The Bounce to Disk command lets you mix
down with all available voices on your system.
Since it records to separate audio files, you don’t
have to reserve any tracks for a bounce.
You can use the Bounce to Disk command to
create and automatically import loops, sub-mixes,
or any audio into your session. You can
use it to create a final mono, stereo, or multi-channel
master, in any of several audio file formats.
Bounce to Disk provides conversion op-tions
for sample rate, bit resolution, and format.

If you make a selection
in a track, the bounced mix will be the length of
the selection. If there is no selection in any
track, the bounce will be the length of the long-est
audible track in the session.

Pro Tools bounces are done in real time, so you
hear audio playback of your mix during the
bounce process (though you can’t adjust it).
To Bounce to Disk:
1 Choose File > Bounce to Disk.
2 Configure bounce options as needed :

Set the bounce source:
Select an output or bus path from the Source
Selector.

File Type:
This selects the type of the bounced file.

Sound Designer II:
This is the native format for Macintosh-based
Pro Tools systems. Select this to use the bounced
audio with any application for Macintosh.


Format:

This is the format for the bounced result.
Choices are:
Mono (summed)
Multiple mono,
Interleaved.

To set the bounce file format:
Select a file format from the Format Selector.

To burn a CD of your final mix, choose
"Interleaved".This creates a single, interleaved file that
contains all of the bounced streams from the
chosen output path. In an interleaved stereo
bounce,your stereo image is preserved.

Resolution:

This parameter lets you select between three dif-ferent
bit resolutions for the bounce conversion:
Bounce to Disk does not apply dither when con-verting
during or after a bounce to a lower reso-lution
(including when bouncing to 16-bit).
When you need to create a lower resolution
bounce file, use the Digidesign Dither plug-in,
or similar, on a Master Fader assigned to the
bounce source path. This dithers the bounce
file, before the Bounce to Disk conversion trun-cates
bits into the final file resolution.

8-bit: This resolution is often used in multimedia
applications. If the material you are working
with is relatively simple, you can use the
Pro Tools “Squeezer” feature for optimal results.
See “Sample Rate Conversion Quality”

16-bit: This is the Compact Disc standard bit res-olution.

24-bit: If you plan to use the bounced file with a
Pro Tools 24 MIX or Pro Tools 24 system, you
can take advantage of the greater resolution and
headroom afforded by this higher bit rate. You
can also archive a master stereo mixdown or
bounce audio material at this resolution for future
use on a 24-bit system.

To set the bounce file resolution:
Select a bit depth from the Resolution Selector.


Sample Rate:

Sample Rate Conversion Quality
If you choose a sample rate that differs from the
original sample rate of the session, the conversion
options become available. You can configure
the conversion quality, and schedule conversion
to occur during, or after, the bounce.

The following are the more common sample
rates, and their application.

48000: This is the standard sample rate for consumer-
level DAT decks.

44100 :The standard sample rate for compact
discs and pro-level DAT decks. It is also used for
high-fidelity audio destined for playback on
newer Macintosh computers with 16-bit audio
playback capability, as well as on Windows
computers.

22050 and 11025: Commonly used for lower fidelity
audio destined for playback on newer
Macintosh computers with 16-bit audio play-back
capability, as well as on Windows computers.

22254 and 11127: Commonly used for lower-fi-delity
audio destined specifically for playback
on older Macintosh computers not equipped
with 16-bit audio playback capability.

Custom: Lets you selects a sample rate other than
the choices above.

Other Sample Rates: Several of the other available
sample rates support pull-up and pull-down
rates, or other specialized rates.

Sample Rate Conversion Quality:

The Conversion Quality option sets the quality
of sample rate conversion used to create the
converted file. The higher the quality of sample
rate conversion, the longer it takes to convert
the file after the bounce has taken place. There
are five possible settings, ranging from Low to
Tweak-head. For most applications, the Better
setting yields satisfactory results.

Processing Resources and Conversion Quality:

Because the Best and Tweak-head settings take
significantly longer than the others, use them
only in cases where the highest fidelity is essential
and you have a considerable amount of time
to devote to this process.