Recording - November 2010 - 37

It’s a Frank Zappa piece... Cross-platform collaboration sometimes develops a new wrinkle if songs feature obscure meters, complex meter/tempo changes, ritards or accelerando passages. The issue is that it may be very difficult to get the quantization bar/beat grids to line up. Providing a tempo map will help. I’ve successfully re-created tempo maps of another user’s song when the changes were few and on bar lines, but there is no guarantee two different DAWs will compute their way through a two-bar ritard from 70 to 55 bpm in exactly the same way. For songs with fluid tempos or numerous changes, it may be best to use your DAW’s tap tempo or determine-tempofrom-content features, if available. This may also be necessary if the song wasn’t recorded to the DAW metronome, even if a click was used. I find this to be worth the trouble; even if I’m not intending to quantize the parts I record, I like to be able to edit to the bar line. OMF? OMG... Many users have hoped for a sort of generic, universal DAW file standard that could be shared between us all. To date, the closest thing we have is the OMF file. The OMF (Open Media Framework) file stores audio information with an understanding of region placement and the DAW timeline. OMF files are supported by many DAW packages including Logic, Pro Tools, Cubase, and Digital Performer. However, not all can read everything contained in the file; some do not import level and pan information. OMF is far from a complete cross-platform solution, as much data is ignored, including all MIDI files, plug-ins, and tempo information. However, it may prove an ideal choice for certain situations, like sending a group of vocal takes to an ace comping engineer. Other, similar options are the AAF and XML formats, which may include automation data. Pay to play: support services, shipping and handling A few new players have entered the market since we reviewed online collaboration services in our August 2006 issue. The idea of true realtime collaboration remains somewhat elusive due to unchangeable laws of physics, but near-realtime collaboration is alive and gaining ground. Source-Connect’s software (sourceelements.com) offers near-real time collaboration with standard T1, cable or DSL internet connections. However, the most exciting development I’ve seen in this area is eSession’s Virtual Glass: a DAW plug-in which provides talkback and camera feed from a remote studio, and can even link transport controls, so you can

remotely control a session across a continent on somebody else’s DAW software. The downside: monthly fees, and a collaboration system that requires both parties run DAW software. I’d love to see a videoconferencing system capable of sending camera signal and live studio mix to a business client with no DAW running a PC laptop. Developers, you’ve been challenged.

The fractional tempo indicated by the software’s detection system suggests this song was probably not recorded to the DAW metronome. Many collaborators won’t need highend services such as the ones listed above. If the immediate transfer of highquality audio over the Internet is not required, simpler and cheaper solutions are readily available. File delivery services are a necessity when sending data far too voluminous for email, as most audio files are. YouSendIt (yousendit.com) remains a popular option, as does competitor MediaFire (mediafire.com); each offers tiered pricing options for high-volume and professional users which include branding, file tracking, superior speeds, increased file sizes and security options. Beyond the Web, I find using FTP as opposed to web-based delivery provides a significant speed increase, but is too difficult for some of my technology-challenged clients. I like the ease of MobileMe, though, which provides Mac users remote disk access right from the Finder. Looking ahead... At the moment, I’m producing a song featuring session players from four different cities, including the legendary Chuck Rainey on bass. All have sent their tracks from afar. I can tell already, this project will require an entirely new set of production skills, one the producers of the future are already developing. The technical issues of importing and exporting the files is one thing—making a group of disparate tracks into a unified, solid jammin’ tune is entirely another. That kind of challenge was covered in several articles in our February 2008 issue. I know I’ll be rereading that one, now that I’ve sweated this techie stuff. Bob Emmet (emmet@recordingmag.com) is a keyboardist, producer, and recording engineer in the Los Angeles area. Learn more at www.bobemmet.com.
RECORDING NOVEMBER 2010

37


http://www.yousendit.com http://www.mediafire.com http://www.sourceelements.com http://www.primacoustic.com http://www.sourceelements.com http://www.primacoustic.com http://www.bobemmet.com

