Steinberg Nuendo 4 Manual
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441 Export Audio Mixdown Wave64 files Wave64 is a proprietary format developed by Sonic Foundry Inc. In terms of audio quality, Wave64 files are identical to standard wave files, but in the file headers Wave64 files use 64-bit values for addressing where wave files use 32-bit values. The consequence of this is that Wave64 files can be considerably larger than standard Wave files. Wave64 is therefore a good file format choice for really long recordings (file sizes over 2 GB), e.g. live sur- round recordings. Wave64 files have the extension “.w64”. Wave64 files support the same options as AIFF files. Broadcast Wave files Concerning audio, Broadcast Wave files are the same as regular Wave or Wave64 files, but without compression. To create a Broadcast Wave file, select either Wave or Wave64 as the file format and activate the Insert Broadcast Wave Chunk option. Click Edit if you wish to edit the chunk information, otherwise the defaults as specified in the Pref- erences (Record–Audio–Broadcast Wave page) will be used. Broadcast Wave files have the extension “.wav”. Broadcast Wave files support the same options as AIFF files. MPEG 1 Layer 3 files MPEG 1 Layer 3 files have the extension “.mp3”. By use of advanced audio compression algorithms, mp3 files can be made very small, maintaining good audio quality. For MPEG 1 Layer 3 files the following options are avail- able: Option Description File Name (File Location section)In this field you can enter a name for the mixdown file. Path (File Location section)Here you can specify a path where you want the mix- down to be saved. Use Project Audio Folder (File Location section)If you activate this option, the mixdown file is saved in the Project Audio folder, as opposed to the specified path. File Format pop- up menu (File Format section)From this pop-up menu you can select the file format for the export. Bit Rate fader (File Format section)By moving this fader, you can select a bit rate for the mp3 file. As a rule, the higher the bit rate, the better the audio quality and the larger the file. For stereo audio, 128 kBit/s is often considered to result in “good” audio quality. Sample Rate pop-up (File For- mat section)In this pop-up menu you can select a Sample Rate for the mp3 file. Insert ID3 Tag option (File For- mat section)This allows you to include ID3 Tag information in the exported file. Edit ID3 Tag button (File For- mat section)When you click this, the ID3 Tag dialog opens, in which you can enter information about the file. This ad- ditional information will be embedded as text strings in the file, and can be displayed by some mp3 playback applications. Outputs pop-up menu (Audio Engine Output section)This menu lists all output busses and channels in the active project. Simply select the bus or channel you want to mix down. Mono Export (Audio Engine Output section)If you activate this option, the exported audio is mixed down to mono. Split Channels (Audio Engine Output section)Activate this option if you want to export all channels as mono files. Real-Time Export (Audio Engine Output section)If you activate this option, the export will happen in real time, i.e. the process will take the same time as regular playback. Some VST plug-ins require this in order to have enough time to update correctly during the mix- down – consult the plug-in manufacturers if uncertain. When Real-Time Export is activated, the exported au- dio will be played back via the Control Room. Update Display (Audio Engine Output section)If you activate this option, the meters will be updated during the export process. This allows you to check for clipping, for example. Audition Volume fader (Audio Engine Output section)The fader below the Real-Time Export checkbox allows you to adjust the Control Room volume. Note that this fader is available only if the Control Room is activated. Close dialog after exportIf this option is activated, the dialog will be closed after the export, otherwise it will be left open. Option Description
442 Export Audio Mixdown Ogg Vorbis files Ogg Vorbis is an open source, patent-free audio encoding and streaming technology, offering compressed audio files (extension “.ogg”) of small size, but with comparatively high audio quality. For Ogg Vorbis files the following options are available: Other file formats Steinberg also offers optional Dolby Digital (AC3) and DTS encoders for export directly to AC3 or DTS format. Please go to www.steinberg.net for more information. Windows Media Audio Pro files (Windows only) This is a continuation of the Windows Media Audio format developed by Microsoft Inc. Due to the advanced audio co- decs and lossless compression used, WMA Pro files can be decreased in size with no loss of audio quality. Further- more, WMA Pro features the possibility of mixing down to 5.1 surround sound. The files have the extension “.wma”. Exporting a WMA mixdown ÖDepending on the chosen output, not all options may be shown. Option Description File Name (File Location section)In this field you can enter a name for the mixdown file. Path (File Location section)Here you can specify a path where you want the mix- down to be saved. Use Project Au- dio Folder (File Location section)If you activate this option, the mixdown file is saved in the Project Audio folder, as opposed to the specified path. File Format pop- up menu (File Format section)From this pop-up menu you can select the file format for the export. Quality fader (File Format section)The Ogg Vorbis encoder uses variable bit rate encod- ing, and the Quality setting determines between which limits the bit rate will vary. Generally speaking, the higher the Quality setting, the higher the sound quality but also the larger the files. Outputs pop-up menu (Audio En- gine Output sec- tion)This menu lists all output busses and channels in the active project. Simply select the bus or channel you want to mix down. Mono Export (Audio Engine Output section)If you activate this option, the exported audio is mixed down to mono. Split Channels (Audio Engine Output section)Activate this option if you want to export all channels as mono files. Real-Time Ex- port (Audio En- gine Output section)If you activate this option, the export will happen in real time, i.e. the process will take the same time as regular playback. Some VST plug-ins require this in order to have enough time to update correctly during the mix- down – consult the plug-in manufacturers if uncertain. When Real-Time Export is activated, the exported au- dio will be played back via the Control Room. Update Display (Audio Engine Output section)If you activate this option, the meters will be updated during the export process. This allows you to check for clipping, for example. Audition Volume fader (Audio En- gine Output sec- tion)The fader below the Real-Time Export checkbox al- lows you to adjust the Control Room volume. Note that this fader is available only if the Control Room is acti- vated. Close dialog af- ter exportIf this option is activated, the dialog will be closed after the export, otherwise it will be left open.
