Whats the purpose of bouncing down to multiple mono format

[remusjacobs]

when bouncing a track the "format" options are mono, multiple mono and interleaved. I always do interleaved but why would somebody want muliple mono?

[KMcK]

mostly for non-stereo formats i.e. 5.1 surround material where you want 6 discreet mono tracks, although even in the 2-track world there are still reasons to keep things separated, but it's becoming less and less necessary now that PT can work with interleaved files.

That being said, bounce to disk is pretty antiquated. The preferred method nowadays is to print your mix via bussing within the session and then export.

[jrtme]

A lot of mastering engineers also want things in Multi Mono

[Kasper]

Interleaved is very new, as of PT 10, I believe.
Used to be split .L .R was the only way to deal with stereo files, if you wanted to bring them back into a PT session.


kasper

[gtomassetti]

Originally Posted by KMcK

...The preferred method nowadays is to print your mix via bussing within the session and then export.

This sounds pretty interesting, and I think it's worth a try.

Given a session with, say 16 stereo tracks, each with a little EQ, and one master track, with no sends of any kind, what is a reasonable workflow?

Create a new stereo track, route 1-16 to that track via bussing, arm, record, deactivate all other tracks, and export the audio from the new track?

Or am I not even close?

[mattrussell]

Originally Posted by gtomassetti

This sounds pretty interesting, and I think it's worth a try.

Given a session with, say 16 stereo tracks, each with a little EQ, and one master track, with no sends of any kind, what is a reasonable workflow?

Create a new stereo track, route 1-16 to that track via bussing, arm, record, deactivate all other tracks, and export the audio from the new track?

Or am I not even close?

i think that sounds right. to be clear, here's what i and many others i know do...

all of my channels go through a bus set up that is elaborate and would be difficult to go through here, but eventually, everything ends up getting sent to an aux where i do my final, overall volume rides and 2-bus processing (i label this stereo aux, "2 BUS"). from there, when i'm ready to 'print the mix' (where i used to bounce to disk), i route that 2-bus aux channel to a track and i record the mix onto it. to save a step, i'll name the track what i want the mix to read as (although i'll have to adjust it slightly when done) and then i'll create new playlists for each revision. from there, i can highlight the audio file and export it out the regions list in whatever format i want.

one key here is that you are sure to set your dither correctly on your 2 bus (and make it the last thing). i use a waves L2 or the L3-LL-Multi (depending on what i'm doing) and i'll use 16 bit dithering for the artist review mixes and then back to 24 before i print the pre-master version. maybe you know all of that, but others may not.

make sense? like i said, i think you got it right in the first place.

m

[gtomassetti]

Thanks, Matt. You're obviously doing way more complicated stuff than I am, but your comment was informative and helpful.

Cheers,

GT

[smokeydan]

Originally Posted by KMcK

mostly for non-stereo formats i.e. 5.1 surround material where you want 6 discreet mono tracks, although even in the 2-track world there are still reasons to keep things separated, but it's becoming less and less necessary now that PT can work with interleaved files.

That being said, bounce to disk is pretty antiquated. The preferred method nowadays is to print your mix via bussing within the session and then export.

Interesting- what's the advantage of "printing via bussing" vs bounce to disk? I've always bounced, thought that was what it was there for and can't see any downsides?

[SDDP]

Originally Posted by smokeydan

Interesting- what's the advantage of "printing via bussing" vs bounce to disk? I've always bounced, thought that was what it was there for and can't see any downsides?

Well there are TON of advantages of printing via bussing.
1) if you are making DME, Stereo, 5.1, 5.1-DME, etc, you can do that all at once.
2) if there's an error and it stops for what ever reason, you can start from where it stopped ( in destructive mode)
3) with bounce to disk on a 90 min film if for what ever reason it stops and of coarse it'll happen just a few minutes shy of the end of the bounce, you lost everything and have to start over from the beginning, losing all that time, where as in print in the mix refer to #2
4) you realized something wasn't mixed right or if there's a pop/glitch or something could have been mixed lower/louder or what have you, you can stop, fix it and then print from that point (well with a few seconds of preroll) and not loose out on all the time just spent printing where as if you stop to do this in bounce mode...Well again you have to start from the beginning.
5) if you want to go back to make changes somewhere, like an adr line change or music cue change to what ever, you don't have to bounce the whole thing again.. just that section.


I am sure there's other pros on doing it this way

[smokeydan]

thanks for taking the time to reply- I think we're working in quite different fields, I rarely have to mix a continuous piece over 10 mins or so, or mix multiple formats simultaneously- but I can see whee you're coming from.

thanks

d