Once I adjusted to this, editing became way easier. Neither a separate editing window, nor an external editor where needed. It took me some time to realise that this was a total waste of time and that I was carrying over a workflow that worked with an earlier technology but was now completely unnecessary. However, I did note you could set an external editor, which I did and used for quite a while. When I first started using Reaper after using Logic for many years, I was dismayed that it didn't have the same kind of audio editor. In the early years when I used Logic, if I needed to fix up problems with an audio track, I had to open the audio track into Logic's audio editor, do the repairs, then exit. Bouncing and deleting files is something that you would do if you are short of space or processing capacity, but other than that, it is not (in my view) an effective way of recording and mixing.īehind all of this is another thought. I enjoy the fact that I'm not going to run out of tracks, and that whatever I do is undoable.
By creating separate projects for these bounce-downs, I was able to return to the source files and re-bounce of the mix wasn't working. Nevertheless, I soon found myself running out of tracks, and used Logic's bounce function to mix lots of tracks down to stereo pairs. it was around the turn of the century), and basked in the luxury of having 16 audio tracks to play with. I switched to digital with Logic 4.7 (I think. This was a hazardous way of recording, because getting it wrong meant starting from the beginning.
HOW TO BOUNCE A TRAACK IN PLACE IN PROTOOLS 12 FREE
In bouncing three tracks onto one to free up those tracks for further recording, I had to commit myself to a permanent mix of those three tracks. It was the only way of being able to get more than four tracks recorded.
When I was recording onto four track, I had to bounce all the time.
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