[Keith Runfola]

Is there a way to dump 6 tracks (2 at a time) from an ADAT XT to an
audio program (Cubase,Sonar,etc.) via an M-Audio 410 and keep the
tracks aligned?
I'm guessing the answer is no but thought I'd ask.
Thanks,


Keith Runfola
www.JazzDrummer.com
www.GreenOakArts.com

[Scott Dorsey]

Keith Runfola wrote:
Is there a way to dump 6 tracks (2 at a time) from an ADAT XT to an
audio program (Cubase,Sonar,etc.) via an M-Audio 410 and keep the
tracks aligned?
I'm guessing the answer is no but thought I'd ask.

Because both are crystal-controlled, if you were to put a synch tone on
all tracks of the ADAT, you could transfer two tracks at a time, line them
all up in the DAW so that the synch tones matched, and they would not drift
appreciably.

However, to do this, you'd be going through the (kind of awful) D/A
converters in the ADAT, and the (still not so wonderful) A/D converters
in the 410.

Better to find someone with a DAW that has a Lightpipe interface and do
the transfer digitally.
--scott

--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Keith Runfola]

On 19 May 2008 15:30:34 -0400, (Scott Dorsey) wrote:

Keith Runfola wrote:
Is there a way to dump 6 tracks (2 at a time) from an ADAT XT to an
audio program (Cubase,Sonar,etc.) via an M-Audio 410 and keep the
tracks aligned?
I'm guessing the answer is no but thought I'd ask.

Because both are crystal-controlled, if you were to put a synch tone on
all tracks of the ADAT, you could transfer two tracks at a time, line them
all up in the DAW so that the synch tones matched, and they would not drift
appreciably.

However, to do this, you'd be going through the (kind of awful) D/A
converters in the ADAT, and the (still not so wonderful) A/D converters
in the 410.

Better to find someone with a DAW that has a Lightpipe interface and do
the transfer digitally.
--scott

That's what I suspected. Didn't know about the sync tone though.
Thanks for the info.


Keith Runfola
www.JazzDrummer.com
www.GreenOakArts.com

[Philipp Wachtel[_3_]]

Keith Runfola:

Is there a way to dump 6 tracks (2 at a time) from an ADAT XT to an
audio program (Cubase,Sonar,etc.) via an M-Audio 410 and keep the
tracks aligned?
I'm guessing the answer is no but thought I'd ask.

Better look for an ADAT interface for your computer or find someone who has
one... depending on how often you´d need it.

Phil

[Mike Rivers]

Keith Runfola wrote:
Is there a way to dump 6 tracks (2 at a time) from an ADAT XT to an
audio program (Cubase,Sonar,etc.) via an M-Audio 410 and keep the
tracks aligned?

Sure, but how successful it will be will depend on how accurately the
tracks need to be aligned. You won't get sample accurate sync unless
just by luck.

I assume you're talking about the M-Audio FireWire 410. That doesn't
have a digital input that matches the digital outputs of the ADAT, so
you'll have to make an analog-to-analog connection. You can transfer the
tracks two at a time and do it in three passes if the combination of
your DAW software and the M-Audio drivers will allow you to assign its
two channels to two mono tracks (left to one track, right to another
track) or you may need to do it one track at a time in six passes.

There are a couple of gizmos that will give you MIDI time code from the
ADAT's time code, and you could use that to sync your DAW, but that's
probably too much trouble.

Assuming that the ADAT still works, record an alignment click on all of
the ADAT tracks simultaneously (it needn't be at the beginning if you
don't have room, it can be at the end of the song or program). The ADAT
allows you to assign one input to all of the tracks, so you don't need
any tricky patches. Just hook a mic up to a preamp or mixer, send that
to the ADAT tracks, put all the tracks into Record (at a blank spot in
the tape, of course) and tap the mic with a pencil. When you have all
the tracks transferred, just slide them around so that the peaks of that
click line up. Blow it up so that it's as close as you can get it and
that will be musically accurate. If you have stereo tracks (those will
be phase-accurate) you should record those together in one pass even if
it means using a stereo track in the DAW.


