Like so many people, I’ve got an album full of songs in Cubase 6 that I need to export for engineers to mix and master (Protools, etc.).
What I usually do for EACH TRACK, is make sure the Project Settings are correct (e.g. 48 kHz/32-bit float), Auto Fades are on, zero any EQing, mute effects, center the pan, set volume to zero and bounce EACH and EVERY .wav to a special folder, naming each track something like “Song Name Harmony 2”. Then I burn these bounced song folders to DVD and give them to the engineer.
Is there any way to do this automatically without getting into friggin macros? Nowhere can I find a simple answer online for what seems to be a common need… exporting individual tracks for use in Protools or any other program. (OMF sounds like a disaster)
Side question: How can I shut off the automatic addition of the word “Output” in bounced .wavs?
I’ll look into channel batch export in more detail. Also, thanks for the tip to do two runs. I was struggling over the mono versus stereo problem using that.
I’m not sure I understand about the dual mono mode thing though. I’ll check with the engineer. I seem to recall him saying that if I give him a stereo file in the folder, Protools will automatically import the wav into a stereo track it creates.
Yup, ProTools never creates stereo files but it can import them just fine since they are splitted in the process.
With a batch export you still of course will have to turn off efx, reset pans and volume etc.
Try this: Select the range tool, hit ctrl+A (adjust start to taste), audio->bounce selection, done, all tracks mixed out to single unprocessed audio files (well, things like offline processing, VariAudio and similar will be included still) beginning from the same point, named by track and placed in the audio folder of your project.
I do one of 3 things… Mentioned above mostly, but just so you can get a different explanaion:
I bounce the audio clips to a single clip, then I rename the new audio file in the info line, then I grab it from the Audio dir. Before doing the bounce though I set project settings to 24bit (because this controls the bounce results and ProTools can’t deal with 32bit) and Broadcast Wav. This gives me the raw audio without any effects of course, and by using Broadcast wav files they can be automaticall spotted in protools, thus saving me having to export from a fixed point at the start of the song. (To double check I sometimes prefix the filename with the sample position in the song!)
If I need some specific effects then I duplicate the channel, turn off the effects I don’t need, zero the pan, fx and fader, and then record the output of that channel into the duplicated channel (with audio deleted, but with pan/fader/fx in place). I then have a full wav file with some FX printed - which I rename again in the info line and grab from the audio dir for PT. I mute the orig for backup and adjust the new channel to remove the printed FX. This way I still have my own mix in Cb if I need to reference what I did later. Note again that I’d use Broadcast wavs and 24 bit.
If I’m printing VSTi output then again I record them to a new audio channel. Here I do more than one at once to save time. I solo the VSTI’s and arm the appropriate audio tracks and record them all in one pass. If a VSTi doesn’t appear til the end of the song then I arm that track into record just before it starts (to save file space). Depending on what FX I was printing with I would probably move them from the VSTi channel to the new audio channel - again, to keep the mix in place.
I also export my own mix back in and send it to the engineer so he (or I later) can reference anything specific. That’s personal taste, some people prefer to leave it to the mixer, I prefer to direct them towards my required sound.
Yes, PT will import stereo files and it’ll split them into two mono files. It doesn’t import Cubase multichannel files, so if you’ve got LCRS say then you have to re-import them using drag and drop and then select ‘split to mono’, then grab the mono files.
That would result in loads of tracks all containing shaped dither noise that will get summed and subjected to further processing when combined into a mix!!!
Although it’s recommended that dither is applied every time the bitdepth is changed, it should be non shaped dither thats used, anyway it would probably be better to not dither in this case 32 fp to 24 as the final mix will also probably be subjected to shaped dither noise.
UV22 is intended as a last stage Dither and not really for intermediate dithering.
