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#1
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Pro Tools to Cubase import?
I have to track some stuff at Sound Stage Studio in Nashville. They
use protools to my understanding and I use Cubase 4. All I need is to do is import tracks but there will be the usual punches. Will all of that import directly and smooth or is there something I should do before the import to insure it will work? Thanks |
#2
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Pro Tools to Cubase import?
On Sep 30, 5:58 pm, Danny T wrote:
I have to track some stuff at Sound Stage Studio in Nashville. They use protools to my understanding and I use Cubase 4. All I need is to do is import tracks but there will be the usual punches. Will all of that import directly and smooth or is there something I should do before the import to insure it will work? Thanks WHATS YOUR NAME |
#3
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Pro Tools to Cubase import?
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#4
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Pro Tools to Cubase import?
On Sep 30, 9:21*pm, " wrote:
On Sep 30, 5:58 pm, Danny T wrote: I have to track some stuff at Sound Stage Studio in Nashville. They use protools to my understanding and I use Cubase 4. All I need is to do is import tracks but there will be the usual punches. Will all of that import directly and smooth or is there something I should do before the import to insure it will work? Thanks WHATS * YOUR * NAME danny |
#5
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Pro Tools to Cubase import?
On Sep 30, 9:26*pm, Lucky wrote:
wrote: On Sep 30, 5:58 pm, Danny T wrote: I have to track some stuff at Sound Stage Studio in Nashville. They use protools to my understanding and I use Cubase 4. All I need is to do is import tracks but there will be the usual punches. Will all of that import directly and smooth or is there something I should do before the import to insure it will work? Thanks WHATS * YOUR * NAME Is it a Lynyrd Skynyrd song? Little girl - won't you do the same? |
#6
Posted to rec.audio.pro
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Pro Tools to Cubase import?
Danny T:
I have to track some stuff at Sound Stage Studio in Nashville. They use protools to my understanding and I use Cubase 4. All I need is to do is import tracks but there will be the usual punches. Will all of that import directly and smooth or is there something I should do before the import to insure it will work? There are several options to transfer the projects from PT to Cubase. Although, I donīt deal with this regularly, Iīve done it a few times in the past - in similar situations as you described above... 1) Export the PT project to "OMF". Either everything (a "basic" project file + all audio files) into one big OMF file, or (IMHO better) a separate small ..OMF project file + all individual audio files. The latter is basically the same as copying a Cubase project by simply burning the complete project folder (including the .cpr project file + individual audio files) to a CD or DVD. Donīt expect too much from OMF - all fx and their settings get lost. The main advantage of OMF is, that the original positions of punch-in events/clips are maintained. That means, you can easily copy everything to your computer and open the .OMF file in Cubase without the hassle of having to move events/clips of punch-in recordings to the correct positions. Been there, done that - simply unnecessarily time-consuming. Anyway, if that doesnīt work as intended, you still have the individual .WAV or .AIFF audio files for "manual" import into a Cubase project... Just choose the separate .OMF project file + individual audio files option on export. The .OMF project file itself will be very small (maybe some few hundred kB), so itīs definitely worth a try. It will not cause you any trouble with disc space. BTW: Cubase can import/export OMF version 2 files, which offer some more options than OMF1. 2) PT has a function to export information on ALL audio files used in a project to a plain-text .txt file, which is readable on any OS. This allows you to re-align punch-in events/clips to their correct positions. Of course, that needs to be done manually for every single file, so it takes time. But it can be a real life-saver, if everything else fails. ;-) Iīd suggest to use this in any way, just as a fallback security option! A small .txt file takes up even less space than a .OMF project file... 3) Another fallback option is to record to "Broadcast Wave" files. These files include SMPTE information of the starting time of a recording. Some DAW programs can read this timestamp when importing Broadcast Wave files and automatically place them according to the SMPTE timestamp. Cubase SX3 unfortunately seems to not offer this option directly when importing, but IIRC other DAW programs (Sonar or Samplitude) do. But at least, thereīs a work-around for that in Cubase: select an event/clip in the arrange window and go to Edit - Move - Move To Origin This also works for multiple files, so you can simply import all audio files, select them all and move each file to its original positions by one action. So, OMF is the most direct option for transferring the basic (but partly most relevant) information in a PT project file to Cubase. Still, I would use a combination of all 3 options described above to have maximum "security". As long, as there are no punches and all files have the same 0:00:00 starting time, itīs less problematic since you can simply import only the audio files and there you go. But as you wrote yourself, itīs pretty common to have "the usual punches" in a studio recording. Therefore, it makes good sense to use all the fallback options available. When I deal with tracks consisting of several "punched" clips, I usually do bounces of the raw final tracks. Makes life easier, as thereīs only one file per track required and I have a "backup" of the edited punches. As a side-effect, it takes some work off the computerīs HDD, since itīs not required to read (parts of) several files per playback track. Another good thing to do in advance, is to ask the studio staff which version of PT theyīre using. Then, download the according manual PDF from http://digidesign.com (user registration used to be required for this, but itīs free anyway) and look up, how the various export functions work. Print these few pages out and take them to the studio with you - just in case, the operator doesnīt know how itīs done. Of course, such folks should know that, but you never know - good preparation is better than noticing stupid problems afterwards. ;-) Hope, this helps! Phil |
#7
Posted to rec.audio.pro
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Pro Tools to Cubase import?