--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[Romeo Rondeau[_4_]]

Scott Dorsey wrote:
Keith Runfola wrote:
Is there a way to dump 6 tracks (2 at a time) from an ADAT XT to an
audio program (Cubase,Sonar,etc.) via an M-Audio 410 and keep the
tracks aligned?
I'm guessing the answer is no but thought I'd ask.

Because both are crystal-controlled, if you were to put a synch tone on
all tracks of the ADAT, you could transfer two tracks at a time, line them
all up in the DAW so that the synch tones matched, and they would not drift
appreciably.

However, to do this, you'd be going through the (kind of awful) D/A
converters in the ADAT, and the (still not so wonderful) A/D converters
in the 410.

Better to find someone with a DAW that has a Lightpipe interface and do
the transfer digitally.
--scott

Better yet, find someone with an ADAT sync port on their interface and
have it be sample accurate to boot.

[Scott Dorsey]

Keith Runfola wrote:

That's what I suspected. Didn't know about the sync tone though.

Without the synch tone, you can't start them all up at the same place.
But if they start in the same place, they'll stay there. Which is not
the case with analogue tape.
--scott
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Arny Krueger]

"Keith Runfola" wrote in message
news
Is there a way to dump 6 tracks (2 at a time) from an
ADAT XT to an audio program (Cubase,Sonar,etc.) via an
M-Audio 410 and keep the tracks aligned?
I'm guessing the answer is no but thought I'd ask.

While people talk about synch tones, IME synch impulses are even easier to
use to line tracks up after the transfer.

By synch pulse I mean something you assemble with DAW software that can edit
down at the sample level, Just take one sample in the middle of a fraction
of a second of silence and raise it half or 3/4 of the way to FS.

Its easier if you can put the synch pulses in front of the music, but if you
have to put them after the music they can still be useful.

How long is the transfer going to be?

[Arny Krueger]

"Mike Rivers" wrote in message
news:P1mYj.15546$4K5.14785@trnddc03
Keith Runfola wrote:
Is there a way to dump 6 tracks (2 at a time) from an
ADAT XT to an audio program (Cubase,Sonar,etc.) via an
M-Audio 410 and keep the tracks aligned?

Sure, but how successful it will be will depend on how
accurately the tracks need to be aligned. You won't get
sample accurate sync unless just by luck.

If you edit after the fact, IME accuracy within one-half sample is a slam
dunk. Especially true if you use an impulse as your synch point.

If you want better than one sample accuracy, just upsample to the highest
frequency that works well with your DAW software and is still practical.
You can edit within 1/2 sample at that frequency and then downsample. This
is especially powerful with software like Audition that will handle sample
rates up to about 10 MHz.

[Keith Runfola]

On Tue, 20 May 2008 09:22:51 -0400, "Arny Krueger"
wrote:

"Keith Runfola" wrote in message
news
Is there a way to dump 6 tracks (2 at a time) from an
ADAT XT to an audio program (Cubase,Sonar,etc.) via an
M-Audio 410 and keep the tracks aligned?
I'm guessing the answer is no but thought I'd ask.

While people talk about synch tones, IME synch impulses are even easier to
use to line tracks up after the transfer.

By synch pulse I mean something you assemble with DAW software that can edit
down at the sample level, Just take one sample in the middle of a fraction
of a second of silence and raise it half or 3/4 of the way to FS.

Its easier if you can put the synch pulses in front of the music, but if you
have to put them after the music they can still be useful.

How long is the transfer going to be?



About 90 minutes of music with no one tune being more than about 8
minutes.I must admit that I don't understand what you are saying about
IME sync pulses.
I transfer all tracks 2 at a time to my DAW (it will probably be
Sonar) and then...
I assume you are not talking about simply lining up the waveforms of
sounds though in this case we had open mics with lots of bleed between
instruments which would make that easier I guess.


