My Hopes for Fairlight

Let me start by saying that I am super excited that Black Magic has incorporated Fairlight into Resolve. The possibility of having the entire post production process within one single piece of software is a workflow dream come true. However, after trying to use Fairlight on a few projects, I've come up with a list of gripes and wishes for Fairlight in the future to be a viable replacement for other DAW's such as Pro Tools or Nuendo for audio-post for film.

1) Editing is very cumbersome. I like the idea of the multi-layered editing approach on tracks, but in practice currently, this is a big test to my patience. Currently, the audio clip that is on the top layer takes precedence over the bottom layer, and once the top layer is faded in, what is fading out below it is cut out completely. This makes transitioning audio clips much harder to accomplish, as its not currently possible to hide an ambience fade out beneath the next line of dialog accurately without separating the files onto two different tracks. Having multiple tracks for different clips is historically how I've accomplished a proper dialog edit in the past in Pro Tools, but recently I've been using Reaper for my audio-post work and have been able to fade things in and out exactly how I want within a single track. This keeps the session nice and organized and track-based effects need to be copied/pasted/automated less frequently.

Also drawing fades and pulling out handles seem to be limited to a frame-grid, and is very sluggish to work with. Both fades and clip start and end points seem to have a mind of their own and don't go exactly where I'm telling them to go. Hopefully this is just buggy behavior (i'm using 15 beta right now) and will be resolved in the future. I sincerely hope there isn't a frame-grid limitation to audio editing.

2) Clip-based FX signal flow is wrong. Currently in Fairlight, if i add a VST plugin to an audio clip, the signal flow goes: Source clip-> FX-> Fades. If you add something like a reverb to an audio clip, the fade out of the clip, or end of the clip cuts the reverb trail. This can be fixed if the signal flow goes:
Source clip-> Fades -> FX. Again, going back to Reaper as an example, this is how the signal flow works, allowing me to say, add reverb to a voice or foley and have the reverb trail off after the clip has ended.

3) Nested Sub-mixes/Auxes. This is another huge one for me. Currently, if you have a submix group or aux set up, that submix can only be routed to a main master track. These submixes should be able to be routed to other submixes for stem printing. An example would be a 5.1 submix for dialog, where the dialog tracks are feeding in mono to the Center channel of a 5.1 submix group and a 5.1 reverb Aux for the dialog. For deliverables stem printing, this Dialog Reverb Aux needs be able to feed into the Dialog submix group. Currently, it cannot.

4) ADR manager. This thing looks and works great so far. I would love to see it expanded with a separate Foley manager as well. Having a checklist that's pre-mapped out with a set naming system is huge for working quickly. (this one is praise, not a complaint!)

5) General gui performance. I am having TONS of crashes from things as simple as moving audio files from track to track and moving audio files in from the Sound Library/Media Pool, pulling out audio handles, and sometimes even zooming. Also it seems the knobs on plugins require a circular movement of the mouse to control as opposed to linear mouse movement up or down. This makes it very hard to be accurate with where I'm wanting to set a parameter.

I'm sure as I dive in deeper I will find more things, but my hope is for Fairlight to actually be a viable replacement for having to export AAF's/XML's to go to other platforms for audio-post. The concept of having everything within once ecosystem is so exciting, and a dream for workflow.

Any other audio-post people working with Fairlight within Resolve coming across these issues or have similar wishes for workflow enhancement?

Fairlight is a mess. There's basic audio functionality still missing (fill left/fill right, soft clip, etc), yet they're expanding this panel like crazy, and it's pretty useless. I bet 95% of people using Resolve never touch the Fairlight panel.

Fairlight is a mess. There's basic audio functionality still missing (fill left/fill right, soft clip, etc), yet they're expanding this panel like crazy, and it's pretty useless. I bet 95% of people using Resolve never touch the Fairlight panel.

I hope this changes in the future. The possibilities here are mind-bogglingly good!

I agree about the possibilities. But it is an odd choice to be adding functionality when basics still aren't working or missing.