On Sep 30, 11:26*pm, "Phil W" wrote:
Danny T: I have to track some stuff at Sound Stage Studio in Nashville. They use protools to my understanding and I use Cubase 4. All I need is to do is import tracks but there will be the usual punches. Will all of that import directly and smooth or is there something I should do before the import to insure it will work? There are several options to transfer the projects from PT to Cubase. Although, I donīt deal with this regularly, Iīve done it a few times in the past - in similar situations as you described above... 1) Export the PT project to "OMF". Either everything (a "basic" project file + all audio files) into one big OMF file, or (IMHO better) a separate small .OMF project file + all individual audio files. The latter is basically the same as copying a Cubase project by simply burning the complete project folder (including the .cpr project file + individual audio files) to a CD or DVD. Donīt expect too much from OMF - all fx and their settings get lost. The main advantage of OMF is, that the original positions of punch-in events/clips are maintained. That means, you can easily copy everything to your computer and open the .OMF file in Cubase without the hassle of having to move events/clips of punch-in recordings to the correct positions. Been there, done that - simply unnecessarily time-consuming. Anyway, if that doesnīt work as intended, you still have the individual .WAV or .AIFF audio files for "manual" import into a Cubase project... Just choose the separate .OMF project file + individual audio files option on export. The .OMF project file itself will be very small (maybe some few hundred kB), so itīs definitely worth a try. It will not cause you any trouble with disc space. BTW: Cubase can import/export OMF version 2 files, which offer some more options than OMF1. 2) PT has a function to export information on ALL audio files used in a project to a plain-text .txt file, which is readable on any OS. This allows you to re-align punch-in events/clips to their correct positions. Of course, that needs to be done manually for every single file, so it takes time. But it can be a real life-saver, if everything else fails. ;-) Iīd suggest to use this in any way, just as a fallback security option! A small .txt file takes up even less space than a .OMF project file... 3) Another fallback option is to record to "Broadcast Wave" files. These files include SMPTE information of the starting time of a recording. Some DAW programs can read this timestamp when importing Broadcast Wave files and automatically place them according to the SMPTE timestamp. Cubase SX3 unfortunately seems to not offer this option directly when importing, but IIRC other DAW programs (Sonar or Samplitude) do. But at least, thereīs a work-around for that in Cubase: select an event/clip in the arrange window and go to Edit - Move - Move To Origin This also works for multiple files, so you can simply import all audio files, select them all and move each file to its original positions by one action. So, OMF is the most direct option for transferring the basic (but partly most relevant) information in a PT project file to Cubase. Still, I would use a combination of all 3 options described above to have maximum "security". As long, as there are no punches and all files have the same 0:00:00 starting time, itīs less problematic since you can simply import only the audio files and there you go. But as you wrote yourself, itīs pretty common to have "the usual punches" in a studio recording. Therefore, it makes good sense to use all the fallback options available. When I deal with tracks consisting of several "punched" clips, I usually do bounces of the raw final tracks. Makes life easier, as thereīs only one file per track required and I have a "backup" of the edited punches. As a side-effect, it takes some work off the computerīs HDD, since itīs not required to read (parts of) several files per playback track. Another good thing to do in advance, is to ask the studio staff which version of PT theyīre using. Then, download the according manual PDF fromhttp://digidesign.com(user registration used to be required for this, but itīs free anyway) and look up, how the various export functions work. Print these few pages out and take them to the studio with you - just in case, the operator doesnīt know how itīs done. Of course, such folks should know that, but you never know - good preparation is better than noticing stupid problems afterwards. ;-) Hope, this helps! Phil Thanks Phil, this does help and covers what I need to do. I didn't think about getting their version of PT - just assumed they would be the latest update but on second thought, its dumb to assume. |
#8
Posted to rec.audio.pro
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Pro Tools to Cubase import?