Recording - November 2010

Table of Contents for the Digital Edition of Recording - November 2010

Recording - November 2010
Contents
Fade In
Talkback
Fast Forward
A Studio Journey With Larry Carlton
Akai MPK Series USB/MIDI Keyboard Controllers
The Keys To The Studio
Telefunken Elektroakustik AR-51 Tube Microphone
Novation SL MkII USB Controllers
ADAM Audio A3X Active Monitors
DAW Details
Waves Tony Maserati Artist Signature Collection
Solid State Logic XLOGIC Superanalogue X-Rack and X-Desk
Roland GAIA SH-01 Synthesizer
Recording’s Keyboard Column
It’s Your Music—Know Your Rights. Chapter 8: Digital Distribution
Korg microSTATION
Readers’ Tapes
Recording’s Showcase of Sounds
Advertiser Index
Fade Out
Recording - November 2010 - Recording - November 2010
Recording - November 2010 - Cover2
Recording - November 2010 - 1
Recording - November 2010 - Fade In
Recording - November 2010 - 3
Recording - November 2010 - Contents
Recording - November 2010 - 5
Recording - November 2010 - Talkback
Recording - November 2010 - 7
Recording - November 2010 - Fast Forward
Recording - November 2010 - 9
Recording - November 2010 - 10
Recording - November 2010 - 11
Recording - November 2010 - A Studio Journey With Larry Carlton
Recording - November 2010 - 13
Recording - November 2010 - 14
Recording - November 2010 - 15
Recording - November 2010 - 16
Recording - November 2010 - 17
Recording - November 2010 - Akai MPK Series USB/MIDI Keyboard Controllers
Recording - November 2010 - 19
Recording - November 2010 - The Keys To The Studio
Recording - November 2010 - 21
Recording - November 2010 - 22
Recording - November 2010 - 23
Recording - November 2010 - 24
Recording - November 2010 - 25
Recording - November 2010 - Telefunken Elektroakustik AR-51 Tube Microphone
Recording - November 2010 - 27
Recording - November 2010 - 28
Recording - November 2010 - 29
Recording - November 2010 - Novation SL MkII USB Controllers
Recording - November 2010 - 31
Recording - November 2010 - 32
Recording - November 2010 - 33
Recording - November 2010 - ADAM Audio A3X Active Monitors
Recording - November 2010 - 35
Recording - November 2010 - DAW Details
Recording - November 2010 - 37
Recording - November 2010 - Waves Tony Maserati Artist Signature Collection
Recording - November 2010 - 39
Recording - November 2010 - Solid State Logic XLOGIC Superanalogue X-Rack and X-Desk
Recording - November 2010 - 41
Recording - November 2010 - 42
Recording - November 2010 - 43
Recording - November 2010 - Roland GAIA SH-01 Synthesizer
Recording - November 2010 - 45
Recording - November 2010 - 46
Recording - November 2010 - 47
Recording - November 2010 - Recording’s Keyboard Column
Recording - November 2010 - 49
Recording - November 2010 - 50
Recording - November 2010 - 51
Recording - November 2010 - 52
Recording - November 2010 - 53
Recording - November 2010 - 54
Recording - November 2010 - 55
Recording - November 2010 - It’s Your Music—Know Your Rights. Chapter 8: Digital Distribution
Recording - November 2010 - 57
Recording - November 2010 - Korg microSTATION
Recording - November 2010 - 59
Recording - November 2010 - Readers’ Tapes
Recording - November 2010 - 61
Recording - November 2010 - Recording’s Showcase of Sounds
Recording - November 2010 - 63
Recording - November 2010 - 64
Recording - November 2010 - Advertiser Index
Recording - November 2010 - 66
Recording - November 2010 - 67
Recording - November 2010 - 68
Recording - November 2010 - 69
Recording - November 2010 - 70
Recording - November 2010 - 71
Recording - November 2010 - Fade Out
Recording - November 2010 - Cover3
Recording - November 2010 - Cover4
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