The Bounce to Disk command lets you mix down any or all of the available voices on your system. Bouncing records to separate audio files, so you do not have to reserve any tracks for a bounce. Pro Tools bounces are real-time, so you can listen to audio playback of your mix during the bounce process.
You can use the Bounce to Disk command to create and automatically import or export loops, sub-mixes, or any other session generated audio clips into your session. You can use it to create a final mono, stereo, or multichannel master files in any of several audio file formats.
Bounce to Disk also provides conversion options for sample rate, bit resolution, and format.
All audible tracks that are routed to the output which is selected as the source of the bounce are included in the bounce. Any muted tracks are not included in the bounce. If you solo one or more tracks, only the soloed tracks are included in the bounced mix.
All read-enabled automation is played back and incorporated in the bounced mix.
All active inserts, including real-time plug-ins and hardware inserts, are applied to the bounced mix.
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 longest audible track in the session.
Bounced material is automatically time stamped so that you can drag it into a track and place it at the same location as the original material. For more information about time stamping, see
Time Stamping.
Pro Tools compensates for any bus and plug-in delays when bouncing to disk. This means that if a bounced file is imported back into a session, and placed directly in time against the source mix, it is time-aligned with the original source mix.
Pro Tools does not include tracks that are either record-enabled or in Input Only monitoring mode in the bounce.