Danny T:
Thanks Phil, this does help and covers what I need to do. Fine! :-) I didn't think about getting their version of PT - just assumed they would be the latest update but on second thought, its dumb to assume. Well, I donīt know about the situation in Nashville nowadays, but regarding the costs of always updating to the latest version of a PT system... Studios are getting less clients, thus less income and less money to spend on new stuff... Just call them or drop them a short email message, to ask which particular software version of PT *they* are using. Costs nothing, but can save some nerves. ;-) My former band and I have learned this the hard way. We recorded at the local SAE school a few times. Always with folks who needed a band with one song for their "graduation". The advantage for us, that we didnīt have to pay for getting the possibility of recording in a good room with good equipment. The downside was, that these guys usually seemed to know less than we did (after a few years of home-/practice space-recording experience). We all had been in studio recording situations before, but only as musicians, not operators. They also had no real experience with this particular studio setup, due to the fact of too little "practice" in there. Anyway, we actually just wanted to do the recordings and get the raw files (recorded on PT) to mix them ourselves (in Cubase). More than once, that turned out to give us unnecessary work. They had managed to not start recording everything from 0:00:00, but a bit later. So, we had to move around the clips for bass and guitars, until it sounded right in time with the drums. It worked out somehow, but we were never really sure, if it really was, how we original played it (one after the other). Of course, these clueless folks just gave us the .WAVs and the PT project files. Great, we couldnīt afford a PT system to open these project files, so we had to work our way around it. Now, Iīve learned my lesson and have looked for better work-arounds. ;-) Itīs actually not even that complicated or time-consuming. You just need to think of it at the right time. The best option, also for archiving, is to have ALL files start at the same time. This makes it possible to open the files in any DAW program later. No problems with newer program versions, that canīt read project files from older predecessors or whatever; or to give someone else a copy to do a new mix... Have fun recording, Phil |
#9
Posted to rec.audio.pro
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Pro Tools to Cubase import?
Phil W wrote:
A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Boycott Digidesign wherever possible. geoff |
#10
Posted to rec.audio.pro
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Pro Tools to Cubase import?
geoff:
A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. But the other makers do the same... For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Just ridiculous, but there are obviously enough people stupid enough to pay for such converters, rather than looking for a freeware alternative on the web, that works just as well... Anyway, Steinberg and Cakewalk also want money, if you want to encode MP3 files within Cubase or Sonar. Itīs much less than Digidesign wants for the AAF add-on, but the principle is the same. Phil |
#11
Posted to rec.audio.pro
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Pro Tools to Cubase import?
On Oct 1, 10:03*pm, "Phil W" wrote:
geoff: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. But the other makers do the same... For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Just ridiculous, but there are obviously enough people stupid enough to pay for such converters, rather than looking for a freeware alternative on the web, that works just as well... Anyway, Steinberg and Cakewalk also want money, if you want to encode MP3 files within Cubase or Sonar. Itīs much less than Digidesign wants for the AAF add-on, but the principle is the same. Phil I use iTunes for MP3's. You just drag a file onto iTunes and it will do what you have set it to. |
#12
Posted to rec.audio.pro
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Pro Tools to Cubase import?
