Working on a segment by segment basis is fine up to a point, but there comes a time when you want to consider a project on a larger scale. This is where the Reel comes in. The Reel has several important attributes which are displayed in the information window:
The entire Reel can be slipped forwards or backwards in time. Silences can be inserted or deleted within the Reel. A new Reel can be made from a portion of an existing Reel, and two Reels can be merged into one, providing that the audio on the tracks does not clash at any point.
I have heard that the person most likely to buy a DAR product is someone who has one already. If this is true then Sabre Plus must fit in with the working methods of a SoundStation equipped studio. In fact, compatibility is almost total and practically the only differences are the limitations on expandability and upgradability, and the replacement of the touch screen with the monitor and mouse. Any new methods of operation made possible by the mouse are duplicated in SoundStation fashion for operators who will swap between the two systems. As far as audio data is concerned, the two systems are compatible and can be networked together. Sabre Plus is also compatible with the OMF (Open Media Framework), to the extent that it can read the output of a Lightworks system directly, and from an Avid via file translation from the Mac to DOS environment.
If you liked SoundStation and Sabre, then there is no doubt that you will like Sabre Plus too. SoundStation has proved that the DAR way of working is effective, and Sabre Plus is much more competitive on price with the newer systems around.
How does Sabre Plus differ from the original Sabre?
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