Adobe 3.0

[Emmett1057]

Doesn't Nuendo cost around $4,500 - with no hardware? At that price, it won't threaten Digidesign - the Nuendo users will probably still run it on Digi HD hardware.

Eh, it's about $2000 with no hardware. I've never messed with Nuendo for more than a few minutes, so I don't know what the big appeal is. But I know several big name producers (music industry) have switched. One guy claims "it just sounds better..." I don't really buy that, but there must be some big appeal to it. I don't really think it will hurt Digidesign financially, so much as their reputation. They've always held that coveted spot in the major studios, but many are beginning to switch. You know how these things are...Somebody sees a few big names switch and suddenly everybody has to have it. Just like the Sennheiser 416! ;D

I think a part of the problem may be what protools mixer does to the audio when it clips versus how the bounce handles clips. Very easy to jack up levels in ProTools - you won't see it in on LE hardware as much as the HD hardware - which has LED meters that go into the 'red' very easily. That, plus ProTools 12db fader gain has most producers I know clipping almost all the time - yielding waveforms that look like bricks. The summing problem you're talking about may be an artifact of this abuse.

That's entirely possible. Most software today uses floating point technology, so there's no such thing as a digital clip. In Audition, you can build a mix that exceeds full scale by something like 1,500dB...Mixdown and (as long as you stay in 32-bit float) never actually clip it. Just simply limit or normalize it back down to 0dBFS before converting to 16-bit. AFAIK, Pro Tools still uses fixed-point audio throughout, so anyone used to work with floating point might severely damage some recordings by clipping in PT.

Emmett

 

[Matt Damrow]

I say this respectfully from one prod guy to another, but...
... Ya'all know WAY too much about Production (and comps).

I always learn from this board.

Matt