In article ,
"geoff" wrote: Phil W wrote: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Boycott Digidesign wherever possible. geoff What the heck is a "AAF file transfer"? Geez. Anyone with a clue can export from or import into Protools. Just bounce yours tracks all with the same start point. Drag them into any audio program you want. Done. Whoever brought up AAF probably meant OMF. David Correia www.Celebrationsound.com |
#13
Posted to rec.audio.pro,aus.hi-fi
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Pro Tools to Cubase import?
On Oct 2, 8:18*pm, Soundhaspriority wrote:
wrote in message On Oct 1, 10:03*pm, "Phil W" wrote: geoff: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. But the other makers do the same... For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Just ridiculous, but there are obviously enough people stupid enough to pay for such converters, rather than looking for a freeware alternative on the web, that works just as well... Anyway, Steinberg and Cakewalk also want money, if you want to encode MP3 files within Cubase or Sonar. Itīs much less than Digidesign wants for the AAF add-on, but the principle is the same. Phil I use iTunes for MP3's. You just drag a file onto iTunes and it will do what you have set it to. Itunes? *Quite a professional, you are. "I don't really have a career, it's a very gnawing thing" Robert Morein (310) 237-6511 (215) 646-4894 Robert Morein can be contacted at and his police flyer is athttp://robertmorein.blogspot.com/ Uhmmmm...... Yeah, MP3's are professional and those that are listening to them are really really picky about their audiophile - |
#14
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Pro Tools to Cubase import?
On Oct 2, 8:30*pm, david correia wrote:
In article , *"geoff" wrote: Phil W wrote: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. *For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Boycott Digidesign wherever possible. geoff What the heck is a "AAF file transfer"? Geez. Anyone with a clue can export from or import into Protools. Just bounce yours tracks all with the same start point. Drag them into any audio program you want. Done. Whoever brought up AAF probably meant OMF. David Correiawww.Celebrationsound.com No, they probably meant AIF which is a Mac audio file Bouncing tracks is easy. Making it so you can access virtual tracks under the top overdub is another thing all together. I brought up the question because I intend to track in one studio and do ALL mixing and editing in mine, in a studio far far away. If I have to do an output of each file it will take a lot longer then I want to spend there. I want to import and be done with it. If I can't do that, I will likely just track straight to my laptop in cubase via a little replugging of firewire and such. I'd rather take the extra 1000 bucks that would take me and spend it on bikini shots of Palin- Oh yeah she's a hottie. |
#16
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Pro Tools to Cubase import?
On Oct 2, 9:52*pm, Danny T wrote:
No, they probably meant AIF which is a Mac audio file Bouncing tracks is easy. Making it so you can access virtual tracks under the top overdub is another thing all together. I brought up the question because I intend to track in one studio and do ALL mixing and editing in mine, in a studio far far away. If I have to do an output of each file it will take a lot longer then I want to spend there. I want to import and be done with it. If I can't do that, I will likely just track straight to my laptop in cubase via a little replugging of firewire and such. 2 more suggestions: 1. (if the platforms are different) On the ProTools session check "enforce (Mac/PC) compatability" 2. make sure the files output from PT are broadcast wave .bwf, rather than plain wave or AIFF. Cubase _should_ recognize the time stamps. rd |
#17
Posted to rec.audio.pro
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Pro Tools to Cubase import?
On Oct 2, 9:57*pm, RD Jones wrote:
On Oct 2, 9:52*pm, Danny T wrote: No, they probably meant AIF which is a Mac audio file Bouncing tracks is easy. Making it so you can access virtual tracks under the top overdub is another thing all together. I brought up the question because I intend to track in one studio and do ALL mixing and editing in mine, in a studio far far away. If I have to do an output of each file it will take a lot longer then I want to spend there. I want to import and be done with it. If I can't do that, I will likely just track straight to my laptop in cubase via a little replugging of firewire and such. 2 more suggestions: 1. (if the platforms are different) On the ProTools session check "enforce (Mac/PC) compatability" 2. make sure the files output from PT are broadcast wave .bwf, rather than plain wave or AIFF. Cubase _should_ recognize the time stamps. rd Very good to know. Thanks |
#18
Posted to rec.audio.pro
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Pro Tools to Cubase import?