Keith Runfola
www.JazzDrummer.com
www.GreenOakArts.com

[Arny Krueger]

"Keith Runfola" wrote in message
news
On Tue, 20 May 2008 09:22:51 -0400, "Arny Krueger"
wrote:

"Keith Runfola" wrote in
message news
Is there a way to dump 6 tracks (2 at a time) from an
ADAT XT to an audio program (Cubase,Sonar,etc.) via an
M-Audio 410 and keep the tracks aligned?
I'm guessing the answer is no but thought I'd ask.

While people talk about synch tones, IME synch impulses
are even easier to use to line tracks up after the
transfer.

By synch pulse I mean something you assemble with DAW
software that can edit down at the sample level, Just
take one sample in the middle of a fraction of a second
of silence and raise it half or 3/4 of the way to FS.

Its easier if you can put the synch pulses in front of
the music, but if you have to put them after the music
they can still be useful.

How long is the transfer going to be?

About 90 minutes of music with no one tune being more
than about 8 minutes.

OK. Logically, you'd use the same interface to do all of the transfers. If
you keep its operating temperature fairly stable, its drift should be low
enough to preserve pretty good synch over 90 minutes.

I must admit that I don't understand
what you are saying about IME sync pulses.

You make up some clips with synch pulses and add them at the begging or end
of the recordings you want to transfer.


I transfer all tracks 2 at a time to my DAW (it will
probably be Sonar) and then...

You line them up by eyeball.

I assume you are not talking about simply lining up the
waveforms of sounds though in this case we had open mics
with lots of bleed between instruments which would make
that easier I guess.

If you had thought about the need for this before you made the recordings,
you might have used something like a clicker to mark all the tracks as you
made them. Sort of like what they do in the movies, make a clicking or
clapping sound that makes the tracks easy to line up down the road.

[Keith Runfola]

On Tue, 20 May 2008 14:52:12 -0400, "Arny Krueger"
wrote:

"Keith Runfola" wrote in message
news
On Tue, 20 May 2008 09:22:51 -0400, "Arny Krueger"
wrote:

"Keith Runfola" wrote in
message news
Is there a way to dump 6 tracks (2 at a time) from an
ADAT XT to an audio program (Cubase,Sonar,etc.) via an
M-Audio 410 and keep the tracks aligned?
I'm guessing the answer is no but thought I'd ask.

While people talk about synch tones, IME synch impulses
are even easier to use to line tracks up after the
transfer.

By synch pulse I mean something you assemble with DAW
software that can edit down at the sample level, Just
take one sample in the middle of a fraction of a second
of silence and raise it half or 3/4 of the way to FS.

Its easier if you can put the synch pulses in front of
the music, but if you have to put them after the music
they can still be useful.

How long is the transfer going to be?

About 90 minutes of music with no one tune being more
than about 8 minutes.

OK. Logically, you'd use the same interface to do all of the transfers. If
you keep its operating temperature fairly stable, its drift should be low
enough to preserve pretty good synch over 90 minutes.

I must admit that I don't understand
what you are saying about IME sync pulses.

You make up some clips with synch pulses and add them at the begging or end
of the recordings you want to transfer.


I transfer all tracks 2 at a time to my DAW (it will
probably be Sonar) and then...

You line them up by eyeball.

I assume you are not talking about simply lining up the
waveforms of sounds though in this case we had open mics
with lots of bleed between instruments which would make
that easier I guess.

If you had thought about the need for this before you made the recordings,
you might have used something like a clicker to mark all the tracks as you
made them. Sort of like what they do in the movies, make a clicking or
clapping sound that makes the tracks easy to line up down the road.



Thanks for your info. I did think of that but I didn't know that
lining up tracks like that could be accurate. I guess it's an attitude
left over from my analog days.
Also, this was a session in which I was just the drummer but got
pressed into engineering which I kind of gave up a long time ago and
was never much more than a hack in any case. I decided afterwards that
I wouldn't mind having a crack at messing around with a mix on my DAW.
The client will no doubt have it done professionally also if he knows
what's good for him.
Thanks again.


