[Ty Ford]

Hello Jason and welcome to the Cow Audio Forum.

Sounds like you’re on the right track. See if STPro has a harmonic enhancer to boost the upper harmonics. Pull a bit of the 125 Hz out and see if that helps clear it up.

Regards,

Ty Ford

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[Ty Ford]

Hello Moto and welcome to the Cow Audio Forum.

PR&E was absorbed by Harris. Don’t know if they have any of the parts you need, but..

https://www.broadcast.harris.com/

Regards,

Ty Ford

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[Ty Ford]

Ryan Krickow] “This has been such a huge help! I just need to clear up a couple more things if possible. Can I get both a mono polywave mixed track and individual ISO tracks from the production mixer?

>>Hello Ryan,
I don’t think there is such a thing as a mono polywave. Poly indicates more than one. If the mixer and recording device have enough inputs, outputs and tracks, you could have a mono or stereo mix plus iso tracks in one polywave file.

As far as timecode I’ve read that I should use 29.97 NDF on the field recorder and jam sync the camera’s (shooting at 23.98) timecode with it, is that correct? It seems more practical to run the field recorder at 23.98 but I’m not very knowledgeable in this area. I don’t know if the fact that this is an HD project makes any difference when it comes to timecode.

>>I don’t know. Check with postproduction. See what they want. If this is for a long form TV show, I *think* they use 29.97 DF here in the US, but again, ask them.

Finally, when I go to deliver the audio to the sound designer would I give them an OMF of the cut mono polywave mixed track as well as a HDD containing all the individual ISO tracks? ”

>>That depends on what you want them to do with the files. Would they need the ISO tracks for something? Will their system accept OMF? Again, questions for them.

Regards,

Ty Ford

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[Ty Ford]

OK, let’s try to keep it simple.

1. If the person who stole your gear is a crack head, the plugins will probably never see the light of day anywhere, period. The will be minimal chance, if any, that Waves will suffer a loss by issuing you a new code.

2. If the unlikely event that the software does make its way into someone’s possession and they ever pop up for registration, upgrades or inquiries, Waves knows the serial number and they can deny access and could actually help you in catching the thief.

In either case, I can’t see how you getting another set of licenses hurts Waves. Perhaps Scott and Tim could respond to this. The further you guys and Danny go into legal-speak, the farther from a win-win situation this thing moves.

Looking for reasonable people to make reasonable choices,

Regards,

Ty Ford

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[Ty Ford]

Thank you Tim,

The theft of intellectual property rights is a horrid thing. I had one plugin vendor that simply chose not to upgrade their software because it had been so easily stolen. I sympathize with you.

You will, or course, do what you will in this case. Sometimes a policy deemed appropriate in a company meeting fails around the edges upon implementation.

When the unforseen happens at these edges, a company has the opportunity to make big points with clients and the industry at large. In doing so, the client becomes a powerful force for the company and the company’s street cred rises in value. At the moment, you have made that an unlikely event. In these situations, the client will take whatever action they deem appropriate to settle the debt they perceive.

Thanks again for the clarification and good will to both of you.

Regards,

Ty Ford

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[Ty Ford]

[Ryan Krickow] “Thanks Ty! If I can ask you a few more questions I’d really appreciate it. One simple question… each channel on a field recorder can record 2 tracks, correct?

>No, just one.

I assume this is a stereo recording and if you just want to record a single mono track I can.

> You need two tracks for stereo.

Second, are the BWFs saved as separate files for each channel or each track? Is there a choice?

> Some recorders operate in polywave mode, allowing multiple tracks to be recorded into one time-stamped file. If polywave is not supported, you get multiple iso tracks. The number of tracks recordable varies with each piece of gear.

For a film would you include the scene, shot, take, and track number in the file name (example: 27-01A-01-T2)?

> Maybe. Ask the guys in post if they have a preference.

Third, would I want to jam sync the camera to the field recorder’s TOD timecode or would I want to jam sync both the field recorder and camera to a smart slate if we have one?

>You have entered the fringe of my experience. DIfferent cameras and recorders vary in their clock accuracy. I think a good smart slate would help you but may not be entirely necessary.

Finally, how are the audio dailies usually delivered to the editor–by Data DVD or hard drive, correct? Thanks again, Ryan”

>One or the other, depending on what sound and post want and/or have the capability for.

Regards,

Ty Ford

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[Ty Ford]

Danny,

FWIW: My post to Waves:including a link to your post here.

Hello,

I’m one of the Audio Forum leaders at Creative Cow. The following post appeared today. It would seem that Waves needs a better solution to take care of its customers in times of devastation. Please let me know if there are plans to change your existing policy and when we might expect them.
Thanks,

Ty Ford

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[Ty Ford]

Danny,

Thanks for the heads up. I’m sorry for your pain. Perhaps Waves will relent (or come up with a better solution) if the word gets around.

Regards,

Ty Ford

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[Ty Ford]

Seth,

It’s 2-pop. 🙂 I think it refers to two boops of sound added to a clip before a scene starts. Like a countdown.

I don’t cover that in my book.

Regards,

Ty Ford

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[Ty Ford]

Ervz,

Here’s a “Ty Ford engineered solution.” Mic>dbx 286a preamp processor>Line to Mic level pad > Centrance MicPort Pro>computer

https://www.dbxpro.com/286A/286A.php
https://www.frontendaudio.com/ProductDetails.asp?ProductCode=7178
https://www.centrance.com/products/mp/

Regards,

Ty Ford

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