on 10/3/03 18:15, Malcolm Rockwell at [log in to unmask] wrote:

> I don't think there is waway to do it internally, as you've discovered. I'd
> use two computers with a digital line between them. Since you're using a flat
> copy of the original material, one computer only needs to play.

We've been doing this for years using Sonic Solutions. There are other
platforms that can do this, namely SADiE. I'm sure there are other products
that can do this.

In mastering (and audio restoration) your choices are:

1. Process during loadin (you'll need to hit a "home run" this way - i.e.
you have no second chances other than a re-load).

2. Process after loadin (with an external processing loop, capturing the
result). This is easier to experiment with, and to match with previous

3. Process on loadout (e.g. via dump to CDR). This requires automation, and
does not provide a hardcopy of the processed material. It is also dependent
on having the same hardware at some time in the future if you want to
re-create the processed data for your dump.

With very difficult analog material, we will sometimes process during
loadin. This is because playback methods often interact with processing
steps so it's important to hear everything in context. In other words, by
the time you select the proper eq, stylus, speed, azimuth (via a transfer
function showing frequency and phase) you're pretty much there anyway. So
you print it based on that.

But normally, we process digitally after loadin (processing during playback
and record simultaneously via CEDAR, NoNOISE, Weiss or whatever). We make
detailed notes in case any changes need to be made later. Since we make data
backups of the original transfer (as well as the processed result), our
notes provide a solid audit trail for any possible future changes (even if
our hardware changes).

Processing after loadin can easily be done with an analog loop as well. You
simply make the record channels the clock master for your system and let the
playback channels output your digital-to-analog processing loop. If you use
word clock to lock up your system it becomes even simpler.

Perhaps an external loop can be done with Wavelab using Lynx cards, I'm not
sure. I do know that Sound Forge lacks a mono button, which is an essential
feature for mastering and audio restoration. You can't hear phasing problems
without this feature, and for this reason alone I wouldn't use Sound Forge.

Later. Parker

Parker Dinkins
MasterDigital Corporation
CD Mastering + Audio Restoration