Fairlight is a mess. There's basic audio functionality still missing (fill left/fill right, soft clip, etc), yet they're expanding this panel like crazy, and it's pretty useless. I bet 95% of people using Resolve never touch the Fairlight panel.

Every couple of months a new user pops up on this forum and makes a bold claim similar to this, and in every single case the following has been true:
(a) Haven’t bothered to read the Manual
(b) Haven’t set the application up to their way of working (i.e. custom key bindings, and layouts)
(c) Have only briefly dabbled with the application and have not bothered to actually spend the required time learning the intricacies of a new system.
(d) Given (b) and (c), trying to use the system in the same way as Application X.

I’ve just looked at my session logs, and thus far in the last 14 months (since version 14 beta 1) I’ve logged over 2500 hours using Fairlight within Resolve - that's daily use in combination with my principal audio workstation I've used for roughly 12 years (where I've logged in excess of 30 000 hours).

Slowly, but surely, I'm building up towards that critical 10 000 hour mark using the Fairlight page, where the application becomes second nature.

Your statements "Fairlight is a mess" and “it’s pretty useless” is contrary to my experience.

1) Editing is very cumbersome.

Yes, with mouse-based editing workflows.

Editing and navigation is much improved and quite flexible once custom key bindings are assigned.

The standalone Fairlight system, in the opinion of many users, was never intended to be a mouse-based system, menu items didn't even have key bindings since it relied very heavily on the Fairlight Consoles and the Xynergi panel.

Fairlight Solo seemed to be a bit of a compromise, commonly used more as a "prep" system since it was mouse-based - much like Resolve's current Fairlight implementation.

Once the Fairlight Console Audio Editor (the redesigned Xynergi) is available, editing will improve significantly.

Also drawing fades and pulling out handles seem to be limited to a frame-grid, and is very sluggish to work with.

As mentioned in your other thread, use the Fade's Curve Bead to manipulate fade duration at the sample level - as short as 3 sub-frames if required.

It's rare for me to drag the Fade Handle on the Clip, as I mostly prefer:
Trim > Fade In to Playhead
Trim > Fade Out to Playhead

2) Clip-based FX signal flow is wrong. Currently in Fairlight, if i add a VST plugin to an audio clip, the signal flow goes: Source clip-> FX-> Fades. If you add something like a reverb to an audio clip, the fade out of the clip, or end of the clip cuts the reverb trail.

That's not the behaviour I'm experiencing on my systems.

Insert an instance of Exponential Audio's Stratus on an Audio Clip as a Clip-based Effect.
Creat a Fade at the Tail of the Clip, and hit play.
Result: Reverb Tail is still audible after the Playhead passes the Clip's right boundary.

Same result achieved even without the Fade, the Reverb Tail continues long after the Playhead passes the Clip's right boundary. The Reverb Tail is not cut off.

Notice on the plugin instance metering that no input signal is present (Blue bar - barely visible as a result), but Output signal is still present (Green bar).

Look at the Mixer Channel (A1) and Main Buss (M1) metering and notice that the Reverb Tail is still present (which roughly matches the Plugin metering).

Fades.png (568.38 KiB) Viewed 3515 times

3) Nested Sub-mixes/Auxes.

This is one of the more common feature requests among current Fairlight users looking at transitioning to Resolve.

The Resolve developers appear to value customer feedback and have implemented a ton of feature requests posted on this forum, so it's worth raising your requirements here.

But in my workflow, for Dubbing and localisation, for example, often a pre-fx dialogue stem is part of the deliverable. With Resolve's current implementation, providing the Dialogue Pre-FX and Post-FX stems is pretty simple to configure and deliver.

Yes, more Busses are required with Resolve's current implementation (using both Mains and SubMixes for Dialogue Stems), but it's an implementation that actually fits my workflow.

Even with Nested Sub-Mixes, I would still mostly use the current workflow for deliverables.
The lack of Nested Sub-Mixes only really come in to play on 7.1 Projects where I often hit the 128 Buss limit, and a few workarounds are required, which Nested Sub-Mixes would solve.

