Mixing down tracks within a GB project

Hi Guys. Here's a question that I cannot work out (perhaps because it's not possible??)
How do you mix down 3 or 4 tracks into one, as we used to do in the days analogue mixing. eg, I have a nearly completed project, but decide to add a string quartet composed on 4 tracks - one for each instrument, but would like to mix it down to one track to make it easier to move/copy etc
Regards
Iain
ibook G4 Mac OS X (10.4.8)

Make sure to keep a copy of your orchestral GarageBand project. You may not be happy with the mix when everything is completed.
There should be no reason to mix down the tracks, however. GarageBand 3 will automatically make a Software track into a Real track by just "locking" the track. This will save you CPU cycles if this is an issue. That way you will still have control over the mix parameters.

Similar Messages

Opening various tracks from various GB projects into Logic rop

Hi. I am having some difficulty. I have a song I have been working on in GB. I have been experimenting with different sounds and therefore have 3 different GB projects on it. I would like to take individual/different tracks from those 3 GBs and put them all in 1 Logic.
Do I have to export/bounce each one through Itunes?, but that permanently embeds my effects. I would like to be able to still tweak all the tracks some more once they are in logic.
basically, how do I open individual gb "tracks" not projects, into Logic? thanks.
Message was edited by: FM/AR

just basically wondering if there is any way to select individual tracks within a GB project and move/drag/copy/paste/export/import etc. them into logic, while keeping all of their settings intact so they can be further worked on in Logic.
I know some roundabout ways but it will take forever. I have probably 100 tracks mixed up among 3 different GB projects (like 20 or 30 track in each project) and I need to get them into 1 Logic project. I know how to find the raw files, but then I will have to manually add all of my effects (many are customized) again and that could take some time, because I will have to create all my custom effects in logic. I would have to go into GB and right down all of my moves and the details of the customized effect and then make an replica of it in Logic....sheww....that could take a long time. i have tons of effects....

Problems Exporting multiple tracks / Mix down - Big Probs!

Hi Guys,
I apologise for the large holes in my knowledge in advance.
I have asked a similar question before but I got a screen grab that does not appear in my version of STP (I use Version 2.0 I think, apologies, I am at work so can't be totally sure)
I have created a 30 minute project that goes accross 3 tracks with various bits of cut audio.
If I wan't to create one single MP3 of the whole piece I really struggle. The Option to create 'MP3' is greyed out, and the only option that creates the seems to create the single 'submix' file, is the option to export all tracks, buses and submixes etc.
When I go to open the WAV though it crashes, it also doesn't list a duration (which i think is why it is crashing).
I managed to export it at all using the lowest rates in the export menu but when I open the submix wav, it plays it full mixdown correctly but with about 8 empty tracks(?) in the main edit / playing window (not the session style window with all the tracks, buses etc)
I then can't convert the wav to an Mp3 (perhaps because it is not a standard wav) which means curtains for my podcast at present.
I am so sorry for the drivel that I have just written, If it does make sense I would be so glad if you could help me out.
How best to Mix Down my project?
Many thanks.
Dave.

Hi there,
My bad, the master mix was there, it is at the top but seperate so i must have missed it or thought it was the title of the menu, anyway, thanks for your help on that one.
The surround sound issue still bugs me but I changed the setting in 'Multitrack' and it seemed to work, as for the submix track, i see that at the bottom of the project (along with busses?) and there doesn't appear to be any sound file in there, i'll take another look and see if the settings need changing.
Thanks so much for your help as it was really doing my head in (along with the random crashes and slight movements in levels that I didn't touch)
It's fixed now so thank you very much indeed!!!
Here is the file if you wanna listen to it (shamelss plug), it;s a bit weird.
http://thehorncast.blogspot.com/
Dave

Is there a way to mix down your tracks into one so you can have more tracks to use

Is there a way to mix down your tracks into one so you can have more tracks to use

Here is my tutorial to bounce tracks
http://ipad.slapwagon.co.uk/
some quality is lost due to export compression, but it's bareable considering you don't need to connect to a pc or use itunes...
cheers
@zorin

MIXING DOWN VIDEO TRACKS

I am ready to out put my project which has multiple video layers. I know I can nest my effect layers but is there a way to mix down all of my layers making one video layer with all of the effects rendered?

