Delay's Not Following When I Bounce 2 Disk???

[M2E]

Now, for some odd reason, the delays do not want to follow the tempo changes when I BTD!!! When I play the song normally, the delays work but, soon as I BTD they stay at the first tempo.
I need to put this mix down, can some one help?

THanx

M2E

[M2E]

Let me define which plugin that is...It's the Digi Extra Long Delay!!!

Thanx in Advance...

M2E

[M2E]

Tried it as well in RTAS and TDM...No Go....

M2E

[M2E]

As well tried, Long Delay. Still same results...

M2E

[ricupad]

I don't know what's causing the problem, but you can work around it by recording the mix to a separate stereo track in the same session.

R.

[M2E]

I don't know what's causing the problem, but you can work around it by recording the mix to a separate stereo track in the same session.

R.

Yeah but, it seems that when I do that it never sounds the same. Why? Sounds thinner. What way do you do it? I do it by putting all the busses to that track as well as all the efx busses. I wonder if I can just put the Master to the track. Will that make a difference?

Thanx

M2E

[mriegler]

The Master Fader does not route any audio, it just controls the audio for its allocated bus. That means, if you have a Master Fader (and inserts or automation on the volume), and you route all your tracks to a 'Bounce Bus' to re-record, the Master Fader will no longer affect these tracks. You have to set that Main Mix Master Fader to the internal Bounce Bus as well.

E.g., you usually have all tracks routed to (interface out) '1-2' and among your Master Faders one that is your Main Bus Master Fader which is also set to '1-2'. You now change all the '1-2' outs to e.g. 'Bus 11-12' in order to bounce to a newly created Audio Track with input 'Bus 11-12'. In order for your Master Fader to still have an effect on the signal, it also has to be set to 'Bus 11-12'.

Extra: to monitor the recording, you should of course have the audio track you are recording to set to '1-2'. Note that if you haven't set the Master Fader to the Bus (but left it at '1-2') the recorded audio on the track will be 'pre-Master Fader'. That means only the monitored signal will then be affected by the Master Fader (sort of like "From Tape Monitoring and Effects" in analogue days). Everything seems alright, but the recorded audio will not reflect whatever beefing up you have done on the Master Fader.

IHTH,

Markus

[Sonny in London]

This is my routine for mixing down;

-When the mix is finished, I create a new memory location showing only the tracks with the outputs set to Analogue Out 1/2 (or whatever your default output is) and call it 'Bounce'.
-I then create a stereo Aux track and Stereo Audio track.
-Copy whatever plugins you have on the Master fader to the Aux and any fader automation to the Aux's (though I never have automation on my Master).
-Set the input of the aux to a stereo bus and the output to another stereo bus and call that bus 'Bounce'.
-Set the input of the audio track to the 'Bounce' bus.
-Disable and hide the Master fader.
-Re-Route all tracks with the outputs to the master outs to the same bus as the Aux input, including all effects returns and submixes. Make sure that if you have any tracks with multiple outputs, that you de-select the master outs and substitute them for the Aux bus (rather than just sending it to the bus exclusively).
-Record enable the Audio track.
-Name the Audio track whatever you want the track to be called (name of song, date, artist etc.
-Select the length of your track, making sure to catch any reverb or delay tails at the end.
-Record to the track.
-Afterwards, double-click the file with the grabber and take off the '_01' suffix that Pro Tools puts on it.
-with the recorded region selected, hit CNTRL+Shift+K to export region as audio file and specify the folder to save it to. Do not Change the bit or sample rate at this point.

That's it. Once done, be sure to change all your outputs back to the default out, re-enable the Master fader, hide and make inactive the aux and audio track and save.

You can then create a new session for mastering and import the file for polishing, or you can send it away to be mastered by someone who knows what they're doing.

The many advantages of this method include being able to stop and start the bouncing process for whatever reason and punch back in to the recorded track as opposed to starting all over again (this also applies for those dreaded error messages that sometimes pop up, usually at the end of a ten minute audio file bounce!), being able to make quick adjustments on the fly whilst bouncing, plus the fact that there are legitimate worries that the normal bounce process can forfeit automation moves and other tasks without you knowing it, whereas this method records what you hear exactly 'to tape'.


There you go - Bouncing 101.


Peace


Sonny

[Mark Wheaton]

I have a slightly different method. I normally bus different parts to a set of stereo Aux tracks. Drums to Aux 13-14 Guitars to Aux 9-10 etc. Then I output these to the master output (1-2) I can then use these submix tracks to adjust overall balances between drums and guitars and vocals.

If I want to RTD onto a track instead of BTD I change the output of my submix auxes to some new Aux output bus (31-32) and I change the master fader to aux bus 31-32 as well. I then create a Audio track with input set to Aux 31-32 and it's output set to main 1-2.

I can put the audio track in input monitor mode to test mixes before I actually track. However, this does create strange issues with the bus and voice allocation. Quite often I get thumps or clicks when I change the order of tracks or any other voice allocation move (changing plug ins or insert order etc). Also this may introduce latency that doesn't exist when I am doing a BTD. And the latency may affect some tracks and not others causing the parts of especially MIDI tracks to be thrown out of sync. Since you are recording onto the Mix track and Digi recommends turning off ADC when recording ( which I don't do for a RTD for obvious reasons) how does this affect this highly touted method of RTD as opposed to BTD?

[Sonny in London]

Hhmm, not sure. I'm mostly doing it on LE but I've never had a problem using the same method on HD.

I would say that you should only route up this way when finally bouncing down, rather than when mixing the session and changing stuff about - that only has the potential to cause problems, as you may have discovered.

If you mix as normal with your auxes and the master, then when bouncing putting the outputs of your auxes to be the input of the audio track and disabling your master track you shouldn't have a problem as far as I can tell. I don't see how latency (or ADC) could be a problem when simply recording a final mix to another track within Pro Tools.

But then, my knowledge of the intricacies of HD's ADC is not as advanced as I'd like it to be.

Like I say though, I've never had a problem...


Sonny