443 Export Audio Mixdown The following options are available: General tab In the Input Stream section, you set the sample rate (44.1, 48 or 96 kHz) and the bit resolution (16 bit or 24 bit) of the encoded file. These should be set to match the sample rate and bit resolution of the source material. If no value matches that of your source material, use the closest available value that is higher than the actual value. E.g. if you’re using 20 bit source material, set the bit resolution to 24 bit rather than 16 bit. ÖThe setting in the Channels field depends on the cho- sen output and cannot be changed manually. The settings in the Encoding Scheme section are used for defining the desired output from the encoder, e.g. whether it should be a stereo file or a 5.1 surround file. Make set- tings appropriate for the intended use of the file. If the file will be downloaded or streamed on the Internet, you might not want too high bit rates, for example. See below for de- scriptions of the options. Mode The WMA Pro encoder can use either a constant bit rate or a variable bit rate for encoding to 5.1 surround, or it can use lossless encoding for encoding to stereo. The options on this menu are as follows: Bit Rate/Quality This menu allows you to set the desired bit rate. The avail- able bit rate settings vary depending on the selected mode and/or output channels (see above). If the Mode “Variable Bitrate with Quality” is used (see above), the menu allows you to select from various levels of desired quality, with 10 being the lowest and 100 the highest. Generally, the higher the bitrate or quality you select, the larger the final file will be. The menu also shows the chan- nel format (5.1 or stereo). Advanced tab Dynamic Range Control These controls allow you to define the dynamic range of the encoded file. The dynamic range is the difference in dB between the average loudness and the peak audio level (the loudest sounds) of the audio. These settings af- fect how the audio is reproduced if the file is played on a Windows XP computer with a player from the Windows Media series, and the user activates the special “Quiet Mode” feature of the player to control the dynamic range. The dynamic range is automatically calculated during the encoding process, but you can specify it manually as well. If you want to manually specify the dynamic range, first put a checkmark in the box to the left by clicking in it, and then enter the desired dB values in the Peak and Average fields. You can enter any value between 0 and -90 dB. Note, however, that it is usually not recommended to change the Average value, since it affects the overall vol- ume level of the audio and therefore can affect the audio quality adversely. The Quiet Mode in a Windows Media player can be set to one of three settings. Below, these settings are listed to- gether with an explanation of how the Dynamic Range set- tings affect them: Off: If Quiet Mode is off, the dynamic range settings that were automatically calculated during the encoding will be used. Little Difference: If this is selected and you have not manually changed the dynamic range settings, the peak level will be limited to 6 dB above the average level during playback. If you have manually specified the dynamic range, the peak level will be limited to the mean value between the peak and average values you specified. Medium Difference: If this is selected and you have not manu- ally changed the dynamic range settings, the peak level will be limited to 12 dB above the average level. If you have changed the dynamic range, the peak level will be limited to the peak value you specified. Mode Description Constant Bitrate This will encode to a 5.1 surround file with a constant bit rate (set in the Bit Rate/Channels menu, see be- low). Constant bit rate is preferably used if you want to limit the size of the final file. The size of a file encoded with a constant bit rate is always the bit rate times the duration of the file. Variable Bitrate Encodes to a 5.1 surround file with a variable bit rate, according to a quality scale (the desired quality is set in the Bit Rate/Channels menu, see below). When you encode with variable bit rates, the bit rate fluctuates depending on the character and intricacy of the mate- rial being encoded. The more complex passages in the source material, the higher the bit rate – and the larger the final file. Lossless Encodes to a stereo file with lossless compression.