Then there's still no need to "mixdown" the video.
For DVD, the best method is to export a self-contained or reference movie (File->Export->QuickTime Movie). Note that if your Sequence isn't already fully rendered, it may take some time. Also make sure you include chapter markers if needed and that you do NOT recompress all frames.
Use the QuickTime Movie in Compressor and choose the appropriate DVD preset.
Once Compressor is done, import the resulting .m2v video file and the .ac3 audio file into DVD-SP for authoring and burning.
For going to tape, fully render the Timeline then then perform a 'Print-to-Video' or just hit record on your DV recorder and hit the space bar on your Mac keyboard (assuming you're working in DV).
-DH

Mixing down - lost MIDI tracks

Hi
I have just started using GarageBand over the past couple of months. I have figured out all about locking tracks etc - or so I thought. I can get all the tracks to run fine (real audio and MIDI). The only thing is that when I export to iTunes, a couple of the MIDI tracks can be lost. Why???
It all seems quite random. My MIDI keyboard is connected. And all the tracks are locked for mixing down. (Did I need to have the keyboard connected at the moment when I locked the tracks, maybe?) The funny thing is, on some songs I am hearing all the tracks, MIDI included.
So, baffled...

You don't need to have the keyboard connected for exporting the mix: and you don't need the tracks to be locked - that is to make it easier for the CPU to handle the load with a lot of tracks.
As to the missing tracks, forgive me for asking, but are you sure you didn't click the mute button instead of the lock button? (We've all done things like that! - and it's worth starting with the basics). Anyway, try a mix without locking the tracks - perhaps that's the problem, and, as I say, there's no need.

Mixing Down Multiple Tracks - Question

Hi.
Is it possible to mix down 2 or more tracks into 1 single track?
I'm doing some soundtrack work, working on the multi-track editor to a video I imported. I have a constant background ambiance that I made using the multi-track editor and the apple loops.
Is there a way I can mix the 3+ tracks that make up this ambiance down into 1 single track? Thus giving me less tracks to worry about (and less clutter) when editing additional foley sound effects etc.. over the ambiance?
Any help would be appreciated

Export your mix. In the After Export drop-down you should find *Add to New Tracks in session* (or something like that)
!http://rdiv.com/screenshots/STP_exportOption.jpg!

Do you mix down to two tracks to master song?

When I would master a song using Sonar I would mix down the song to two tracks and master on the two tracks. Now that I am using Logic Pro x I am not seeing anyone talk about mixing down to two tracks. So I am wondering if everyone is doing their mastering on the full song or if they are actually doing on two tracks. I am using Ozone 5 and wanted to know what everyone was doing before I started.
Thanks

I'm old school, I never master in the DAW, always mix down to a stereo mix and then master that. I find it far easier to get a good mix, when not worrying about mastering, it's also what I'm comfortable with. I master using a PC with Soundforge, again, that's what I'm used to, my Mac Pro and PC are linked (networked) via a high speed cable modem so it's easy to transfer files back and forth.

Audio And Visual Mix Down? (not export)

I was just wondering if a user can MIX DOWN the audio and video without exportng the video and reloading it back into the project...
Also if anyone can tell me if the scale rulers are of any use besides using them as a marker, for instance maybe controlling playback within a certain range??? Forgive my loose terminology.

Certainly!
When you say mix-down, to you mean raising the volume level in some places and lowering it in others? That's done using audio keyframes.
Audio keyframing can be done right on the timeline. Just select a clip and position the CTI playhead over it, then click the Make Keyframe button on the track header, to the left of the audio track. This will create a keyframe point at the position of the CTI. Raising this point will increase the volume and lowering it will decrease it. You can create and position as many keyframes as you need to mix your audio tracks.
As for your playback issue, you can isolate which area you edit, render or output by placing the Work Area Bar (the light colored gray bar that runs along the ticker on the timeline) so that it only covers a portion of your project.
(I see you've ordered my books, Carlton! Good for you! These and many other topics are covered pretty thoroughly in them.)