4) ADR manager...I would love to see it expanded with a separate Foley manager as well.

Use the Clear List option in the ADR Panel and import a dedicated Foley .CSV Cues file.

Often, in my workflow, the Foley Cues .csv is a heavily edited and expanded version of the ADR Cues files (or vice versa).

My ADR system is separate to my Foley system, which is separate from the field (SFX) recording system - so the single ADR Cues List tab is less impactful on my workflow (but it is part of my feature request list).

5) General gui performance. I am having TONS of crashes from things as simple as moving audio files from track to track and moving audio files in from the Sound Library/Media Pool, pulling out audio handles, and sometimes even zooming.

Stability is not an issue on my systems with version 15, as I've only had a single crash in the last week with roughly 50 hours of Resolve use.

Fairlight is a mess. There's basic audio functionality still missing (fill left/fill right, soft clip, etc), yet they're expanding this panel like crazy, and it's pretty useless. I bet 95% of people using Resolve never touch the Fairlight panel.

i'd put my bets on it being closer 99.9768% of professional users, colorists, edtors, finishing artists....

and really al i want it reliable mapping from the media pool to the deliver page, currently it's a complete trainwreck, and making a DCP is impossiable due to the audio routeing

still blows my mind how something so simple in Resolve v12.5, Flame, DS, etc, etc can still be so thoughly screwed up in 2018.....

My biggest hopes for Farilight is to make possiable to never go near it, or they fix the most basic functionality

1) Editing is very cumbersome.

Yes, with mouse-based editing workflows.

Editing and navigation is much improved and quite flexible once custom key bindings are assigned.

The standalone Fairlight system, in the opinion of many users, was never intended to be a mouse-based system, menu items didn't even have key bindings since it relied very heavily on the Fairlight Consoles and the Xynergi panel.

Fairlight Solo seemed to be a bit of a compromise, commonly used more as a "prep" system since it was mouse-based - much like Resolve's current Fairlight implementation.

Once the Fairlight Console Audio Editor (the redesigned Xynergi) is available, editing will improve significantly.

Also drawing fades and pulling out handles seem to be limited to a frame-grid, and is very sluggish to work with.

As mentioned in your other thread, use the Fade's Curve Bead to manipulate fade duration at the sample level - as short as 3 sub-frames if required.

It's rare for me to drag the Fade Handle on the Clip, as I mostly prefer:
Trim > Fade In to Playhead
Trim > Fade Out to Playhead

2) Clip-based FX signal flow is wrong. Currently in Fairlight, if i add a VST plugin to an audio clip, the signal flow goes: Source clip-> FX-> Fades. If you add something like a reverb to an audio clip, the fade out of the clip, or end of the clip cuts the reverb trail.

That's not the behaviour I'm experiencing on my systems.

Insert an instance of Exponential Audio's Stratus on an Audio Clip as a Clip-based Effect.
Creat a Fade at the Tail of the Clip, and hit play.
Result: Reverb Tail is still audible after the Playhead passes the Clip's right boundary.

Same result achieved even without the Fade, the Reverb Tail continues long after the Playhead passes the Clip's right boundary. The Reverb Tail is not cut off.

Notice on the plugin instance metering that no input signal is present (Blue bar - barely visible as a result), but Output signal is still present (Green bar).

Look at the Mixer Channel (A1) and Main Buss (M1) metering and notice that the Reverb Tail is still present (which roughly matches the Plugin metering).

The attachment Fades.png is no longer available

3) Nested Sub-mixes/Auxes.

This is one of the more common feature requests among current Fairlight users looking at transitioning to Resolve.

The Resolve developers appear to value customer feedback and have implemented a ton of feature requests posted on this forum, so it's worth raising your requirements here.

But in my workflow, for Dubbing and localisation, for example, often a pre-fx dialogue stem is part of the deliverable. With Resolve's current implementation, providing the Dialogue Pre-FX and Post-FX stems is pretty simple to configure and deliver.

