Transferring Multitrack Reels Into Computer?

bmg said:
I discovered this today when I had to boost a very low signal, and saw that +12 was the max I could increase it.
Click to expand...
I discovered the same thing. There's a clip gain fader in the clip properties and it only goes up so far. In Vegas Pro (my main DAW), there is no such limit. Maybe this is a situation where having an external editor like Audacity (I use Sound Forge) would be helpful.
 
TalismanRich said:
I just find it easier to operate where you can easily see the waveform without having to zoom in a bunch (great for editing) and working with the faders more in the middle of the range rather than everything maxed out.
Click to expand...

There are a couple of things that you can do to make this better. First go to Options->Peaks Display Mode and tick "Scale Peaks By Square Root". Your waveforms will now fill more of the screen so that there is no need to normalise for that reason. Secondly, press F2 and then keep that window open permanently. This will allow you to set all kinds of different parameters for the item that you are working on including changing the level by as much as you like (just type the number you want in the box). You need to click Apply to make the change. If you want to make the same change to mulitple items then just select the items you want to change, set the value in the dialog and click Apply.
 
bouldersoundguy said:
I discovered the same thing. There's a clip gain fader in the clip properties and it only goes up so far. In Vegas Pro (my main DAW), there is no such limit. Maybe this is a situation where having an external editor like Audacity (I use Sound Forge) would be helpful.
Click to expand...

The fader only goes up so far but, as I mentioned above, you can enter whatever number you like in the text box next to the fader.
 
One thing slightly confusing to me is when I increase an input (say 3dB) when playing back the take, its 'mix' fader is up by 3 dB.
(I thought it would be at 0.)
Wouldn't this negate the dB increase if you return this fader back to 0?
 
I'm confused by what you're saying.

Are you trying to increase the input by raising the fader on that track? That shouldn't do anything, as the fader only applies to audio leaving the computer, not coming in. All inputs should be controlled by the trim control on your interface, or your interface control software, if available.

If you have signal coming in, does your meter level change if you move the fader up and down? It shouldn't.

The same thing happens on my Zoom R24. Input level is controlled by the gain knob at the top. The fader only controls the monitoring volume, not the input signal.

Here are two channels monitoring record level, one fader up, one down. Notice that both are registering the signal.

alt=
 
I'm using the volume control on the actual track in Reaper:
alt=

If rendering shows me I'm over by 3 dB, I'll decrease it here, and it comes up fine afterwards.
(Before this, I was using the output control on the 3440 to reduce the signal if needed, but I find this is not a very accurate way.)

I'm also finding a very low hum or static coming from channels 1 & 2 from the Teac, and, when boosted through the interface, is more noticeable.
I find when using this volume control, the hum is not as apparent.

What I was questioning is - any adjustment done here, is being reflected in the mix fader.
 
They are just two locations of the exact same thing. When rendering the volume control will adjust the output. When recording the volume control shouldn't change anything except monitoring level for that track.

My view has a volume knob on the track point. If I rotate the knob, the fader goes up and down. Same for the pan control. You must control the input level via either the 3440 or the input gain knob on the Clarett.

As for residual noise coming from the Teac, you need to determine if the noise remains constant regardless of the output setting on the 3440, or if it varies. If you are getting a constant noise level regardless of the Teac's output knob, then the best thing would be to try to maximize the output of the Teac, and then trim the input at the Clarett.
Check for ground loops for hum, specifically the cables. The line inputs of the Clarett should be able to use either balanced or unbalanced cable so a simple RCA to TS cable should work fine. See if grounding the Teac to the Clarett and see if the hum goes away.
 
So by me reducing the signal in reaper, and rendering again, it basically has no effect?
And the only way to reduce a hot signal would be to ride the 3340's knobs?
(I see the use of a 'volume smoother' plug-in to achieve this on-line.)

All I want is to have the faders at 0, with no clipping.

The material is very varied, with some spoken word segments, which have been the hardest to get under control.