Keith Runfola
www.JazzDrummer.com
www.GreenOakArts.com

[Mike Rivers]

Keith Runfola wrote:

I assume you are not talking about simply lining up the waveforms of
sounds though in this case we had open mics with lots of bleed between
instruments which would make that easier I guess.

Trying to line up waveforms is pretty difficult, particularly when
there's leakage involved. The "sync pulse" that Arny was talking about
is the same thing I mentioned in my reply to your original message. Put
a "click" on all of the tracks simultaneously. It'll be much easier to
line up that single click than an instrument waveform.

--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[Arny Krueger]

"Mike Rivers" wrote in message
news:_YGYj.11107$IK5.857@trnddc04
Keith Runfola wrote:

I assume you are not talking about simply lining up the
waveforms of sounds though in this case we had open mics
with lots of bleed between instruments which would make
that easier I guess.

Trying to line up waveforms is pretty difficult,
particularly when there's leakage involved.

Actually, leakage from a common source can make the job easier, since it has
a common source.

If say the drummer hits his sticks against each other to count down the
beat, and that bleeds across all the mics, life can be pretty good when you
are trying to synch up the tracks. If you want to be fancy, you can
estimate the delay in milliseconds for each track, and align them
accordingly.

The "sync
pulse" that Arny was talking about is the same thing I
mentioned in my reply to your original message.

Yes, a pencil tap can work. I've done it with hand clops, finger snaps,
someone dropped a mic...

Put a "click" on all of the tracks simultaneously. It'll be
much easier to line up that single click than an
instrument waveform.

Yes, although cross-track bleed of any number of different percussion
instruments can work well, too.

Even residual hum can work to home in on once you get close, or HVAC noise.

[Romeo Rondeau[_4_]]

Arny Krueger wrote:
"Mike Rivers" wrote in message
news:_YGYj.11107$IK5.857@trnddc04
Keith Runfola wrote:

I assume you are not talking about simply lining up the
waveforms of sounds though in this case we had open mics
with lots of bleed between instruments which would make
that easier I guess.
Trying to line up waveforms is pretty difficult,
particularly when there's leakage involved.

Actually, leakage from a common source can make the job easier, since it has
a common source.

If say the drummer hits his sticks against each other to count down the
beat, and that bleeds across all the mics, life can be pretty good when you
are trying to synch up the tracks. If you want to be fancy, you can
estimate the delay in milliseconds for each track, and align them
accordingly.

The "sync
pulse" that Arny was talking about is the same thing I
mentioned in my reply to your original message.

Yes, a pencil tap can work. I've done it with hand clops, finger snaps,
someone dropped a mic...

Put a "click" on all of the tracks simultaneously. It'll be
much easier to line up that single click than an
instrument waveform.

Yes, although cross-track bleed of any number of different percussion
instruments can work well, too.

Even residual hum can work to home in on once you get close, or HVAC noise.



How do you line up with crossbleed?

[Mike Rivers]

Arny Krueger wrote:

Actually, leakage from a common source can make the job easier, since it has
a common source.

But it doesn't often have a square edge.

If say the drummer hits his sticks against each other to count down the
beat, and that bleeds across all the mics, life can be pretty good

And if there's no drummer?

On an ADAT, it's simple to put a click on all the tracks before you
start the transfer.


--
I'm really Mike Rivers ) but you can't send anything
larger than 30K to that account, do don't try.

[Arny Krueger]

"Romeo Rondeau" wrote in message

Arny Krueger wrote:
"Mike Rivers" wrote in message
news:_YGYj.11107$IK5.857@trnddc04
Keith Runfola wrote:

I assume you are not talking about simply lining up the
waveforms of sounds though in this case we had open
mics with lots of bleed between instruments which
would make that easier I guess.
Trying to line up waveforms is pretty difficult,
particularly when there's leakage involved.

Actually, leakage from a common source can make the job
easier, since it has a common source.