Yes, more Busses are required with Resolve's current implementation (using both Mains and SubMixes for Dialogue Stems), but it's an implementation that actually fits my workflow.

Even with Nested Sub-Mixes, I would still mostly use the current workflow for deliverables.
The lack of Nested Sub-Mixes only really come in to play on 7.1 Projects where I often hit the 128 Buss limit, and a few workarounds are required, which Nested Sub-Mixes would solve.

4) ADR manager...I would love to see it expanded with a separate Foley manager as well.

Use the Clear List option in the ADR Panel and import a dedicated Foley .CSV Cues file.

Often, in my workflow, the Foley Cues .csv is a heavily edited and expanded version of the ADR Cues files (or vice versa).

My ADR system is separate to my Foley system, which is separate from the field (SFX) recording system - so the single ADR Cues List tab is less impactful on my workflow (but it is part of my feature request list).

5) General gui performance. I am having TONS of crashes from things as simple as moving audio files from track to track and moving audio files in from the Sound Library/Media Pool, pulling out audio handles, and sometimes even zooming.

Stability is not an issue on my systems with version 15, as I've only had a single crash in the last week with roughly 50 hours of Resolve use.

Sorry in advance for not knowing how to properly multi-quote on the forums, I'll figure that out soon hopefully!

I've always heard that Fairlight should be used with the editor controller. I wish there was more information available on the features of the thing and what it can actually do. For now, I'm stuck using the mouse/key commands. Do you know of any good videos demonstrating the older Xynergi version of the editor controller?

As far as clip-based plugins go, I just tried again on a blank session adding Exponential's Pheonixverb directly on the clip and the behavior was in line with what I'd previously complained about. The end of the clip cuts the reverb's signal completely. Attached is a gif showing this happening. Reverb decay is set for 10 seconds, but you can see the signal is gone just after the clip ends Could this be a bug with the Windows version? I see you're on macOS (which is odd since Fairlight historically was Windows only, right?)

For Foley cue management, having a separate manager, or section of the ADR manager seems ideal for a multi-room facility that's using the collaboration features of Resolve. I assume that if someone is spotting in one room and pushes an update to the project, it'd be the same across all systems, right? It'd be nice to not have to clear lists and save different versions of CSV files.

For nested Sub-mixes and Deliverables-printing, are you just printing all of your submixes and re-importing them back into the project to re-combine to the delivery specs? Or is there another way I'm not thinking of? I'd love to know what your process is currently.

Lastly, as far a crashes and stability goes, I wish my experience was the same as yours, as I've had nothing but trouble so far. Again, you seem to be running DR15 on macOS and I'm on Windows 10 Pro, so maybe that's where the issue is. I'm a longtime mac user, but only recently switched to Windows; maybe I shouldn't have?!

Reynaud - you sound like the extreme minority. Can you post links to work you've done that's required such in depth audio work? I'd love to see it/hear it.

And to clarify your "new user" statement. I may be a new forum member, but a new user I am not. I first edited some time in the 80's on a cuts only linear setup with 3/4" tape. Then I spent a lot of the 90's and 00's sitting in telecine sessions with DaVinci as the grading tool - mostly super 35mm, some super 16, and in one notable instance, super 8mm. I've directed literally thousands of shows for clients ranging from Discovery Channel (including content for Shark Week and a few years of Puppy Bowl on AP) to PBS to NBC Universal. I prefer doing commercials and was director of broadcast for Arnold Worldwide (remember the VW "Driver's Wanted" campaign? - that was under my tenure, along with the nascence of McDonald's "2 for $2" campaign). I was part of the two man team that developed the work flow to transfer film straight to files without a tape intermediate; the other guy, George Rubacky, was a ground breaking engineer at DuArt who ended up at the Lab at Moving Images. Currently, I'm working on two Netflix shows, a car show designed to take the place of "Pinks: All Out" (which I directed a number of episodes as well, including editing them) and "Pass Time" and what looks like might be my funniest commercials ever, this time for a distillery. I'm also the go-to director for Comcast/NBC Universal's TV shows out of Washington DC. I hold a national emmy, 32 addy awards, a bunch of film festival wins and honorable mentions (including a win at MTV Urbanworld and Palm Springs International Film Festival).