Mixing down

I would like to know what do you guys beleive is better to mix down on my Motu HD192 or logic pro.
Also I have a huge midi issue, I have my Fantom X7 connected to my G5 via midi. I have a motu HD192 that I'm using as my sound card interface. Using my roland I can play and hear all the plug-ins within logic no problem, EXS24 Ultrabeat.... etc. However when I try to play and hear the sounds coming from my Roland, either I hear nothing at all; or I hear the sounds just fine, but when I try to play another instrument, on a different track I still hear the sounds coming out of my Roland.
I know it's something I'm overlooking I tried the ports and click, I tried to midi it all failed. If you guys can help I would really appreciate it.
Thanks
E

I would like to know what do you guys beleive is
better to mix down on my Motu HD192 or logic pro.
Try both. See what sounds better to you.
Also I have a huge midi issue, I have my Fantom X7
connected to my G5 via midi. I have a motu HD192
that I'm using as my sound card interface. Using my
roland I can play and hear all the plug-ins within
logic no problem, EXS24 Ultrabeat.... etc. However
when I try to play and hear the sounds coming from
my Roland, either I hear nothing at all; or I hear
the sounds just fine, but when I try to play another
instrument, on a different track I still hear the
sounds coming out of my Roland.
I know it's something I'm overlooking I tried the
ports and click, I tried to midi it all failed. If
you guys can help I would really appreciate it.
See this thread, it may help you.
http://discussions.apple.com/thread.jspa?threadID=339514&tstart=45

Mixing down to Itunes

Can anyone advise the best way to mix a track down to Itunes from LE7?
When I mix it to itunes using the bounce option the result seems to sounds different to when I do a primary mix within the arrange window.
Thanks

Try turning off Soundcheck and the also turn off the EQ in iTunes.

Audio Mix Down

Might be a silly question but here it goes! What is the point of doing an audio mix down at the end of a project in FCP? Does it improve the sound?

HI there
Doesnt improve the sound at all. when you edit you place your music , sfx , source sound on probably 3+ tracks .. "Mix down " combines all these tracks and their audio into two or even 1 usable track/s.

Startling error messages when trying to bounce my final mixes down.

Friends, Im nervous about this one as I've logged in 100+ hours and dropped a little bit of $ for off-site recording.
When Im ready to "send songs to disk", an error message pops up saying "GarageBand found 2 audio files in 8-bit format" "This format is unsupported and can not be played back" with an OK" option. After pressing OK, it proceeds to mix down but saves nowehere on my comp (or drive).
After restarting and trying to reopen the session, Im given this error message: "This file type is not supported and gives me the truly horrible option of "abort". Then it gives me the error message again.
It then gives me the original error message once more: "GarageBand found 2 audio files in 8-bit format" "This format is unsupported and can not be played back" with an OK" option. After I press it, it gives me that same message again for good measure and now the session is up.
But I cant save it and I cant send a mix anywhere. So Im pretty screwed?
We did a little off-site recording and imported those files Sunday, but Ive been working on it for a few days before these glitches came through.
HELP!
Im on a brand new MacBook OSX10.9 with Garage Band !! 6.0.5

Thank you, Leonie for replying.
So I went to the contents of the file and took the problem files out.
It immediatley pops up a error saying that a track was not found. "Audio File "guiro.wav" not found"
Obviously, since the track for guiro is still there.
But as I tried to move on, I still got a ""GarageBand found 1 audio file in 8-bit format" before I could get to the session and start deleting them.
As I began doing just that, that same ol' error message popped up fpr every move and then when I finished, it still wouldnt save anything saying..."The document 'SongFour.band' could not be saved.

Can no longer play individual tracks within a Podcast on iTunes 11

I have a good amount of podcasts that I subscribe to where there are tracks within the podcast. On my iPhone I can skip from track to track, and before upgrading to iTunes 11, I could do it in iTunes as well - basically would click the album artwork, and I could select track numbers from a drop down list. That drop down list doesn't exist anymore, and all I can do is fast forward, rewind, or skip to the next podcast episode.
Anyone have similar problems or a solution? Thanks in advance.

anyone have any ideas?

Can I mix down to 32 bit at a higher sample rate than 44.1 kHz ?

When I use Ableton Live, it lets me choose 16, 24, or 32 bit, and then I can choose a sample rate all the way up to 192000. Is this possible in Audition ? I have been going through all the preferences and all the tabs and I can't find this option. All I find is a convert option, or the adjust option. But that's not what I want. I want to mix down this way.
The closest thing I found is when I go to "Export Audio Mix Down", I can select 32 bit. Then there is a box for sample rate, with all the different values. But it won't allow me to change it from 44100.