If say the drummer hits his sticks against each other to
count down the beat, and that bleeds across all the
mics, life can be pretty good when you are trying to
synch up the tracks. If you want to be fancy, you can
estimate the delay in milliseconds for each track, and
align them accordingly.
The "sync
pulse" that Arny was talking about is the same thing I
mentioned in my reply to your original message.

Yes, a pencil tap can work. I've done it with hand
clops, finger snaps, someone dropped a mic...

Put a "click" on all of the tracks simultaneously.
It'll be much easier to line up that single click than
an instrument waveform.

Yes, although cross-track bleed of any number of
different percussion instruments can work well, too.

Even residual hum can work to home in on once you get
close, or HVAC noise.

How do you line up with crossbleed?


Align waveforms first by ear, then visually, increasing time magnification
until the desired degree alignment is achieved. Add offset based on DAW
screen time scale as required.

My tool of choice is Cool Edit 2.1 in multitrack mode.

[Arny Krueger]

"Mike Rivers" wrote in message
news:cUKYj.11147$IK5.2777@trnddc04
Arny Krueger wrote:

Actually, leakage from a common source can make the job
easier, since it has a common source.

But it doesn't often have a square edge.

If say the drummer hits his sticks against each other to
count down the beat, and that bleeds across all the
mics, life can be pretty good

And if there's no drummer?

On an ADAT, it's simple to put a click on all the tracks
before you start the transfer.

I've never used a DAT, so I wonder how you would put a click on all tracks
after the tracking was done.

[Scott Dorsey]

In article ,
Arny Krueger wrote:
"Mike Rivers" wrote in message
news:cUKYj.11147$IK5.2777@trnddc04
Arny Krueger wrote:

Actually, leakage from a common source can make the job
easier, since it has a common source.

But it doesn't often have a square edge.

If say the drummer hits his sticks against each other to
count down the beat, and that bleeds across all the
mics, life can be pretty good

And if there's no drummer?

On an ADAT, it's simple to put a click on all the tracks
before you start the transfer.

I've never used a DAT, so I wonder how you would put a click on all tracks
after the tracking was done.

Same way you would on an analogue machine... by punching it in.
--scott

Okay, well, with an analogue machine I might do it with a magnetized
screwdriver instead....
--
"C'est un Nagra. C'est suisse, et tres, tres precis."

[Romeo Rondeau[_4_]]

Arny Krueger wrote:
"Romeo Rondeau" wrote in message

Arny Krueger wrote:
"Mike Rivers" wrote in message
news:_YGYj.11107$IK5.857@trnddc04
Keith Runfola wrote:

I assume you are not talking about simply lining up the
waveforms of sounds though in this case we had open
mics with lots of bleed between instruments which
would make that easier I guess.
Trying to line up waveforms is pretty difficult,
particularly when there's leakage involved.
Actually, leakage from a common source can make the job
easier, since it has a common source.

If say the drummer hits his sticks against each other to
count down the beat, and that bleeds across all the
mics, life can be pretty good when you are trying to
synch up the tracks. If you want to be fancy, you can
estimate the delay in milliseconds for each track, and
align them accordingly.
The "sync
pulse" that Arny was talking about is the same thing I
mentioned in my reply to your original message.
Yes, a pencil tap can work. I've done it with hand
clops, finger snaps, someone dropped a mic...

Put a "click" on all of the tracks simultaneously.
It'll be much easier to line up that single click than
an instrument waveform.
Yes, although cross-track bleed of any number of
different percussion instruments can work well, too.

Even residual hum can work to home in on once you get
close, or HVAC noise.
How do you line up with crossbleed?


Align waveforms first by ear, then visually, increasing time magnification
until the desired degree alignment is achieved. Add offset based on DAW
screen time scale as required.

My tool of choice is Cool Edit 2.1 in multitrack mode.

