LAME for DP 8

[toodamnhip]

I use Audio Hijack Pro to capture my Mp3 mixes from DP. A great tool. It is much much easier to just engage the record button of Audio Hijack Pro and have it capture everything without futzing around with DP settings.

I have AHP as well, but what's so difficult about hitting the bounce button in DP and saving to MP3? If you have routing issues or freezing a lot of VI's is problematic, I can see AHP as a solution, but that happens in realtime with AHP. Bouncing in DP happens in virtual time and can be an immense time saver when you are sending cues or other stuff out to clients for review. A 45 minute soundtrack will take AHP 45 minutes to capture. DP will export than in probably under 5 minutes - more likely less on a faster machine.

Seriously, zed, the MP3 export and bounce from DP is really a much more efficient way to go unless you have a specific reason why a project needs to be captured externally.

Whoa whoa, you actually trust bounce to disk?
Hmm, I would never in a lifetime not listen to every second of a mix before sending it out for mastering etc...
I never us bounce to disk unless it is just to make a draft for a client going home that night.
I don;t trust that all 3rd party plugs automate properly in BTD.

[MIDI Life Crisis]

Did I say I didn't listen to every second of a mix before sending it out? I don't think I said that... and yes, I do trust BTD as it hasn't failed me. Not that your dramatics aren't appreciated.

[toodamnhip]

Did I say I didn't listen to every second of a mix before sending it out? I don't think I said that... and yes, I do trust BTD as it hasn't failed me. Not that your dramatics aren't appreciated.

Well, I am not sure I understand your methods at all then. If you check every second of an entire mix then why don’t you do it like I do?
That would be, route it to a stereo track, hit record, and check and record simultaneously.
If there is something incorrect you want to adjust, stop, do the fix, punch in on the mix, merge files.
I see no reason ever to btd in light of this method. Of course, you don;t have to agree.
But by the time I hear a mix and approve it, is is recorded and done with. No extra steps needed.

[MIDI Life Crisis]

Because I'm not you. Different strokes for different folks.

Man, you really need to take a break or have a beer or something today... you;re just pissin' everybody off. (Now you know how I feel!)

[zed]

I use Audio Hijack Pro to capture my Mp3 mixes from DP. A great tool. It is much much easier to just engage the record button of Audio Hijack Pro and have it capture everything without futzing around with DP settings.

I have AHP as well, but what's so difficult about hitting the bounce button in DP and saving to MP3? If you have routing issues or freezing a lot of VI's is problematic, I can see AHP as a solution, but that happens in realtime with AHP. Bouncing in DP happens in virtual time and can be an immense time saver when you are sending cues or other stuff out to clients for review. A 45 minute soundtrack will take AHP 45 minutes to capture. DP will export than in probably under 5 minutes - more likely less on a faster machine.

Seriously, zed, the MP3 export and bounce from DP is really a much more efficient way to go unless you have a specific reason why a project needs to be captured externally.

Well in the situation you have described with a really lengthy project, I can see how doing a bounce would be a real time saver, but since you have to then listen to the entire thing carefully, it seems like it could potentially be a less efficient way to output mixes, since if you do it live with Audio Hijack you can hear instantly if something is sounding right and can make adjustments while the mix is being captured.

Like TooDamnHip, I would be hesitant to trust that the bounce and that all elements will render properly with this method. However, my projects are not lengthy. They are regular songs which are short and which I would want to hear exactly as being captured so that I can adjust the levels on the fly, or start over if necessary.

More important than that, just as a general advantage to using Audio Hijack, is that I can capture my noodling on the keyboard (or something coming into a microphone) without actually recording a track to DP. Audio Hijack just sits there like a tape recorder and captures reference information for me when I want it. And furthermore, sometimes I want to capture a sample of a DP project which is NOT the way I want it to be saved (like with some replaced alternate instruments I am experimenting with, or maybe a weird mistake that sounds sort of cool which I want to remember).

When all is said and done, Audio Hijack is so easy to use. One button pressed and I know exactly what I'm gonna get. I have tried the DP bounce to Mp3 thing in the past and had problems with it, so there doesn't seem to be much point for me to fiddle around with trying to get DP to do what I want under the hood, when all I need to do is capture playback.

I believe the quality of the captured audio is pretty much identical, either way. Not a bad idea to be able to use both methods depending on the situation.

-------

Please let's all try to get along here and not assume too much about the "attitude" of others. Like you just mentioned MLC (with a smiley face), your posts can sometimes be abrasive as well. I'm pretty sure TooDamnHip wasn't intending to rub you the wrong way.

[Tritonemusic]

...