david correia wrote:
In article , "geoff" wrote: Phil W wrote: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Boycott Digidesign wherever possible. geoff What the heck is a "AAF file transfer"? Geez. Anyone with a clue can export from or import into Protools. Just bounce yours tracks all with the same start point. Drag them into any audio program you want. Done. Whoever brought up AAF probably meant OMF. No. Google AAF. 'Everybody' in the 'free world' uses it. No need to **** around bouncing track, just export as AAF and they all transfer with level pan and time-aligned as you'd expect.. http://en.wikipedia.org/wiki/Advanced_Authoring_Format geoff geoff |
#19
Posted to rec.audio.pro
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Pro Tools to Cubase import?
On Oct 2, 11:07*pm, "geoff" wrote:
david correia wrote: In article , "geoff" wrote: Phil W wrote: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. *For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Boycott Digidesign wherever possible. geoff What the heck is a "AAF file transfer"? Geez. Anyone with a clue can export from or import into Protools. Just bounce yours tracks all with the same start point. Drag them into any audio program you want. Done. Whoever brought up AAF probably meant OMF. No. Google AAF. *'Everybody' in the 'free world' *uses it. No need to **** around bouncing track, just export as AAF and they all transfer with level pan and time-aligned as you'd expect.. http://en.wikipedia.org/wiki/Advanced_Authoring_Format geoff geoff but that is only digi design files to PT files so it would not make since in this discussion. AIF is the standard format for anything mac and in fact a wav file is nothing more then that with a tag. |
#20
Posted to rec.audio.pro
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Pro Tools to Cubase import?
In article
, Danny T wrote: On Oct 2, 8:30*pm, david correia wrote: In article , *"geoff" wrote: Phil W wrote: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. *For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Boycott Digidesign wherever possible. geoff What the heck is a "AAF file transfer"? Geez. Anyone with a clue can export from or import into Protools. Just bounce yours tracks all with the same start point. Drag them into any audio program you want. Done. Whoever brought up AAF probably meant OMF. David Correiawww.Celebrationsound.com No, they probably meant AIF which is a Mac audio file No, geoff meant AAF. I had never heard of it before. I've only dealt briefly with OMF. Had a client with a big name artist who worked in Digital Performer. MOTU's OMF compatibility was close but not perfect. I think Digi likes it that way. Years ago I got the Digidesign DigiTranslator software as part of a TDM system, and happily sold the software for a nice sum. Think the software may have cost more than $495 a while back. David Correia www.Celebrationsound.com |
#21
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Pro Tools to Cubase import?
In article ,
(hank alrich) wrote: Buzard's Asshole wrote: wrote in message On Oct 1, 10:03 pm, "Phil W" wrote: geoff: A cute trick of Digidesign is to make it as difficult as possible to migrate work to/from other systems. But the other makers do the same... For example AAF file transfer requires a $495 add-on program to achieve, where it is native in most other DAWs (which cost less than the 'translator' !). Just ridiculous, but there are obviously enough people stupid enough to pay for such converters, rather than looking for a freeware alternative on the web, that works just as well... Anyway, Steinberg and Cakewalk also want money, if you want to encode MP3 files within Cubase or Sonar. Itīs much less than Digidesign wants for the AAF add-on, but the principle is the same. Phil I use iTunes for MP3's. You just drag a file onto iTunes and it will do what you have set it to. Itunes? Quite a professional, you are. Overlooking the source of this missive, I note that some heavy hitters who participate in DAW-Mac also use iTunes for efficient MP3 encoding, and it ain't like they don't have other options. Of course, they're not jacking off in some Australian Baskin-Robbins thinking they're making pro ice cream. -- ha shut up and play your guitar I agree with the hippy ; Fews years back I needed an mp3 converter for an important project that need low bit rates (the RISD Museum). After spending a day banging away on everything I could find in the Mac world, as a lark, I tried iTunes on my son's Mac. I'd bought him an ipod a few months after they hit the street cuz his mother and I were always buying batteries for his Discman. For these low bit rates, and to my surprise, iTunes sounded the best. I still use iTunes when I need a mp3 for something. Which lucky-for-me ain't often. David Correia www.Celebrationsound.com |
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