I think we can all figure that out, but how do you know about the timing
relationship between tracks? Your method will line up the crossbleed in
an incorrect relationship with each track. A percussion spike from one
track isn't not gonna hit the next track's microphone at the same time
as it does from the microphone that's closer to it. Your bleed from the
drums to the vocalist could be 10ms or more, or maybe 8ms... or maybe
12ms, unless you know exactly how far they were away, you'll get it
wrong. Not to mention what you will do to the imaging on a multimiked
drumkit providing of course that you can keep the tracks in reasonable
sync in the first place (doubtful on a long piece), only a wordclock
type connection will do that.

[Romeo Rondeau[_4_]]

Same way you would on an analogue machine... by punching it in.
--scott

Okay, well, with an analogue machine I might do it with a magnetized
screwdriver instead....

Show-off! :-)

[Keith Runfola]

On Tue, 20 May 2008 20:59:38 GMT, Mike Rivers
wrote:

Keith Runfola wrote:

I assume you are not talking about simply lining up the waveforms of
sounds though in this case we had open mics with lots of bleed between
instruments which would make that easier I guess.

Trying to line up waveforms is pretty difficult, particularly when
there's leakage involved. The "sync pulse" that Arny was talking about
is the same thing I mentioned in my reply to your original message. Put
a "click" on all of the tracks simultaneously. It'll be much easier to
line up that single click than an instrument waveform.


Thanks Mike. Your approach makes sense to me.
If I do this I will try putting a click at the beginning of the tape.
OTOH, there very well may be some nice "spikes" (ambient,
pre-count-off noises) on the tape that might help me line things up.
I'm assuming that a count-off would be a bit to "mushy" (not a good
waveform) to do this.
Just to complicate things a little, the bass was direct, the piano was
mic'd and the drums were mic'd. So everything bleeds into everything
else except nothing bleeds into the bass mic because there was no bass
mic.
We were all within about 10 feet of each other so I guess the (slow)
speed of sound will not have too much effect (I can't do the math). I
didn't hear obvious phasing on the brief playbacks that we did.
Anyway, this is all just fun and interesting to me and with all the
different time variants I just might get a better groove than what we
actually played.

Thanks again to all.


Keith Runfola
www.JazzDrummer.com
www.GreenOakArts.com

[Arny Krueger]

"Romeo Rondeau" wrote in message

Arny Krueger wrote:
"Romeo Rondeau" wrote in message

Arny Krueger wrote:
"Mike Rivers" wrote in message
news:_YGYj.11107$IK5.857@trnddc04
Keith Runfola wrote:

I assume you are not talking about simply lining up
the waveforms of sounds though in this case we had
open mics with lots of bleed between instruments
which would make that easier I guess.
Trying to line up waveforms is pretty difficult,
particularly when there's leakage involved.
Actually, leakage from a common source can make the job
easier, since it has a common source.

If say the drummer hits his sticks against each other
to count down the beat, and that bleeds across all the
mics, life can be pretty good when you are trying to
synch up the tracks. If you want to be fancy, you can
estimate the delay in milliseconds for each track, and
align them accordingly.
The "sync
pulse" that Arny was talking about is the same thing I
mentioned in my reply to your original message.
Yes, a pencil tap can work. I've done it with hand
clops, finger snaps, someone dropped a mic...

Put a "click" on all of the tracks simultaneously.
It'll be much easier to line up that single click than
an instrument waveform.
Yes, although cross-track bleed of any number of
different percussion instruments can work well, too.

Even residual hum can work to home in on once you get
close, or HVAC noise.
How do you line up with crossbleed?


Align waveforms first by ear, then visually, increasing
time magnification until the desired degree alignment
is achieved. Add offset based on DAW screen time scale
as required.

My tool of choice is Cool Edit 2.1 in multitrack mode.

I think we can all figure that out, but how do you know
about the timing relationship between tracks? Your method
will line up the crossbleed in an incorrect relationship
with each track.


A percussion spike from one track isn't
not gonna hit the next track's microphone at the same
time as it does from the microphone that's closer to it.

That's what I meant by " Add offset based on DAW screen time scale as
required."

