SADiE's Artemis is a 32-bit/32-track, PC-based workstation that uses its own card-set to handle all DSP and system control. Windows is only used to handle the graphic interface to SADiE's powerful engine, so you are not at the mercy of your computer's Windows resources. A wide range of options configures the system for any combination of music recording/editing/mixing, post or mastering applications. While these suggestions are geared toward the Artemis system, many of them are equally applicable to SADiE's other DAWs as well.
The “pro” side of professional audio devices comes from the way they interface with other pro gear in a studio complex. This is where SADiE shines. For example, consider a post-production facility having three audio recording studios, a mastering room and an equipment room/chief engineer's office, each with its own SADiE. From the equipment room, send a master video black-burst reference signal to each studio's control room. Connect the video reference signal to each room's wordclock generator, like an Aardsync II. Now your digital wordclock generator is synchronous with your video clock. Gen-lock all your digital devices (digital console, DATs, MDMs, digital I/O effects processors, outboard DACs/ADCs and, of course, the SADiEs) to your wordclock. Lock your video machines to the video clock. Your analog I/O, digital I/O and timecode I/O should be accessible through patchbays for maximum flexibility.
By connecting the Sony 9-pin controlled devices (Beta decks, MDMs, etc.) directly to SADiE's 9-pin ports, you can control the SADiE and the transports of up to four machines from your SADiE. SADiE has Machine Control windows that pop up for each machine. From SADiE, you can toggle I/O monitoring on your analog or digi Beta decks, arm their tracks, locate, punch in, punch out, transfer to and from each machine, all with perfect frame/sample-accurate sync at any SMPTE rate.
LOCK AND LOAD!
I often lock my Tascam DA-98s to SADiE via 9-pin. Once the 9-pin control on the SADiE is engaged, the two act as one machine, each chasing and operating each other. Unfortunately, the Tascam does a poor job of handling timecode over the 9-pin cable as a master, while SADiE is more powerful as a slave. The simple fix is to switch SADiE's timecode type to LTC, rather than 9-pin TC. Connect the LTC out of the Tascam to the LTC on SADiE, and you are good to go. All the 9-pin transport controls continue to talk to each other. The DA-98's control protocol must be set to 9-pin — I also select BVW-75 emulation, though other emulation settings should work equally well. I frequently transfer eight discrete tracks of audio from the Tascam to the SADiE via AES, edit the tracks, master the audio, then lay them back to the Tascam, many times in sync with a corresponding picture. It is fast, reliable and precise.
SADIE — YOUR WAY
Like most DAWs, SADiE's virtual mixer and tracks can be configured in numerous ways. Onscreen drop-down windows, the mixer and control panels can be arranged and sized to fit your particular project. SADiE can create desktop templates, and a Set Up window can store system defaults (sync sources, hot keys, pre/post-roll times, PQ parameters, etc.), so SADiE works your way. It's comprehensive but potentially time-consuming if you have to set them each time you run the application. To accommodate this, SADiE has a “users.ini” file to save all of your preferred settings. It's cool, but there's a bonus for users with multiple systems: After creating the ideal startup configuration on one machine, simply copy the template files and user.ini files via your studio's LAN to each of the other SADiEs in the house. Now each SADiE in the facility starts and runs exactly the same. Each engineer can work from the same uniform beginning.
UPGRADES AND MORE
In a facility with multiple systems, upgrading SADiE software is a breeze. Simply go to www.sadieus.com and download the latest executable program file (free upgrade) to a directory in one of the studio computers. Then go to each SADiE and navigate over Windows network neighborhood to the computer with your upgrade file. Double-click the file and answer yes to all of the default questions. You'll be done within five minutes — maintaining consistency among multiple machines couldn't be easier.
An active engineer/producer for 28 years (and loving it!), Jim Fox operates Lion and Fox Recording Studios in the Washington, D.C., area. Visit the facility atwww.lionfox.com.