The importance of "bouncing"

[JayRodYDG]

I've been trying to find out the importance of bouncing tracks or projects. I've came close to finding a legit explanation, but I have yet found one that satisfies me. Can u please explain the importance of bouncing tracks or selections in a mix? Thanks guys

 

[Toxic_Lord]

I only know that, in ProTools, the sound changes if you make the bounce with an external world clock; the result is worst that if you use the internal clock!!

I dont know why!!

 

[JayRodYDG]

What do u mean the sound changes? Ugh...what exactly is..."bouncing"

 

[Skinny Viking]

What do u mean the sound changes? Ugh...what exactly is..."bouncing"

Seriously? A new thread for this? 2 seconds on google:
http://www.associatedcontent.com/article/1977702/home_audio_recording_tips_what_bouncing.html?cat=33

 

[JayRodYDG]

Seriously? A new thread for this? 2 seconds on google:
http://www.associatedcontent.com/article/1977702/home_audio_recording_tips_what_bouncing.html?cat=33

Oh relax! Is there a limit to how many threads we can start? Didn't think so. Thanks for the link :/

 

[BLUElightCory]

I've been trying to find out the importance of bouncing tracks or projects. I've came close to finding a legit explanation, but I have yet found one that satisfies me. Can u please explain the importance of bouncing tracks or selections in a mix? Thanks guys

Bouncing tracks is simply the process of creating a stereo file (edit: or mono file, dur) of the entire mix (or a selection of individual tracks), either by using the "bounce to disk" function in the program (such as ProTools) or by recording the mix to a stereo audio track or external recorder.

Pro Tools bounces in real time to reduce the chances of errors and to better incorporate outboard gear (which requires a realtime bounce). So you do your mix and bounce it down to a finished stereo audio file.

 

[Skinny Viking]

^ you can also bounce down mono tracks with heavy amounts of processing on them to save CPU ... essentially "printing" the effect to the audio

 

[Skinny Viking]

Oh relax! Is there a limit to how many threads we can start? Didn't think so. Thanks for the link :/

No there's not a limit to the amount of threads, just the amount of patience for when someone starts a thread on a subject that is as fundamental to recording as knowing what EQ does or how a compressor is working .. especially when the answer, or at least a good starting point explanation, can be found so easily without the need to clutter up the forum with threads like this.

Its about the same as starting a thread saying "how do I change my strings?"

 

[RevoltStudios]

Bounce....period. That's all I can say. I work in Nashville as an engineer and production assistant full time now and just got an annoying project. Tons of guitar tracks, all mics seperate tracks, something like 30+ tracks of guitar, none of them in order ect. It's a bloody nightmare. Bounce the freakin tracks to AT LEAST one track each part. I bounced it all down to one stereo track for my mix engineer, just easier.

 

[JayRodYDG]

No there's not a limit to the amount of threads, just the amount of patience for when someone starts a thread on a subject that is as fundamental to recording as knowing what EQ does or how a compressor is working .. especially when the answer, or at least a good starting point explanation, can be found so easily without the need to clutter up the forum with threads like this.

Its about the same as starting a thread saying "how do I change my strings?"

Yeah I gotcha man. I'm not trying to clutter up this forum, afterall I too get a little frustrated when I see the same ol' threads. I'm going to try not to do that

 

[Toseben]

Say no to bouncing! I've started to prefer aux recording and consolidation. With aux recording it's much easier to print out stems and also it is said that Pro Tools uses different algorithm when bouncing and when recording. Supposedly latter sounds better and is also more like "what you hear is what you get" type.

 

[BLUElightCory]

Say no to bouncing! I've started to prefer aux recording and consolidation. With aux recording it's much easier to print out stems and also it is said that Pro Tools uses different algorithm when bouncing and when recording. Supposedly latter sounds better and is also more like "what you hear is what you get" type.

Pro Tools bounce vs. record-to-track sounds identical (unless there are automation problems or effects that introduce randomness), and a null test will prove it.

Workflow is a different matter, though, and many people have different preferences for bouncing or recording to a stereo track. I record to a stereo track for workflow reasons, but it's not because of audio quality.

 

[egan.]

There is so much wrong information in this thread it's stupid. Listen to Cory.

 

[Mikaël-ange]

Bouncing tracks is simply the process of creating a stereo file (edit: or mono file, dur) of the entire mix (or a selection of individual tracks), either by using the "bounce to disk" function in the program (such as ProTools) or by recording the mix to a stereo audio track or external recorder.

Pro Tools bounces in real time to reduce the chances of errors and to better incorporate outboard gear (which requires a realtime bounce). So you do your mix and bounce it down to a finished stereo audio file.

Protools do realtime bounce because of TDM architecture. End of story.

To the OP:
Why bounce/print a mix?
Because final product is a stereo audio file and you need to print in this format.

Individual element/track?
Organisation, commitment, reduce track count and for cpu management.
Do you really think you can work your best when you get session with:
Non consolidated drum track (11 000 fades and as many regions)
40 gtrs tracks instead of 10 and 120 vocals tracks instead of 60.

Good luck to work on a session like that.

 

[BLUElightCory]

Protools do realtime bounce because of TDM architecture. End of story.

Even with non-TDM Pro Tools systems, realtime bounce is still necessary if you are incorporating a console or any outboard gear into your mix. It's impossible to do an offline bounce with outboard gear in use.

 

[JeffTD]

There is so much wrong information in this thread it's stupid. Listen to Cory.

And yet the worst part is still that the OP is not only from NJ, but likes Of Mice & Men.

 

[006]

^ burnnnnn ^

/thread

 

[JayRodYDG]

And yet the worst part is still that the OP is not only from NJ, but likes Of Mice & Men.

lmfao i LIVE in NJ. Doesn't necessarily mean that's where i'm from. I moved from San Bernardino when i was 13 years old. (not that anyone cares....except you because u obviously posted about it.) oh and sorry for liking Of Mice & Men? lol ok

 

[JayRodYDG]

Thanks everyone for the input! except certain people that think they have balls of steel lol. Love ya guys!

 

[Toseben]

Pro Tools bounce vs. record-to-track sounds identical (unless there are automation problems or effects that introduce randomness), and a null test will prove it.

Workflow is a different matter, though, and many people have different preferences for bouncing or recording to a stereo track. I record to a stereo track for workflow reasons, but it's not because of audio quality.

Tried the null test and you're right. I believed couple of guys from Slutz instead of trying it myself. But nonetheless as far as workflow goes I still like recording over bouncing.