Although offline bounce in Pro Tools 11 offers faster than real time bounce, the benefit of real-time bouncing is that encourages you to listen to your bounce - always a good thing. Destructive record is more than just a historical oddity though, as it has provided post-production types with a way of avoiding long, real-time bounces by bouncing to a track in destructive record. While I like the idea of committing to ideas early in the production process I think this is a bit “hair shirt”. I have met someone who chose to record in destructive record to recreate the tape experience. While this might have been useful to conserve disc space once, those days are long gone. The nuclear option! In destructive record Pro Tools permanently overwrites any underlying audio. Of course to get the most out of this feature you have to enable “automatically create new playlists when loop recording” in the operation tab of the Pro Tools prefs. The potential to loop record a section over and over again, in combination with the possibility of comping together all the best parts of the multiple takes is one of the most valued features Pro Tools offers the tracking stage of music production. Loop Recordįor musicians I think this would be the other most commonly used mode. if you have used Pro Tools before you will have used this record mode. That is to say it is conventional record behaviour without any of the additional features of the other record modes. For example, recording in loop playback is not the same thing as being in loop record, in fact loop playback in record only works with MIDI recording. The first potential source of confusion is that while they are related, record modes and playback modes are different things. In my experience these are under-used and while you can get by without them, in the right application they are too useful not to know about. These are the basics and you can’t really get by in Pro Tools without them but by using the other record modes in Pro Tools you can streamline and simplify your workflow. An awareness of how to use playlists and pre and post-roll will definitely help as will understanding how to manage latency. For more information see this Pro Tools Fundamentals Article. It is the timeline selection which controls where a drop in will happen, not the edit selection if the two are unlinked. The significance of timeline and edit selections becomes important. Things can get a little more complicated when looking to replace a section on a previously recorded take. Like most DAWs Pro Tools follows a similar system to that employed in multitrack tape machines and if you press record and play in the transport bar, any record-armed tracks will be recorded onto - easy! Recording something into Pro Tools should be easy and indeed it is, but that isn’t quite the same thing as saying it doesn’t sometimes get surprisingly complicated.
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