If you want to time synch at that level of precision, you have to know
something about the physical layout of the players when the recording was
made.

[Arny Krueger]

"Arny Krueger" wrote in message

"Mike Rivers" wrote in message
news:cUKYj.11147$IK5.2777@trnddc04
Arny Krueger wrote:

Actually, leakage from a common source can make the job
easier, since it has a common source.

But it doesn't often have a square edge.

If say the drummer hits his sticks against each other to
count down the beat, and that bleeds across all the
mics, life can be pretty good

And if there's no drummer?

On an ADAT, it's simple to put a click on all the tracks
before you start the transfer.

I've never used a DAT, so I wonder how you would put a
click on all tracks after the tracking was done.

That's what I figured - thanks for confirming.

[Romeo Rondeau[_4_]]

A percussion spike from one track isn't
not gonna hit the next track's microphone at the same
time as it does from the microphone that's closer to it.

That's what I meant by " Add offset based on DAW screen time scale as
required."

Ahh! Makes sense now...



If you want to time synch at that level of precision, you have to know
something about the physical layout of the players when the recording was
made.

I'd much rather use the timing spike at the top of the song method.
Takes a lot of the guesswork out. Course, I haven't done it in ages
since I got my Hammerfall.

[Mike Rivers]

Romeo Rondeau wrote:

how do you know about the timing
relationship between tracks? Your method will line up the crossbleed in
an incorrect relationship with each track. A percussion spike from one
track isn't not gonna hit the next track's microphone at the same time
as it does from the microphone that's closer to it.

Sometimes it's beneficial to make two mics that are picking up a source
line up. This is sometimes done to bring the snare into focus when you
have it at a pretty good level in most of the drum set mics. But it's
not something that you want to do in general as a starting point.

By recording a pulse to the line input of all channels simultaneously,
you have a reference to let you get the tracks into the DAW in the same
time relationship (for better or worse) as they are on the ADAT
recorder. Then you can futz with time alignment of a specific instrument
if that makes the mix work better.



--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[Mike Rivers]

Arny Krueger wrote:

I've never used a DAT, so I wonder how you would put a click on all tracks
after the tracking was done.

Assuming there's a couple of seconds of blank tape somewhere, you put
all the tracks into Record and record a click. I assume (since it's the
thread topic and there are more than two tracks) that this is an Alesis
ADAT, that he actually has the machine on which to play the tape, and
that it still works well enough to record on all tracks.

The ADAT has internal routing options that allow, among other things, to
send the Track 1 input to all odd tracks and Track 2 input to all even
tracks, so all it takes is to connect something that makes a click at
line level to Inputs 1 and 2 (a Y cable will work fine), set the input
routing to the "2 Input" mode, record-enable all tracks, put it into
record, and click. The click can be at the end of the song. It doesn't
have to be at the beginning.

--
If you e-mail me and it bounces, use your secret decoder ring and reach
me he
double-m-eleven-double-zero at yahoo -- I'm really Mike Rivers
)

[Arny Krueger]

"Mike Rivers" wrote in message
news:V9WYj.1344$ah.1224@trnddc06
Arny Krueger wrote:

I've never used a DAT, so I wonder how you would put a
click on all tracks after the tracking was done.

Assuming there's a couple of seconds of blank tape
somewhere, you put all the tracks into Record and record
a click. I assume (since it's the thread topic and there
are more than two tracks) that this is an Alesis ADAT,
that he actually has the machine on which to play the
tape, and that it still works well enough to record on
all tracks.
The ADAT has internal routing options that allow, among
other things, to send the Track 1 input to all odd tracks
and Track 2 input to all even tracks, so all it takes is
to connect something that makes a click at line level to
Inputs 1 and 2 (a Y cable will work fine), set the input
routing to the "2 Input" mode, record-enable all tracks,
put it into record, and click. The click can be at the
end of the song. It doesn't have to be at the beginning.

Interesting. It is possible that some day I'll have to transribe a DAT tape,
and this will be useful to know.

Thanks.