As for the hum, it increases as I turn up the volume on the Teac.
Probably a bad board, or something that those 2 channels share, as the other 2 are fine.
 
bmg said:
So by me reducing the signal in reaper, and rendering again, it basically has no effect?
And the only way to reduce a hot signal would be to ride the 3340's knobs?
(I see the use of a 'volume smoother' plug-in to achieve this on-line.)
Click to expand...
That's not what I said. During Rendering, the faders control the output, both the track fader and the master fader. The faders don't effect the INPUT volume. As for a "volume smoother" that is EXACTLY what a compressor plugin does. Set the level so that as your signal get hotter, the plugin begins to cut the level at a prescribed ratio. For example you can set the threshold at -10dB, and a ratio of 3:1. That means that a signal above -10 will only rise 1 dB when the input signal rises 3dB. Set the threshold level low enough and you can basically cut the dynamic range to whatever ratio you use.





bmg said:
All I want is to have the faders at 0, with no clipping.
Click to expand...
???? This has no bearing on anything. Set the faders wherever you get the proper level for the output. Having to set levels so your output faders are at 0 would be the ultimate in OCD behavior. More than likely, when you start mixing, the levels will be a bit lower than 0, since when tracks are added together, they will tend to increase the overall level. Two tracks of identical signal added together will increase the output by 3 dB.

bmg said:
As for the hum, it increases as I turn up the volume on the Teac.
Probably a bad board, or something that those 2 channels share, as the other 2 are fine.
Click to expand...
That will be a problem, as the hum will be present at whatever level you use to transfer. If it truly is a hum (ie: 60 cycle noise), you can alway use a notch filter or a high pass filter (bass rolloff) to minimize the noise. This can be effective, especially for tracks where there aren't a lot of low frequencies. Doesn't work as well if the track is the bass guitar!
 
bmg said:
All I want is to have the faders at 0, with no clipping.

The material is very varied, with some spoken word segments, which have been the hardest to get under control.
Click to expand...

Don't try to get it under control on the way in. It sounds like you are recording at a level that is much too high. Turn the output down on the Teac recorder or the gain controls down on your interface so that the loudest peaks are around -6dBFS or less. Don't worry if things appear too quiet when recording - you can fix that later.
 
I tried to make it more convenient by working in reaper, but riding the Teac's knobs is probably easier for me.
I'm already at the Clarett's minimum level - I'm aiming for between -18 & -12 when recording.
(It would be helpful if there were one master on the interface to raise or lower all signals at once.)
 
Riding levels during the transfer seems like a bad idea. Just set it so it peaks below -6 dBFS. Automating volume in the DAW is pretty easy and it's undoable. If you ride levels during the transfer, there's a pretty good chance you're going to have to automate volume to compensate, which is more of a pain than dealing with a track that doesn't have level variations.
 
I agree with BSG. You are transferring, not mixing. You want to transfer what is on the tape into the daw without messing with it.

Simply set it so the highest peaks are below -6dbfs in the daw, hit play on the tape machine and record on the daw. Wait for the tape to run out, hit stop on both. Put another tape on the machine and repeat the process.

Everything else needs to be done in the daw after the transfer.
 
bmg said:
Why -6?
I thought the best level is -18dB.
Click to expand...
-18 dBFS is a good target for the average level, like 0 dBVU. Since digital has an absolute upper limit of 0 dBFS, it's important to keep peaks below that. -6 dBFS is a good target for maximum peaks. Think of -18 as the level the bouncing signal crosses regularly and -6 as an upper limit for peaks (leaving a bit of a safety margin). Those don't have to be absolutely precise values, just general guidelines for digital recording levels. Percussive signals will have a lot of peak level and very low average levels. Heavily distorted guitars will have high average levels with peaks only a little higher.
 
On the Clarett, the easiest way is to get a ground across to the Teac is to use one of the rear jack sockets - the sleeve of these is grounded to the audio bus, and then if you stick the other end of the cable into any of the Teac's inputs that is unused, the two grounds will be linked.
 
Thanks, but I don't think it's a ground loop, after all.
I plugged into the headphone jack on the Teac itself, turned all the way up, and hear what sounds to me like the normal operating noise.
Though I may be wrong, and these machines are really dead quiet at this volume.
(Not sure, unless someone else has one and can post their findings.)
 
You must log in or register to reply here.
Back
Top