I bought my first Blackmagic card in 2005, when I started editing my work in earnest. Since then I've personally bought thousands of dollars worth of BMD stuff and specced a million plus worth of Blackmagic gear in different studios.

On the audio side of things, in 1990 I was signed to TVT Records (the same time Trent Reznor (Nine Inch Nails) was). I gave up music to follow a career in moving pictures. I was signed as a director to the NYC music video company Notorious Pictures, where we did music videos for bands like Slipknot, Union Underground, Aerosmith, and Bela Fleck (what a combination, right?) Even though I'm starting to get a little long in the tooth and my hearing's not what it used to be, I have a bespoke single ended triode amp sitting on my desk as I type this and a heavily modified Dynaco amp in the next room with KT88 output stages and the feedback loop removed. I also used Cakewalk when is was only a DOS-based sequencer.

There's more, but you get the idea.

That said - I have never felt the need to have a full blown DAW built in to an NLE. 999 times out of 1,000, I've not had to resort to a dedicated audio guy, except twice, when dealing with Discovery's nightmare QC and only because they insisted on using the LM100 meter for checks - originally it was designed for leveling movie trailers in theaters. It was easier just to pay someone who has one rather than buy one and incorporate it into my work flow.

A lot can be done with basic tools, and I feel much like Dermot does about Fairlight - even though I fondly remember Fairlight synths with worm drives in studios.

DaVinci Resolve is an amazing tool, and probably the best of the NLEs for today's workflows; but with a few small tweaks and fixes, it could be mind blowing. I would just like to see the little things fixed first, and since most people probably won't use Fairlight, it's largely wasted energy, at least until the rest of the tool is up to snuff completely.

This engages only my opinion but:

1- everything is not over yet for Fairlight,

2-integrate that it is necessary to make compatible and integrable the video (format, timecode, interpolation, retime, etc ... + fusion, vfx ..., + others)

with the audio:

ask for some gymnastics and articulation that lead to compromises ... Maybe a little patience and certainly compromises because everyone has a vision of his world of 'audio' and 'visual'

..and learning.

Do you know of any good videos demonstrating the older Xynergi version of the editor controller?

These are quite brief, but they provide a good overview:

Could this be a bug with the Windows version?

It's possible, perhaps other Windows users are able to confirm your experiences.

I see you're on macOS (which is odd since Fairlight historically was Windows only, right?)

Surprisingly, Fairlight now also runs on Cent OS. That’s all three platforms supported.

I assume that if someone is spotting in one room and pushes an update to the project, it'd be the same across all systems, right?

That is one aspect of the collaborative workflow.

It'd be nice to not have to clear lists and save different versions of CSV files.

This is only an issue when working a little more non-sequentially.

Generally, the ADR Cues don’t match the Foley Cues anyway, and the Foley Cues are often much more extensive, so the two lists will be different and have different versions.

For nested Sub-mixes and Deliverables-printing, are you just printing all of your submixes and re-importing them back into the project to re-combine to the delivery specs?

Generally stems are printed via the Timeline > Bounce Mix to Track command.

This command produces compliant Broadcast Wave files in the target directory, and places the Stems on the Timeline on dedicated Tracks that follow the naming convention of the source Busses.

Deliverables are then produced via the Deliver Page.

I'm a longtime mac user, but only recently switched to Windows; maybe I shouldn't have?!

The developers have done an incredible job getting Resolve 15 stable on Mac OS.
Resolve 14 generally was much less solid, especially the early betas. Version 15 overall has been fantastic.

The more users provide the developers with detailed reports including full system specs, the easier it is for the devs to reproduce and then provide solutions in the coming betas.

