Bounce To Disk Still Not Reliable in DP 8

[stephentayler]

Whether I mix in DP or ProTools I always use the same work-flow.

Right from the start I buss all my tracks to an aux track that I call Mix Buss. Any overall plugins can be applied here. This is then bussed to an audio track set to input, ready to record at any time. I rarely use master faders.

I keep renaming the stereo mix track, and whenever I do a new mix, I just move older mixes along the timeline, so I can see them all at a glance if I need to.

At all times I have both audio and visual confirmation of what I have been doing.

I also use subgroups into aux tracks a lot. This is just a workflow that allows maximum flexibility, very similar to mixing on a physical console, and completely foolproof, at least for me!

SWT

[supersonic]

Pro Tools bounce is always real time, isn't it?

[frankf]

Whether I mix in DP or ProTools I always use the same work-flow.

Right from the start I buss all my tracks to an aux track that I call Mix Buss. Any overall plugins can be applied here. This is then bussed to an audio track set to input, ready to record at any time. I rarely use master faders.

I keep renaming the stereo mix track, and whenever I do a new mix, I just move older mixes along the timeline, so I can see them all at a glance if I need to.

At all times I have both audio and visual confirmation of what I have been doing.

I also use subgroups into aux tracks a lot. This is just a workflow that allows maximum flexibility, very similar to mixing on a physical console, and completely foolproof, at least for me!

SWT

My workflow is similar: all audio is routed to bus "main bus" which feeds a "main aux" track which outputs to my output "audio interface". There's also a Master fader assigned to "main bus". I have several empty "mix" audio tracks which inputs are assigned to bus "mix bus" and outputs assigned to my audio interface. When I record (always real time), I simply change the output of "main aux" track from out "audio interface" to bus "mix bus" and record. One move. I've been doing this so long, I've not tried the input mode workflow, but that seems compatible with my workflow.


Frank Ferrucci

[James Steele]

Personally I think a foolproof realtime mix option is something that is missing, I'd like to see some kind of dedicated record track in DP that's fed from a master channel.

Many years ago I wrote to MOTU suggesting something called a "Mixdown Deck Window" or something like that. It's really not necessary, but perhaps more user-friendly in that conceptually it could unclutter the mind of the user a bit. Just something like a separate window with a cute animated tape deck or something that would be two track recorder with it's own audio bin. I didn't get far into the nuts and bolts of it.

Could be that in the meantime, you might give Audio Hijack Pro a shot as it doesn't really require you to change your routing to accommodate it. You just set it to record the audio output of the DP app and it more or less functions as a stereo record deck fed by DP's output.

[MIDI Life Crisis]

+1 on Audio Hijack. When all else fails, it's there. I use it to record a lot of apps that don't offer a viable option. Finale in particular is being fed by Plogue Bidule, so I playback Finale and Hijack Bidule and re-sync the movie in DP. Das Perfect!

[NeilBlack]

I've only recently moved over to mixing ITB, coinciding with DP8 really. I was somewhat confused when, after getting a mix together, there was no direct way to print the thing other than BTD. I mean, I have a master mix pumping away nicely out of the master bus but the master bus doesn't output to anywhere other than my audio interface. We have this incredible piece of software, loaded with bells and whistles ultimately dedicated to producing a final mix but to actually print the mix in real time requires setting up additional busses / groups etc. Just seems odd to me. I know most people have no problem with it but seeing as the BTD feature is not reliable for many of us and others, even if it does work, just don't trust it, having a 'record mix' channel as James suggested would make sense to me.
Anyone have anything to say about the higher rate oversampling advantage's available when doing the BTD though. In a way that's my main interest as I see it as a potential advantage over realtime printing.
I'm looking into Audio Hijack right now though.

[Phil O]

All my stereo mixes have a stereo bus called "mix" with a Master fader assigned to it. I also have an AUX track called "Monitors" which is my monitor out (duh), its input set to mix, and a Stereo Audio track named for the song (i.e., "Mary Had A Little Lamb") (also input, mix). When I want to bounce, I simply record enable Mary Had.. and it creates a soundbite with the appropriate name. This is the starting point for all my templates. Simple.

Phil

[jbyerly1]

I just bounced my first "final" mix of 1:15:00 long soundtrack. Not sure what's going on under the hood but it takes the full hour and fifteen to bounce

Other than the anomaly of some things being softer or louder which is due to my imperfect monitoring environment and $200 head phones. It sounds pretty freaking good to my ears.

I promise you that my "hearing" is not at the level of most the regulars here. I do sense it is improving as my knowledge expands

I listened to the whole file in Isotope and got what I expected and a little more

[MIDI Life Crisis]

Bouncing can take longer if you are bouncing complex stuff, like lots of tracks, complex VIs, etc. but it works and it works great.

I still want my DP 8.02. Hold the Maypo.

[FMiguelez]

Inspired by PrimeMover's Sends thread, I discovered that a great way to print in realtime (instead of BTD) WITHOUT having to reroute anything at all is:

Whatever tracks would need to be normally rerouted, leave them alone as they are. Simply add a send to a "special" bus for each.

In my case, that would be all my 5-6 SubMasters, where I gather instruments by family or function. This means that their output is going normally to the Main DP out. But each gets simultaneously sent to the Print bus.
In my template I set them already post-fader, with the send volume to unity, so all I have to do to print like this is unmute each send (5 clicks - only 1 if they are grouped for this) and press Rec on the repository audio track (whose input is already set to the Print bus and its output to a muted channel in my external mixer. If I want to monitor what's being recorded, I'd unmute this channel and mute the main one instead). Afterwards I simply mute the sends again and I'm done.

This way is faster (and less error-prone) than reassigning I/O, even if one does so with Option-A (providing, of course, you already have it setup like this in a template).

At least I'm liking it better

[MIDI Life Crisis]

But if you're going to do a realtime recording anyway, just use Audio Hijack Pro and there's no setup at all...

[FMiguelez]

Yeah, that would work if one has Audio Hijack...

Same company who makes Fission, yes? I have that one in my laptop. Perhaps I should check it out... I've seen it mentioned plenty of times around here.

[MIDI Life Crisis]

$32USD

http://www.rogueamoeba.com/audiohijackpro/

[chaim]

Pro Tools bounce is always real time, isn't it?

http://apps.avid.com/protools11/
"Deliver mixes with lightning-fast offline bounce

Forget the wait—speed up your final mix delivery with new faster-than-real-time bounce capabilities."

http://apps.avid.com/protools11/assets/ ... nlarge.jpg

[chaim]

As to DP's BTD, I had recently a few instances where I got clicks or stutters etc.
It turned out to be related to auto tune (ver 6 - evo).

I had bounced only 1 audio track. If I bounced from zero (bar 1) till the end of the soundbite I got the clicks. If I bounced only the soundbite portion, no clicks. If I bypassed AT, either way no clicks.