(To assist, find an FX with a sharp transient, zoom in and adjust the position of the track so the waveform is perfectly aligned visually with the same FX in the full mix tracks.)

I know most people use the term “reverse phase” but this technically incorrect for what we want to do.
Phase implies a timing issue. What we want to do is “invert” the polarity of one waveform on a channel relative to its sibling on the other channel.
If they are perfecly aligned, as the waveform is going in a positive direction realtive to the “0” baseline of one chanel, the waveform is going in a negative direction on the other.
If these match perfectly in level, when added together…
They cancel each other out.
+1 added to -1 equals 0
If the levels can’t be matched, at least the level of the music and FX will decrease.

In Soundtrack, select the music and FX track (or if on seperate tracks shift click to select both) from the “Process” menu choose “invert”.
Play with the level of this inverted track to get the best results.
Then export this mixed version making sure you “flatten all actions” from the Process menu.

[James Reid]

I realize that now everyone seems happy with the Pro Apps fix, no one will
bother to try this to verify another issue with QT 7.2 and Compressor 3.0.1
but I’m throwing it out here.
(this problem has been noted in Apple’s Compressor forum)

https://discussions.apple.com/message.jspa?messageID=5050240

I have submliited a bug report to Apple on July 14th.

When using Compressor 3.0.1 to resample a 44.1 kHz 16 bit file (either mp3 or AIFF) to 48kHz or 96kHz 16 bit AIFF, the resulting file length is truncated.
No pitch change, just shorter by many seconds.

[James Reid]

I’m running FC Studio 2 on a G5, OS X 10.4.10.
After installing Pro Application Support 4.0.1 the following problems:

Aperture won’t launch
Qmaster won’t launch
Batch Monitor won’t launch
…that’s as far as I went…

Eventually replacing ./System/Library/PrivateFrameworks/ProKit.framework with my backup version cured the problem.

[James Reid]

Although for post work, AudioLeak is a useful (and free app) to determine dialnorm
when dealing with a recorded seperate dialog track, for live broadcasting and professional use the Dolby LM100 is The tool.
If you like shiny things and have a spare $3,200 and plan on doing a lot of Dolby Digital ptoduction in-house, by all mean get one.
The LM100 employs Dialogue Intelligence

[James Reid]

Good. Please let us know how it all pans out.

[James Reid]

Just want to point out that some networks require that you adhere to other specific settings as well as dialnorm.
These could include settings for any or all of the following:

Bitstream Mode
Channel Mode
LFE Channel
Line Mode Profile
RF Mode Profile
RF overmodulation Protection
Copyright
Original Bitstream
Dolby Surround EX mode
DC Filter
Lowpass Filter
LFE Lowpass Filter
Surround 3 db Attenuation
Surround Phase Shift
and other downmix settings relating to surround mixes.

[James Reid]

Yes,that’s the way to do it.
He still needs to find out whether he needs to deliver a muxed file (program or transport),
or seperate video and audiotracks.

[James Reid]

Thanks, but I’m willing to bet that it will take a rejected progam due to incorrect
dialnorm for editors who master their own audio to convince them of the need to understand the importance of getting the dialnorm correct.
I didn’t mention the other aspects of incorrect dialnorm,one of which is the nasty pumping that will result if the home user has activated any of the Dolby decoder’s dynamic range control.

And then there’s Dolby-E, if the program is being submitted for network distribution.
Of course there aren’t many here with the extra $20,000 in hardware to handle that themselves.