JimMcMahon85 wrote:
Can someone explain this process in laymens terms:
http://www.izotope.com/products/audio/ozone/OzoneDitheringGuide.pdf ---> specifically Section: VIII "Don't believe the hype"
I don't read graphs well, can someone put in laymens terms how to do this test, step by step, and where do i get a pure sinewave to import into audition in the first place??
UNbelievable: So I have to first run visual tests using a sinewave to make sure dither is working properly, then do listening tests with different types of dither to hear which I like best on my source material, and then for different source material it's best to use different types of dither techniques???... Am I getting this right???...
Hmm... you only need to run tests and do all that crap if you are completely paranoid. Visual tests prove nothing in terms of what you want to put on a CD - unless it's test tones, of course. For the vast majority of use, any form of dither at all is so much better than no dither that it simply doesn't matter. At the extreme risk of upsetting the vast majority of users, I'd say that dither is more critical if you are reproducing wide dynamic range acoustic material than anything produced synthetically in a studio - simply because the extremely compressed nature of most commercial music means that even the reverb tails drop off into noise before you get to the dither level. And that's one of the main points really - if the noise floor of your recording is at, say, -80dB then you simply won't be hearing the effects of dither, whatever form it takes - because that noise is doing the dithering for you. So you'd only ever hear the effect of LSB dither (what MBIT+, etc. does) when you do a fade to the 16-bit absolute zero at the end of your track.
Second point: you cannot dither a 32-bit Floating Point recording, under any circumstances at all. You can only dither a recording if it's stored in an integer-based format - like the 16-bit files that go on a CD. Technically then, you can dither a 24-bit recording - although there wouldn't be any point, because the dither would be at a level which was impossible to reproduce on real-world electronics - which would promptly swamp the entire effect you were listening for with its own noise anyway. Bottom line - the only signals you need to dither are the 16-bit ones on the file you use for creating CD copies. And you should only dither once - hence the seemingly strange instructions in the Ozone guide about turning off the Audition dither when you save the converted copy. The basic idea is that you apply the dither to the 32-bit file during the truncation process - and that's dithered the file (albeit 'virtually') just the once. Now if you do the final file conversion in Audition, you need to make sure the dithering is turned off during the process, otherwise all the good work that Ozone did is undone. What you need to do is to transfer the Ozone dithering at the 16-bit level directly to a 16-bit file proper, without anything else interfering with it at all. So what you do with Ozone is to do the dithering to your master file, and save that as something else - don't leave the master file like that at all. After saving it, undo the changes to the original, in fact - otherwise it's effectively not a file you could use to generate a master with a greater-than-16-bit depth from any more, because it will all have been truncated. Small point, but easy to overlook!
just what's the easiest way to test if a simple dithering setting is
working for 32-bit down to 16-bit in Audition?... Why is there no info
about dithering from 32 bit to 16 bit (which is better then dithering
from 24-bit isn't it)?
I hope that the answers to at least some of this are clearer now, but just to reiterate: The easiest way to test if its working is to burn a CD with your material on it, and at the end of a track, turn the volume right up. If it fades away smoothly to absolute zero on a system with lower noise than the CD produces then the dither has worked. If you hear a strange sort-of 'crunchy' noise at the final point, then it hasn't. There is info about the 32 to 16-bit dithering process in the Ozone manual, but you probably didn't understand it, and the reason that there's nothing worth talking about in the Audition manual is because it's pretty useless. Earlier versions of it were better, but Adobe didn't seem to like that too much, so it's been systematically denuded of useful information over the releases. Don't ask me why; I don't know what the official answer to the manual situation is at all, except that manuals are expensive to print, and have also to be compatible with the file format for the help files - which are essentially identical to it.
Part of the answer will undoubtedly be that Audition is a 'professional' product, and that 'professionals' should know all this stuff already, therefore the manual only really has to be a list of available functions, and not how to use them. I don't like that approach very much - there's no baseline definition of what a 'professional' should know (or even how they should behave...), and it's an unrealistic view of the people that use Audition anyway. Many of them would regard themselves as professional journalists, or whatever, but they still have to use the software, despite knowing very little about it technically. For these people, and probably a lot of others, the manual sucks big time.
It's all about educating people in the end - and as you are in the process of discovering, all education causes brain damage - otherwise it hasn't worked.

Mixing down tracks within a GB project

Similar Messages

Maybe you are looking for