Cant Export (Input Monitoring Turned On?)

[Jaylongo]

Hi.

Cant figure this out. My I/O is correct. Can hear everything and signal is routing all the way to my final master. But, when I export, everything is mute. The only new thing I have done this project, is route my aux busses to audio tracks with inputmonitoring turned on. This must be the issue.

Main question: How do you export/bounce to mix with the Input Monitoring selected?

If I cant, would I have to re route?

[Sonopolis]

You can not bounce through an input enabled track, never could. Make a parallel Aux from the same destinations, mute or "make inactive" the Audio Track for monitoring and bouncing.

[albee1952]

Maybe the more important question is why you want/need to?

[originalscottyg]

If you have your mix routed to audio tracks with input monitoring turned on, I can only assume that your setup is for the purpose of printing mixes and/or stems directly to the tracks. If that's the case, put them in record, record the mixes/stems, then either grab them out of your Audio Files folder if you use interleaved audio in your session, or select them in the clip bin and export them as new files.

[Sonopolis]

Originally Posted by originalscottyg

If you have your mix routed to audio tracks with input monitoring turned on, I can only assume that your setup is for the purpose of printing mixes and/or stems directly to the tracks. If that's the case, put them in record, record the mixes/stems, then either grab them out of your Audio Files folder if you use interleaved audio in your session, or select them in the clip bin and export them as new files.

In Destructive Record modes....

[originalscottyg]

Originally Posted by Sonopolis

In Destructive Record modes....

I'm not sure I follow. How does Destructive Record mode differ? It is still not possible to bounce through an Input Monitor enabled track when not in Destructive Record mode.

My point was, what is the purpose of monitoring through an input enabled audio track, unless it's setup to record to that track. And if it is, then...record and export after. If the OP is wanting to bounce review versions before the final mix, or something along those lines, then the other suggestions in this thread make sense. I personally use sends off my stem busses feeding my print tracks, so I can monitor and bounce without my print tracks being in input or record.

But I am definitely all ears to learn more about Destructive Record modes. I never really adopted the destructive record workflow, as I tend to work in short form more of the time. Last I looked into Destructive Punch, which was many years ago, the audio files had to start at the very top of the session, which seemed counter-productive to me. Perhaps this has changed and I should take another look at destructive workflows?

[EdgarRothermich]

Here is the specialty about Destructive Record Mode:
Destructive Record Mode only has an effect when you start recording on an Audio Clip between its left and right border. Pro Tools will edit the actual Parent Audio File of that Audio Clip by overwriting (replacing) the section that you record over on that Clip. No new audio file or Audio Clip will be created. If you record beyond the right border of the existing Audio Clip, then the Clip on the Track Lane will be extended accordingly.

So maybe this mode is useful if you use the Audio Tracks to print the mixes/stems and grab the audio files. The Destructive Record Mode makes sure that you don't have a mess of segmented audio files.

[originalscottyg]

Originally Posted by EdgarRothermich

Here is the specialty about Destructive Record Mode:
Destructive Record Mode only has an effect when you start recording on an Audio Clip between its left and right border. Pro Tools will edit the actual Parent Audio File of that Audio Clip by overwriting (replacing) the section that you record over on that Clip. No new audio file or Audio Clip will be created. If you record beyond the right border of the existing Audio Clip, then the Clip on the Track Lane will be extended accordingly.

So maybe this mode is useful if you use the Audio Tracks to print the mixes/stems and grab the audio files. The Destructive Record Mode makes sure that you don't have a mess of segmented audio files.

Apologies in advance to the OP for hijacking the thread. I do understand the concept of Destructive Record. It is the workflow, logistics, and limitations that held me back from using it in the past. Does it still require creating audio tracks that start from the very beginning of the timeline? That was the biggest drawback for me. I usually have my sessions start at 00:58:00:00, with FFOA at 1:00:00:00. My deliverables usually start from 00:59:58:00. So if I use Destructive Record and have to have audio files that start at 00:58:00:00, then I would still have to trim or crop them somehow in order to deliver them correctly.