Over the last week or so I’ve been taking some time in the evenings to do something that I should have done long ago: create per-track mixdowns of all of my released songs. This basically means getting back into ProTools and bouncing out each individual bit of audio into its own cohesive track.
Here we have Adoré from halt, a somewhat complex song with several programmed synthesizer parts, a few live synthesizer parts, programmed drums, live guitars, and all kinds of effects with a good bit of automation of various parameters throughout the piece. Along the bottom of the window you can see a set of ten yellow-colored tracks with audio data that spans the whole length of the track. This is the bounced audio from each of the tracks above, with all the effects, automation, panning, volume, and edits applied and pushed into a single contiguous piece of audio for each track.
Most audio workstations have a button that does this automatically, except of course for ProTools. Now why on earth the leading audio editing software would be missing this feature is beyond me, but at least it’s not impossible to do yourself. Here’s how it works:
First, figure out how many tracks you have to bounce and create that many new stereo audio tracks. You only need holder tracks for things that produce sound in your final mix — for instance, MIDI tracks themselves won’t count, but any instrument tracks that they’re attached to do count. For Adoré, there were ten distinct sound-making tracks, so I created ten new stereo audio tracks. For my own sanity’s sake, I color coded them bright yellow to distinguish them from the rest of the song and labeled all of them “Bounce [Trackname]” based on what source track they were going to hold.
Next, we need to route the audio using the ProTools bus from our source tracks into the new bounce tracks. This amounts to setting the audio out for each source track to a unique stereo pair on the bus, and then setting the input for each bounce track to the corresponding bus pair. So with Adoré (which I’m starting to regret naming with that accent mark in it), the drums are sent out to Bus 1-2 and the Bounce Drums track is set to input 1-2, and so on down the line. This is a real pain to set up each one by hand and make sure they line up, but there turns out to be a shortcut that I discovered about halfway through the process. First, select all of your source tracks (and only those). Then hold down Ctrl+Alt+Shift and click on the output bar of the first source track in the mix window and select Bus 1-2. All other selected tracks will automatically be assigned to Bus 3-4, Bus 5-6, and so on down the line. Repeat this process to set the inputs to your bounce tracks. So long as they’re in the same order, everything will line up automatically. It’s pretty awesome.
Next, we need to arm all of our bounce tracks to record. Again, there’s a nice shortcut here. Select all of the bounce tracks, then hold down Alt+Shift and click on the record button for any of them. This will arm all selected tracks at once, and you’re good.
Finally, make sure the song is rewound to the beginning and hit record and play. If everything’s set up correctly, the audio from all of your source tracks should now be emptying itself into the bounce tracks and you’ll have clean copies of all of your audio, effects and automation and all. After recording completes, don’t forget to set the output of your audio tracks back to the main interface output and mute all of your bounce tracks. You can use the same Alt+Shift trick here, too.
Now of course I do have the final mix of this song, and I obviously still have the project file, so why go through all this work? Especially considering that digital audio doesn’t degrade like old analogue tapes would, right?
Well, here’s the thing that I found out the hard way. Digital recordings can in fact degrade, but not in the same way. With digital systems, master tracks are no longer just straight recordings of what somebody played at some time. Take Mettle here, for instance. It was recorded entirely with software instruments, meaning I had no audio for any of the parts except for what was exported in the final mix. If any of these plugins had stopped working, I wouldn’t be able to go back and do anything interesting with Mettle again, like remixes or mashups or inclusion into a music game.
Software changes, computer upgrades, file system shuffles, and other things can all lead to difficulties. For example, I had sampled a software-modeled Roland TR-808 drum machine ages ago and had used those bits in lots of places. However, in the intervening years since I made those recordings I have no idea what happened to those files. I still had the drum machine sequence, but no sounds to put in it. This effectively meant that unless I found or replaced those sound files, the drum tracks to several songs would be lost forever. Several plugins that I used heavily on earlier albums under WinXP no longer run very nicely on Win7, which meant I was very close to losing the exact sound that I had carved out for each part of these songs. I spent a lot of time getting legacy software to run just to make this work. Since I’m looking to upgrade my whole setup this summer, I wanted to take some steps to make sure I had things taken care of first.
Bouncing out to individual tracks gives you a flexibility and a certain amount of future-proofing that you wouldn’t have otherwise. Thus far, I’ve managed to bounce out the three main Psycliq albums and am now working on the covers and Christmas tracks. Even though going back over some old music has made me cringe at every mistake and slip, it’s been well worth it.
1 thought on “For posterity’s sake”