444 Export Audio Mixdown Surround Reduction Coefficients Here you can specify which amount of volume reduction, if any, should be applied to the different channels in a sur- round encoding. These settings affect how the audio is re- produced on a system incapable of playing back the file in surround, in which case the surround channels of the file will be combined into two channels and played back in stereo instead. The default values will normally produce satisfactory re- sults, but you can change the values manually if you wish. You can enter any value between 0 and -144 dB for the surround channels, the center channel, the left and right channels and the LFE channel respectively. Media tab In these fields you can enter a number of text strings with information about the file – title, author, copyright informa- tion and a description of its contents. This information will then be embedded in the file header and can be displayed by some Windows Media Audio playback applications. ÖFor more information about surround sound and en- coding, see the chapter “Surround sound” on page 202.
446 Synchronization Background What is synchronization? Synchronization is said to exist when you make two pieces of equipment agree on time or tempo and position info. You can establish synchronization between Nuendo and a number of other types of devices, including tape recorders and video decks, but also MIDI devices that “play back”, such as other sequencers, drum machines, “workstation sequencers” etc. When you set up a synchronization system, you must de- cide which unit is the master. All other devices are then slaved to this unit, which means they will adjust their play- back speed to the master’s. Nuendo as slave When a synchronization signal is coming in to Nuendo from another device, this device is the master and Nuendo is the slave. Nuendo will adjust its playback to the other device. Nuendo as master When you set up Nuendo to transmit synchronization in- formation to other devices, Nuendo is the master and the other devices are the slaves; they will adjust their playback to Nuendo. Nuendo – both master and slave Nuendo is a very capable synchronization device. It can operate as both a master and a slave at the same time. For example, Nuendo might be slaved to a tape recorder transmitting timecode, while at the same time transmitting MIDI Clock to a drum machine, acting as a master for that. Synchronization signals Basically there are three types of synchronization signals for audio: timecode, MIDI clock and word clock. Timecode (SMPTE, EBU, MTC, VITC etc.) Timecode appears in a number of guises. No matter which “format” it has, it always supplies a “clock on the wall” type of synchronization, that is, a synchronization related to hours, minutes, seconds and two smaller units called “frames” and “subframes”. LTC (SMPTE, EBU) is the audio version of timecode. This means that it can be recorded on the audio track of an audio or video recorder. VITC is the video format timecode, i. e. it is stored in the actual video image. MTC is the MIDI version of timecode, transmitted via MIDI ca- bles. ADAT sync (Alesis) is only used with the ASIO Positioning Protocol, see “About the ASIO Positioning Protocol (APP)” on page 452. Sony 9-pin is a standard that uses serial (RS-422) communi- cation. Sony 9-Pin contains timecode as well as machine con- trol messages (see “Setting up Sony 9-Pin” on page 457). For the ASIO Positioning Protocol, other high precision timecode formats may also be supported. Format recommendations for timecode – without ASIO Positioning Protocol When synchronizing your system to external timecode, via a synchronizer, the most common timecode format is MTC. Contrary to some reports you might have heard, MTC delivers good precision for external sync. This is due to the fact that the operating system can “time stamp” incoming MIDI mes- sages, which increases precision. Sony 9-Pin is not recommended for external sync and should only be used when no other option is available. However, you might of course use 9-Pin for machine control, see “Sony 9- Pin” on page 455. !For a description of the VST System Link feature (with which you can synchronize separate computers running Nuendo or Cubase for example), see “Wor- king with VST System Link” on page 460.
