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In recent months I've been a central part of creating a Pro Tools session that taps Hdx i/o off of a VENUE system for the purpose of simultaneously recording live content, while also distributing that content to the web in a live feed. The session is essentially set up with a similar workflow to mixing on an SSL Duality: Mix tracks live at the top of the session, record tracks live at the bottom; completely separate so that audio pass-through is unaffected by anything that might happen on the record side. The environment has to be as absolutely user-friendly as possible because we will have, essentially, entry-level users mixing one of our weekend services, live. Thus, any mix feature needs to have as few steps as possible. ...enter: Tap Tempo in a Pro Tools Environment!
The problem is basically this: on an Avid VENUE system, one can use a foot controller to tap systematic, global tempo; then have all of your time-based fx follow global quantization, so that the timing is always correct across the board. The same courtesy, however, does not extend to Pro Tools, wherein tapping tempo is a series of steps: opening transport, turning off conductor, clicking the tap, turning keyboard focus off, then tapping T. (Or hit a midi note if you have that feature activated.) While this is fine for a studio, or post-production environment, it is absolutely problematic in a live mix environment with quick transitions. To add insult to injury: there is no good way to lock tempo in a Pro Tools HDx system to a connected VENUE system; even though they share i/o architecture, and VENUE can communicate things to Pro Tools such as Markers via "VENUE Link."
So what's the workaround? Waves, (even though I dislike waves,) makes a delay plug, "H-Delay," that is midi-mappable; and unlike Fab Filter's Timeless, you can actually map the tempo tap button to a midi controller! (Hint Hint *ahem* fix that, will you FF?) So where's the rub? In order for the H-Delay to see the midi input at all, you still have to create an additional midi track in your pro tools session, set the output of that midi track to the input of your delay plugin, then record-arm that midi track INDEPENDENTLY of every other track you want to record in your session. (Option + Click will record arm all audio tracks, but will leave your midi tracks not record enabled.) In short, it works. Though I'm not entirely convinced it's any better than just opening an instance of timeless, then clicking the tap button with the mouse. Any way you look at it, Pro Tools doesn't play nicely with midi unless you force-feed it. I may try Mackie Protocol next to see if I can remove that midi track from the process.
Nonlinear group delay signals with frequency-varying characteristics are common in a wide variety of fields, for instance, structural health monitoring and fault diagnosis. For such applications, the signal is composed of multiple modes, where each mode may overlap in the frequency-domain. The resulting decomposition and forming of time-frequency representations of the nonlinear group delay modes is a challenging task. In this study, the nonlinear group delay signal is modelled in the frequency-domain. Exploiting the sparsity of the signal, we present the nonlinear group delay mode estimation technique, which forms the demodulation dictionary from the group delay. This method can deal with crossed modes and transient impulse signals. Furthermore, an augmented alternating direction multiplier method is introduced to form an efficient implementation. Numerical simulations and experimental data analysis show the effectiveness and advantages of the proposed method. In addition, the included analysis of Lamb waves as well as of a bearing signal show the method's potential for structural health monitoring and fault diagnosis.
N2 - Nonlinear group delay signals with frequency-varying characteristics are common in a wide variety of fields, for instance, structural health monitoring and fault diagnosis. For such applications, the signal is composed of multiple modes, where each mode may overlap in the frequency-domain. The resulting decomposition and forming of time-frequency representations of the nonlinear group delay modes is a challenging task. In this study, the nonlinear group delay signal is modelled in the frequency-domain. Exploiting the sparsity of the signal, we present the nonlinear group delay mode estimation technique, which forms the demodulation dictionary from the group delay. This method can deal with crossed modes and transient impulse signals. Furthermore, an augmented alternating direction multiplier method is introduced to form an efficient implementation. Numerical simulations and experimental data analysis show the effectiveness and advantages of the proposed method. In addition, the included analysis of Lamb waves as well as of a bearing signal show the method's potential for structural health monitoring and fault diagnosis.
AB - Nonlinear group delay signals with frequency-varying characteristics are common in a wide variety of fields, for instance, structural health monitoring and fault diagnosis. For such applications, the signal is composed of multiple modes, where each mode may overlap in the frequency-domain. The resulting decomposition and forming of time-frequency representations of the nonlinear group delay modes is a challenging task. In this study, the nonlinear group delay signal is modelled in the frequency-domain. Exploiting the sparsity of the signal, we present the nonlinear group delay mode estimation technique, which forms the demodulation dictionary from the group delay. This method can deal with crossed modes and transient impulse signals. Furthermore, an augmented alternating direction multiplier method is introduced to form an efficient implementation. Numerical simulations and experimental data analysis show the effectiveness and advantages of the proposed method. In addition, the included analysis of Lamb waves as well as of a bearing signal show the method's potential for structural health monitoring and fault diagnosis.
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