I see. Sorry for not being clear. STP 2 supports poly’s.

Let me know when you are up and running. We can discuss additional options and features.

drop me a line.

ptfigg@mac.com

-paul.

Thank you for this suggestion. My experience in the past has been that when attempting to simply open in Waveform Editor or drag to Timeline, a multitrack poly file from STP browser, I would get the message informing me the file could not be opened because it was not a mono or stereo file (these were always 4-track files). I should also be clear that I still have not purchased FCP Studio 2. But if you’re saying I can work with poly files directly in STP2, I will put my upgrade order in. Thanks again.

Tom

Have you tried holding down the option key when dragging a multi-channel file up into a multitrack project? This works for me. Each channel inserts itself on an independent track.

-ptfigg.

Tom Beach

I guess I’ll have to purchase it for myself!

I’m using a Dual 2.0 Ghz G5 with 4 gigs of ram. Ati 9800 Pro [256 meg]video card.

I have experienced two specific issues that are problematic to me personally:

• Exporting compressed files [mp3, AAC/podcast]yields silent audio channels

• Apparent clicks and pops when a 6 channel file occupies a single track, and it is part of a more complex multitrack project.

I have not experienced any stability issues, hanging, crashes, etc. Occasionally a wave form takes some time before it paints itself into a track upon insertion. In this case the application begins to choke a bit. This was the case with the prior version as well.

It’s no secret that many people are experiencing problematic issues. My guess is that patches are in the works for all the applications included in the FCP Studio bundle.

-ptfigg.

I totally agree. This would be a major plus for Apple if it was available as a stand-alone application.

-ptfigg.

So - you move through a clip and insert marks at possible edit points before you actually begin the edit? In this case you need the markers to maintain their relationship [location] with the edit point after the samples ripple?

Occasionally I’ll do this if the program is not too long. I just log timecode references before and after the edits. Needless to say this adds additional time to the workflow.

As far as the RMS/AGC/Compellor issues, let me know if you have specific questions.

-ptfigg.

I tried your fix with STP1 and it doesn’t do what I’m looking for. Suppose here’s an example of what I want:

I have a tape with something like this:

Good evening, *ummm, y’know*, I’m glad you’re all here *ahemmm* tonight for my *cough cough cough* big announcement.

Here the * represent marks I’ve made to edit. Now I remove the first “umm, y’know and get this:

Good evening, * I’m glad you’re *all here * ahemmm to*night for * my cough cough cough big announcement.

The first * is correct - it’s what’s left after I removed the “umm, y’know” but now all of the other marks have remained in place while the audio has shifted left.

I can’t replace the ummm, y’know with silence or I get these gaps where I want to remove sound.

This and the Normalize RMS were my main reasons for using Peak to edit my tracks. I love STP for other reasons but it looks as if I’m going to still need to use both programs.

As for your RMS solution - it sounds as if you have a software equivalent of a compellor (is that what I mean?). I’d be interested to know more about this part of your process.

Thanks again,

D

In terms of what I refer to as “dial in RMS Normalization”, this has not been added. Let me fill you in a bit of news with regards to my own personal workflow:

• You cannot beat the way Peak Pro handles this, especially for jobs that require rapid, pinpoint level processing. On the other hand, I am finding that I achieve better results when using a compressor paired with some sort of volume maximizer. An example would be engaging the required modules in Ozone, or using Wave Arts Final Plug with a compressor of choice. The draw back is the lack of precise targets. The manual method requires a few passes of processing, and then a subsequent method of measuring the results. Peak wins here as well.

If you are comfortable operating in STP, and have access to Peak Pro - perform your edits and processing in STP, and use Peak just to measure the processed results.

• In terms of the Marker issues that you mentioned - can you try something? Select a two second segment in the STP Wave Editor. Instead of deleting it - go up to the Process menu and click the Silence command. The audio selection disappears, and there is no ripple.

Now grab a replacement segment and paste it into the area of silence that you previously generated. Does this solve your problem? To the best of my knowledge the structural integrity of the entire file should remain constant.

I’ll try this and get back to you. Keep me posted.

-ptfigg.

Rock on Paul -

D

Jeez … I’m not sure where to begin. What a tremendous improvement. I seriously believe I can now operate exclusively within this application.

I’ll post additional information later this eve …

-ptfigg.