447 Synchronization Format recommendations for timecode – with ASIO Positioning Protocol LTC and VITC are the formats with the highest precision and are recommended when available. MTC is the next best option and probably the most common choice, since few audio hardware solutions have built-in LTC or VITC readers. However, LTC and VITC offer even higher precision when available. The choice with the least precision is Sony 9-Pin. MIDI Clock MIDI Clock is a tempo-based type of synchronization sig- nals, i. e. it is related to the number of “beats per minute”. MIDI Clock signals are suitable for synchronizing two de- vices that agree on tempo, such as for example Nuendo and a drum machine. Word Clock Word clock is basically a replacement for the sample rate clock in for example an audio card. Word clock hence runs at the same rate as the sample rate in the audio, 44.1kHz, 48kHz etc. Word clock does not contain any position information, it is only a “simple” signal for clocking the audio at its sample rate. Word clock comes in many formats, analog on coaxial ca- ble, digital as part of an S/PDIF, AES/EBU or ADAT audio signal, etc. Synchronizing the transport vs. synchronizing audio How timing is handled in a non-synchronized system Let’s first look at the situation where Nuendo is not syn- chronized to any external source: Any digital playback system has an internal clock that ulti- mately affects the playback speed and stability, and PC au- dio hardware is no exception. This clock is extremely stable. When Nuendo is playing back with no external synchroni- zation, all playback is internally synchronized to the inter- nal digital audio clock. Synchronizing Nuendo’s playback Let’s assume now that we use external timecode synchro- nization with Nuendo. For example, we might synchronize playback to a tape recorder. Timecode coming from an analog tape recorder will al- ways vary slightly in speed. Different timecode generators and different tape recorders will also supply timecode with slight differences in speed. In addition, the shuttling of tape mechanisms due to overdubs and re-recordings can cause the physical tape to wear and stretch, which affects the speed of the timecode. If you use a synchronizer that generates word clock and set up Nuendo to sync to incoming timecode, it will vary its overall playback speed to compensate for such fluctu- ations in the speed of the timecode – that’s the whole pur- pose of synchronization. What happens with the digital audio? The fact that Nuendo’s playback is synchronized to the timecode does not affect the playback of the digital audio. It still relies on the perfectly stable, built-in clock in the au- dio hardware. As might be expected, problems will appear when the per- fectly stable digital audio gets related to the slightly vary- ing speed of a system synchronized to timecode. The playback timing of each event will not be in total ac- cordance with the tape or the MIDI playback, since the playback speed of the audio is determined by the digital audio hardware’s built-in clock. !MIDI Clock is not suitable as a master sync source for an application like Nuendo. Therefore Nuendo will transmit MIDI Clock signals to other devices, but it will not receive MIDI Clock.
448 Synchronization Resolving to word clock The solution to this problem is to use one external clock for all components in the system. One master clock is used to derive whatever type of clock signal each compo- nent in the system needs. For example, something called a house clock can be used to generate sample rate clocks for the digital audio hardware and timecode for Nuendo. This ensures that all components in the system use the same reference source for their timing. Synchronizing digital audio to external clocks running at sample rate is often called “resolving” or “synchronizing to word clock”. If you aim to perform synchronization to external signals, we strongly recommend that you obtain proper synchroni- zation equipment. This encompasses: An audio card that can be slaved to external word clock. A synchronizer that can read timecode (and possibly house clock) and generate the required sync signals from that, such as the Steinberg TimeLock Pro. or... An audio system with complete built-in synchronization possi- bilities, preferably supporting the ASIO Positioning Protocol, see “About the ASIO Positioning Protocol (APP)” on page 452. Using timecode without word clock Of course, it is possible to set up a synchronization sys- tem where you lock Nuendo to timecode without using word clock. However, please note that the timing of audio vs. MIDI cannot be guaranteed and that fluctuations in speed in the incoming timecode will not affect the play- back of audio events. This means that synchronizing to timecode may work in the following situations: When the timecode was originally generated by the au- dio card itself. When the source providing the timecode is extremely stable (such as a digital video system, a digital tape re- corder or another computer). When you remain synchronized to that same stable source throughout the entire process, both while record- ing and playing back audio. Making basic settings and connections Setting the Frame Rate The frame rate is the number of frames per second in a film or on a video tape. Just as there is always sixty seconds to a minute, there is always a certain number of frames to each second. However, the frame rate used varies with the type of media (film or video), which country the video tape has been produced in, and other circumstances. In the Project Setup dialog are two settings for frame rates: The Frame Rate pop-up is automatically adjusted to the frame rate of the incoming timecode. There is an exception to this when you are synchronizing Nuendo to MIDI Timecode: If you have selected 29.97 fps or 30 dfps as Frame Rate in Nuendo, this selection will be kept, since these frame rates are not in- cluded in the MTC format. The following frame rates are available: The Display Format pop-up contains a number of for- mats that when selected work as the “master” setting for the display format used in the various windows’ rulers and position displays. The item “60 fps (user)” on this menu represents a user definable frame rate. To make editing with frame accuracy correspond to the actual frame rate in an external sync source, you need to set this frame rate to the same value as the Frame Rate pop-up. Frame Rate Description 24 fps The traditional frame rate of 35mm film. 25 fps The frame rate used for all video and audio in Europe (EBU). 29.97 fps Straight 29.97 frames per second. 30 fps Straight 30 frames per second. This is often used in the United States for audio only work. 29.97 dfps “Drop frame” code running at 29.97 frames per second, most often used in the United States of America for work with color video. 30 dfps Very rarely used. 23.976 fps Frame rate used for HDTV. 24.976 fps Frame rate used for HDTV. 59.94 fps Frame rate used for HDTV. 60 fps Frame rate used for HDTV.
