I know that in music DOP is not as important - things tend to go more “each to their own track”, but for those who work in post I’m sure it is a fundamental part of editing - or even mixing - workflows.
And it is generally a great tool.
Except for the useless, hindering even, signal path for the DOP. The difference in sound when monitoring the clip in DOP window from what comes out of the mixer - of course due to all the differences in those paths, but mainly because event volume is disregarded - is often just so drastic that it is jarring, and I find myself just applying settings, listening from the timeline, adjusting, applying again, and so on.
I know that this topic has arisen many times before, but I would like to appeal to you again: please let us choose to monitor DOP through the exact same signal path in the mixer when we want to. And please make this an option, so we don’t get people complaining that it would ruin their workflows.
Just let we hear in DOP exactly what we will hear after we close the window and press play.
This would be a HUGE improvement.
And while you are at it, it would be even greater if we could have the DOP transport just reflect the project transport, so we can loop a part of an event to focus on some issue, for example. As is, we always have to listen do the clip from its beginning, it makes no sense. I’d rather just solo the channel and have normal transport working, than to have to deal with that “play/loop” combo that quite precarious.
Thanks a lot!
P.s.: please show this request some support, my people! =)
One can only wonder, why this would be the case since your post makes perfect sense.
I rarely use offline processing, but I can imagine for post work, it would be used regularly due to multiple different audio sources being needed to be mixed and matched together in succession and on their own and I couldn’t imagine such frustration (actually I could but another subject).
I have wanted to use DOP, with plug-in’s but it seems rather awkward, so I just render stems instead.
I can only ask; how does it work in competing applications?
Well the only other app I know is Pro Tools which uses AudioSuite for offline processing, and it is far less convenient in total compared to DOP (unless it has recently changed). Like, it doesn’t even compare. But either way, from what I recall it works the same way. If I get sufficiently bored I might check later today… but probably not…
If DOP still has some issue and cause some problem, I would rather use offline processing just like Pro Tools or Nuendo 5. It’s simeple and easy for post, althought is convient that you can copy and paste or edit setting the plug-in, but truth is I rarely use it that way, just choose a plug, adjust then apply.
A suggestion to @Steinberg: Just offer a virtual input source called ‘DOP’ in Nuendo’s VST Connections and let the user decide what (and how) to use it for: As a dedicated channel in a project, or as an input on the actual track containing the audio to be processed, or as an external source in the Control Room, … etc.
This would be nice! but I believe it doesn’t address the need for DOP to come before event volume in the signal chain.
Sometimes, not rarely, there are events with up to ±20dB easily.
I think they should just route it back to the same point as the source clip, and let it follow its path.
Well … there can’t be one singular solution, as I tend to use DOP from the Pool at least as often as from a single Event. Nothing to “route back”, in those cases.
For start, i would be more than happy if they just make DOP post clip gain (as a option) as many of us said in the other thread.
not once did i find it usefull PRE clip gain as it is implemented at this moment
yes, event volume. i say “clip” because it is a word that is used in every other daw and nle. i hope steinber will follow that path, otherwise they need to rename “clip packages” to “event packages” (sorry for slight off topic)
(sorry for slight off topic)