[Peter Chamberlain]

Thanks for the ongoing feedback. We r working to improve Fairlight and Fusion integration daily and the feedback from everyone is welcome

Reynaud- That first video demonstrating the macros/jog wheel editing is mind-blowing. I want to get my hands on one of these asap. It looks like an ergonomic dream to work with.

I tried several time-based VST's on Resolve 15b5 on clips and all had the same performance issues where the audio cuts off with the clip. also, if I move the edit cursor to a point within the clip, upon starting playback, the tail from the previous playback plays on top of the audio file. This is all obviously a bug and not the intended performance.

Peter- Thank YOU! I'm excited to see where this all goes in the future. Currently, I can't do too much serious work in Fairlight due to the issues i've described in this post. Hopefully soon these issues will either be resolved, or maybe even a better way to do things will come about. Who knows?! I'll be watching and testing for sure. It looks like the Fairlight Editor Controller might fix some of my gripes with the editing worklfow.

[Peter Chamberlain]

Keller, can u detail your system so we can consider if any of your performance issues are related?

Keller, can u detail your system so we can consider if any of your performance issues are related?

Of course! I'm running Windows 10 Pro (10.0.17134) on a machine consisting of an Intel i7-6700k/Gigabyte z170x-UD5 TH/32GB DDR4/and an NVIDIA GTX 980 GPU.

Windows is running on an NVME drive connected directly to the motherboard, and my main media drive is an SSD connected via SATA.

*edit- I forgot to mention my audio interface is a Sound Devices USBPre2

Reynaud - you sound like the extreme minority. Can you post links to work you've done that's required such in depth audio work? I'd love to see it/hear it.

I was sincere in my request - do you have anything you can share? I just finished an ADR session this morning, and haven't found any need to touch Fairlight yet.

I just finished an ADR session this morning, and haven't found any need to touch Fairlight yet.

Appears you are using the Fairlight page a lot more than I have ever had to use the Edit page (whilst the Fusion and Colour pages also remain untouched).

you sound like the extreme minority. Can you post links to work you've done that's required such in depth audio work? I'd love to see it/hear it.

This week I am dubbing a television series in to four of the eleven official languages (which by law government is required to promote equally), and may also be tasked with the French dub for the rest of Africa. Sometimes an Arabic dub is also required for North Africa and the Middle East.
This is apart from the primary English language stream.

This results in me using at least six 5.1 Main Dialogue Busses which requires 36 streams of the allotted 128 Buss stream limit. Include the required Dialogue Sub and Aux Busses for each language, and see the Buss stream allotment dwindle. That's just dialogue.

There's also the Music Main, Sub and Aux Busses, as well as the Effects Main, Sub and Aux Busses which in 5.1 fixed channel configuration rapidly eat in to the allotted 128 streams available in the Fairlight Bussing system. And finally the required Main 5.1 Final Mix and M&E Main Busses for the IMF deliverable, along with Busses for the stereo programme.

There are three solutions to reducing the Buss limit:
(1) addition of VCAs (less Sub Busses used) within the Fairlight page
(2) ability to route Auxes to Sub Busses (less Main Busses used) within the Fairlight page
(3) use ProTools for the Final Mix and Stems

A few years ago a came across a video of the Fairlight launch of the Evo console (2010?).
It was stated that their main target market and customer base was the post-production industries for film and television - i.e. moving picture (NHK, for example, had over 150 Fairlight systems).

What was also stated was that German Public Radio Broadcasters had purchased and were using several Fairlight systems to produce radio plays. The powerful video component of the Fairlight system remained untouched, only the audio portion was required. Obviously, they were the extreme minority among the Fairlight customer base, but significant enough that it was specifically mentioned during the presentation.

To assume that everyone has the same requirements and workflow, and uses a product in the same way is perhaps not the best approach.

all i want is CLEAN RELIABLE track routeing from timeline to deliver, no chance of messing with mastered / approved mixes
see v12's track router for how it should be...
currently it's an insane trainwreck

I just tried beta 5 on a fresh macOS High Sierra system and I'm still getting the same issue I was having before on Windows with Clip-based FX. I tried putting a reverb on an audio clip and as soon as the playhead hits the end of the clip, reverb cuts out.