449 Synchronization Proceed as follows: 1.Open the Preferences dialog (accessed from the File menu under Windows or the Nuendo menu on the Mac) and select the Transport page. 2.Enter the desired frame rate under “User Definable Framerate”. Either type the desired value directly or use the arrow buttons to in- crease/decrease the value. You can enter any value between 2-200. 3.When you’re done, click OK to close the dialog and save the settings. The Frame Rate you specified will now be the one used when you select the “User” option on the Display Format pop-up. Making connections The following connections are required for external sync via a synchronizer, including resolving of the audio card. For details on audio card and synchronizer settings and connections, see the manuals for these devices. Route the master clock signal (LTC, VITC, etc.) to an in- put on the synchronizer. Connect the word clock output on the synchronizer to a word clock input on the audio card. Connect the MIDI Timecode (MTC) or 9-Pin output on the synchronizer to the corresponding input on the com- puter. Set up the synchronizer and make sure the frame rate settings are in accordance with the master clock. A typical synchronization setup. Synchronization settings In the following sections, you will find a description of how to set up your system for the different timecode sources: Internal Timecode In this mode, Nuendo is the master. When working with MMC (see “MIDI Machine Control (MMC)” on page 454), the external device gives the start and stop signals, but is synchronized by Nuendo. Use the “MIDI Timecode Destinations” and “MIDI Clock Destinations” sections to specify which devices should be slaved to Nuendo. Synchronizing other Equipment to Nuendo You may have other MIDI devices that you want to syn- chronize to Nuendo. There are two types of synchroniza- tion that Nuendo can transmit: MIDI Clock and MIDI Timecode. Transmitting MIDI Clock If you transmit MIDI Clock to a device supporting this type of synchronization signal, the other device will follow Nu- endo’s tempo. The tempo setting in the other device is of no relevance. Instead, it plays at the same tempo as Nu- endo. If the device also reacts to Song Position Pointers (which Nuendo transmits) it will follow when you wind, re- wind and locate using the Nuendo Transport panel. ÖMIDI Clock transport commands include “Start”, “Stop” and “Continue”. However, some MIDI equipment (e.g. some drum machines) do not recognize the “Con- tinue” command. If this is the case with your equipment, activate the option “Always Send Start Message” in the Project Synchronization Setup dialog (for the MIDI Clock Destinations). When this is activated, only the Start command is used.
450 Synchronization Activate “MIDI Clock Follows Project Position” if you want the other device to follow when you loop, jump and locate during playback. When this is activated, the sent MIDI Clock signals will follow the se- quencer time and tempo position at all times. Transmitting MIDI Timecode If you transmit MIDI Timecode to a device supporting this type of synchronization signal, the device will synchronize time-wise to Nuendo, that is, the time displays on Nuendo’s Transport panel and on the other device will agree. When you wind and locate Nuendo and then activate playback, the other device will follow from the same position (if it has this capability and is set up for it!). ÖIf you want to be able to loop, jump and locate during playback in Nuendo and have the other device follow, ac- tivate “MIDI Timecode Follows Project Time”. When this is activated, the sent MIDI Timecode will follow the sequencer time position at all times. Setting Up 1.Connect the desired MIDI Outputs from Nuendo to the device(s) that you plan to synchronize. 2.Open the Project Synchronization Setup dialog from the Transport menu.3.Activate the sync outputs by using the corresponding checkboxes. You can output any combination of MIDI Timecode and MIDI Clock to any combination of outputs (however, you probably don’t want to send MTC and MIDI Clock to the same output). 4.Set the other device(s) to their “external synchroniza- tion” mode (or some other mode with a similar name) and activate playback on them if necessary. 5.Activate playback in Nuendo, and the other device(s) will follow. !Please note that some external devices may not react smoothly to these repositioning messages. Espe- cially when working with some older devices, it may take some time for them to synchronize accurately to the project time. Timecode Source settings Input and Output for MIDI Machine Control messages. !Some MIDI interfaces will automatically send MIDI Clock to all MIDI outputs, regardless of the MIDI Clock Port selection in Nuendo. If this is the case, you should only select one MIDI Clock Port (consult the documentation of the MIDI Interface if in doubt). MIDI Timecode transmitted to this output. MIDI Clock transmitted to this output.