ProAudio Review - May 2008 - (Page 37) generally impressive—all of the session exports created with Pro-Convert were successfully opened on the target platforms and all incoming sessions were opened on my local programs after using Pro-Convert. That said, even with such a comprehensive “gobetween” a few of the projects suffered from perplexing interchange quirks similar to those that can occur with good old OMF transfers. For instance, a simple four-track Samplitude project with the same two-bar audio file placed on each track (but stair-step staggered so it plays for a total of eight bars) loaded into both Nuendo and Pro Tools missing the first two-bar clip. This project was created to test the handling of fades, region gain, and level and pan automation, all of which translated just fine. Using the project strip and explorer in Pro-Convert, I was able to confirm the error: the clip on the first track was listed as having zero length. This may well have been a problem with the originating program or in the conversion process, but a problem nonetheless. Sometimes there’s just no escaping … As I stated earlier, most conversions worked flawlessly, and, in general, I could- n’t have been more impressed with the power and speed (or the peace of mind) of Pro-Convert. Oddities such as the above happened very rarely throughout this fairly exhaustive testing process. When certain issues arose, usually a quick trip to the program look-up and cross-capabilities grid in Pro-Convert’s reference materials confirmed the limitations to be with the specific platform (e.g. Steinberg XML does not export marker tracks). The one thing with which I persistently had trouble—and on which I could find no information—was Acid-ized loops. Without fail, and across many different test sessions and exports, these audio files would result in tiny slices of the audio being dispersed like debris across hours on the timeline. The only solution here was to bounce/consolidate tracks with Acid loops in the session. | SUMMARY Much of my post-production and sound design work these days is conducted remotely via FTP or FedEx. In these cases—as well as in “client-supervised” sessions—the seamless translation of timeline exports is paramount, especially in tight-turnaround situations. While the concept of truly seamless conversion may be a bit like tilting with windmills or questing for the Grail, the ability to overcome interchange problems with as little friction and minimal back-and-forth with busy production editors is now a realworld, attainable goal. Solid State Logic Pro-Convert 5—with its direct support of programs such as Pro Tools, Final Cut Pro, Logic, and Nuendo, as well as its custom-designed OMF templates for many more programs including Avid, Digital Performer, Sonar, and AMS Audiofile —is an essential tool to help reach this goal. The ability to not only accommodate these disparate formats but also get a look-in at (and modify if necessary) the specifics of the incoming and outgoing session data makes Pro-Convert an extremely valuable asset for any engineer or facility that deals regularly with project exchange. PAR Studio Editor Stephen Murphy has over 20 years production and engineering experience, including Grammy-winning and Gold/Platinum credits. His website is www.smurphco.com. www.proaudioreview.com May 2008 | ProAudio Review | 37 http://www.smurphco.com http://www.mercenaryaudio.com http://www.windovertheearth.com http://audiomidi.com http://www.proaudioreview.com
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