Is there a setting I'm missing somewhere?!

Keller,

I can only reproduce this issue using EBU line up tone with Stratus inserted as a Clip-based effect.
The Reverb tail is indeed cut off at the Audio Clip's right boundary.

However, when I use a stereo musical source Audio Clip (e.g. the Aria "Ruhe Sanft" from Mozart's Zaide), Stratus will include a very long tail after the right boundary of the clip, for the duration specified (in this case roughly 20 seconds).

I have also compared the Clip-based FX behaviour with Reaper 5.92 and Resolve's implementation is definitely functional on my systems.

I have confirmed identical behaviour with Exponential Audio's Stratus, Symphony, R2 Surround, and PhoenixVerb Surround (and several other Reverb plugins), inserted as Clip-based FX.

Reverb Tail.gif (959.91 KiB) Viewed 3087 times

Investigating this issue has brought to light an issue with Stratus though (where the Reverb Tail cuts off on the left channel after roughly 7 seconds - same behaviour within Reaper), as is evident in Resolve's Audio Track metering (only present with extremely long reverb tails).

Keller,

I can only reproduce this issue using EBU line up tone with Stratus inserted as a Clip-based effect.
The Reverb tail is indeed cut off at the Audio Clip's right boundary.

However, when I use a stereo musical source Audio Clip (e.g. the Aria "Ruhe Sanft" from Mozart's Zaide), Stratus will include a very long tail after the right boundary of the clip, for the duration specified (in this case roughly 20 seconds).

I have also compared the Clip-based FX behaviour with Reaper 5.92 and Resolve's implementation is definitely functional on my systems.

I have confirmed identical behaviour with Exponential Audio's Stratus, Symphony, R2 Surround, and PhoenixVerb Surround (and several other Reverb plugins), inserted as Clip-based FX.

Reverb Tail.gif

Investigating this issue has brought to light an issue with Stratus though (where the Reverb Tail cuts off on the left channel after roughly 7 seconds - same behaviour within Reaper), as is evident in Resolve's Audio Track metering (only present with extremely long reverb tails).

Reynaud-

This is indeed a very strange issue, made even more strange that EBU sync tone causes this issue on your system, but no other clips will!

Are you using Standard Resolve, or the Studio version? All of my testing so far is with the non-Studio version.
I've tried both Exponential's Pheonixverb/R2 Surround as well as Valhalla DSP's stereo reverbs and delays and Resolve's new Reverb FairlightFX and I'm getting the same issue.

This is indeed a very strange issue, made even more strange that EBU sync tone causes this issue on your system, but no other clips will!

Reaper 5.92 behaves identically to Resolve 15 with the EBU line up tone and an instance of Stratus as a Clip-based FX.

Are you using Standard Resolve, or the Studio version? All of my testing so far is with the non-Studio version.

Studio and Standard version. The Audio functionality is identical between the two versions.

There are two things you could try:
(a) Delete the Clip-based FX and re-instantiate the plugin instance
alternatively,
(b) Grab the Clip's right boundary and drag it a bar earlier (essentially cutting the tail of a sustained note off)

Do either of these actions change the behaviour?

This is indeed a very strange issue, made even more strange that EBU sync tone causes this issue on your system, but no other clips will!

Reaper 5.92 behaves identically to Resolve 15 with the EBU line up tone and an instance of Stratus as a Clip-based FX.

Are you using Standard Resolve, or the Studio version? All of my testing so far is with the non-Studio version.

Studio and Standard version. The Audio functionality is identical between the two versions.

There are two things you could try:
(a) Delete the Clip-based FX and re-instantiate the plugin instance
alternatively,
(b) Grab the Clip's right boundary and drag it a bar earlier (essentially cutting the tail of a sustained note off)

Do either of these actions change the behaviour?

