I've had a look at a couple of posts about this, but wanted to double-check that there's someone who's actually done the process of placing 5.1 surround sound, *encoded* data tracks onto a timeline in FCP and recorded them, via Edit-to-Tape, onto HDCAM. I ask all this specifically as from what I know and understand the surround data is not classed as a standard AES stream going in to the HDCAM, so I wonder if FCP might do something unwanted to the data if I try and treat it as a standard audio file and plonk it on the timeline. I think ProTools has to be set uo to indicate the tracks with the 5.1 aren't audio....
Normally, it should go through the room next to mine and the lovely audio engineers can easily deal with it but there's an enquiry from a client with no budget *sigh*. They haven't said where the encoded data is coming from; I'm just hoping they don't think that they or I can do it in FCS!
I have output 8 masters this way. Normal Audio on 1-8, and then Encoded DTS 5.1 audio on 9-10. Just looks like a solid black mass of audio (as it is data), and peaks well above 0...gets into the RED. BUT, it is fine. I output via SDI just fine from my Kona 3.
As long as FCP doesn't do anything to the bit depth or sampling rate of this file, it should be able to play back correctly. I don't know if this is true or not.
Also, make sure you set the deck to "cut" instead of "xfade" and to receive "DATA" on that channel pair so the deck doesn't automatically bit/sample rate convert. There's a menu item for it on the SR deck (831 - Non Audio data select).