[MIDI Life Crisis]

Whoa, whoa! Are you telling me that you don't listen to the recording after you make it? AFAIK you cannot monitor the actual recorded sound file in DP like you could with a 3 head playback machine. You are still listening to the DP project before the recording, so don't you have to check it anyway?

[MIDI Life Crisis]

[zed]

Whoa, whoa! Are you telling me that you don't listen to the recording after you make it? AFAIK you cannot monitor the actual recorded sound file in DP like you could with a 3 head playback machine. You are still listening to the DP project before the recording, so don't you have to check it anyway?

If that is directed to me, the only time I have ever feel it necessary to double-check my captured Audio Hijack Pro files is if I was using any hardware devices because things that are not routed properly can be skipped by the capture (but that would be true of bouncing as well).

Other than that, I have been using Audio Hijack Pro for several years and never encountered an issue with my captures.

As far as what you are listening to while capturing audio, I had thought that it wasn't live monitoring of the signal, but just found out that if you activate any of your plugins in Audio Hijack Pro effects section, you actually *do* hear the processed signal as it is being captured. So presumably, anything that was not being heard by Audio Hijack Pro would not be heard while you are capturing the signal.

[MIDI Life Crisis]

As far as what you are listening to while capturing audio, I had thought that it wasn't live monitoring of the signal, but just found out that if you activate any of your plugins in Audio Hijack Pro effects section, you actually *do* hear the processed signal as it is being captured. So presumably, anything that was not being heard by Audio Hijack Pro would not be heard while you are capturing the signal.

So in order to avoid the "hassle of BTD" you're resorting to a third party program to capture the audio when DP can and does allow you to do this reliably and more efficiently. Hey, that's cool. Knock yourself out, but I think you are adding a layer of work that is unnecessary and taking more time to accomplish it than you need to. Seriously.

Now if you're experiencing BTD issues on a regular basis then we can talk, but if you're doing realtime records "just because" then you might want to reconsider your M.O.

[zed]

So in order to avoid the "hassle of BTD" you're resorting to a third party program to capture the audio when DP can and does allow you to do this reliably and more efficiently. Hey, that's cool. Knock yourself out, but I think you are adding a layer of work that is unnecessary and taking more time to accomplish it than you need to. Seriously.

Now if you're experiencing BTD issues on a regular basis then we can talk, but if you're doing realtime records "just because" then you might want to reconsider your M.O.

It doesn't sound like you read my explanations for the other reasons why I do it, and the suggestion that perhaps both methods are appropriate for different things. DP can't bounce something I am playing live, and neither can it bounce an experimental mix where I play around with the levels or plugin knobs while capturing the audio.

If you can't see the advantages, then you are probably not capturing the same kinds of work in progress that I am capturing. Naming the file and then pressing the record button is pretty damn easy for me. There's no thinking involved, and it automatically stores all my demo mixes in the folder that I want them stored in.

[MIDI Life Crisis]

Maybe I'm just dense, but I do not associate capturing live performance with BTD. That's just a silly assumption. It's also a sillier assumption that someone would monitor a soundfile of a live performance in progress if you're the one performing. I know my little brain cannot do that for the music I play and unless you're doing some non-metric based music or playing with the delay, etc., I doubt most performers could. It's possible, but again, not in any structured (read: traditional metric setting) musical way.

I rarely act as an engineer for others so 99.999% of the time I am editing audio in DP that has already been recorded. If you're acting as an engineer in a recording, then that is something else and we can talk about that. Well, you guys can as I really don't spend much time as an engineer at a mixing board.

At this point it might be best to start a thread called "To Bounce or Not to Bounce" but the question at hand is the use of LAME for bounces, not whether bounces are a good plan or not.

Just sayin...

Note to self: OMG! Did I just make a pitch to go back on topic? I must be slipping.

[Timeline]

I'm only seeing Lame source code files. Is there a true Mac OSX install somewhere? The link above didn't open.

[bayswater]

I'm only seeing Lame source code files. Is there a true Mac OSX install somewhere? The link above didn't open.

This site has dmg downloads that contain the dylib files mentioned at the top of this thread.

http://www.rarewares.org/mp3-lame-bundle.php

I can't find anything with an installer that puts the file in the right place, but the OP identified its location.

[toodamnhip]

In my method of setting up a stereo track and manually recording the audio, the only thing I have ever had to double check is splice points when punching in on a mix.

DP is pretty good about “clickless” punch ins, but occasionally, there might be a click as if a reverb reflection or too short a pre roll into the mix punch created some sort of click.

Other than that, you have to listen anyway so you might as well record as you check.
And, except for punches into a previous stereo, mixed file, what you see here is 100% what you get.