I just tried both of these suggestions with the same result. Since I'm testing on macOS right now, I even tried AU versions of these plugins. Same thing. I even just broke out an old ******* 2009 Macbook Pro, did a HDD wipe and a clean install of El Capitan and installed Standard Resolve. Testing with the FairlightFX Reverb, I'm again getting the same results. That's Windows 10, High Sierra, and El Capitan all giving me the same results here.

I know the audio functionality between Standard and Studio is *supposed* to be the same, I'm just thinking of any possible difference to narrow down what the issue could be, and I'm thinking maybe this is a bug with Non-Studio Resolve.

I just finished an ADR session this morning, and haven't found any need to touch Fairlight yet.

Appears you are using the Fairlight page a lot more than I have ever had to use the Edit page (whilst the Fusion and Colour pages also remain untouched).

you sound like the extreme minority. Can you post links to work you've done that's required such in depth audio work? I'd love to see it/hear it.

This week I am dubbing a television series in to four of the eleven official languages (which by law government is required to promote equally), and may also be tasked with the French dub for the rest of Africa. Sometimes an Arabic dub is also required for North Africa and the Middle East.
This is apart from the primary English language stream.

2 VERY IMPORTANT points:

1. I didn't touch the Fairlight page AT ALL. I have no idea how you concluded what I did from thousands of miles away. I just lined up the waveforms and dropped the audio in.

2. And this is the big one - you're using the wrong software. Resolve is an NLE -NOT a DAW. You'd be time and effort ahead to use the right tool for the job. Logic, Protools, etc are what you should be using, since you're not actually editing any moving pictures. They both have excellent support for what you're trying to do. If the BMD folks think they're going to incorporate a full blow DAW into an NLE, they're in for a shock. It's too much to bite off, and the two disciplines are completely different. When I need a full, finished broadcast surround mix beyond what I can do, I take it to my composer - Blake Althen at Human Factor - the guy who does the music and mixing for History Channel, Discovery and A&E's higher-end sourced programming. The BMD folks should be focusing on fixing the missing and broken basic functionality needed to make Resolve an unbeatable NLE. They're chasing a red herring with Fairlight.

you're using the wrong software. Resolve is an NLE -NOT a DAW. You'd be time and effort ahead to use the right tool for the job.

With the same flawed logic, it could be said your needs would be better served by a dedicated NLE, instead of clearly battling with a colour correction focused tool with some NLE functionality included.

With such shortsightedness there would be no innovation nor evolution, Resolve would still be a colour correction focused application, and picture and audio editors would still exclusively be on Media Composer and ProTools systems - no alternatives required.

The reality is thankfully somewhat different.

Logic, Protools, etc are what you should be using, since you're not actually editing any moving pictures. They both have excellent support for what you're trying to do.

Neither option provides dedicated ADR/Dubbing functionality, and so are actually a poor choice for these type of workflows.

Hollywood and European-based Audio Post facilities have (at great expense) developed custom hardware/software ADR/Dubbing solutions in order to overcome the severe shortcomings of the ProTools system (Logic is a non-entity in these audio post facilities).

Those without the required resources, opt for dedicated third party software solutions such as VoiceQ -
a license of which costs more than a perpetual license of ProTools Ultimate.

These same facilities develop custom Conform/Reconform tools to overcome another significant shortcoming of the ProTools system - more basic and essential functionality it has yet to provide in its 25 year history.

Resolve with it's Fairlight integration is actually very well suited to this type of work, since it actually includes a dedicated ADR/Dubbing toolset - while also allowing for a more efficient audio team, no longer spending half their time chasing picture cuts and constantly re-conforming, constantly transcoding audio source media for even the most basic of workflows.

In fact, having used over a dozen DAWs at some point in my career (cutting my teeth on the first commercially available DAW and audio restoration system - a Sonic Solutions system with NoNoise) -
out of all current audio solutions - Resolve is perhaps the most suitable for an audio post focused workflow based on its current version 15 feature set.