Hi everyone,

freezing tracks sometimes takes a lot of time - even if my track seems to be played perfectly in real time beforehand, freezing it can take more time than the actual length of the track (can someone explain that to me?)

So for a faster workflow I changed to routing the parts I want to freeze to another audio-track and recording that. But now I get pops and cracks from the cpu-overload that were avoided by freezing.

How do you deal with freezing? Is there a solution better than freezing and am I using it wrong somehow?

Thanks

 

Freezing and bouncing/rendinering/consolidate etc is the same thing. If you have lots of processing on said channel(s) the freezing-process naturally takes longer. But the result is the same - a rendered audio file playing instead of realtime processing.

I do both freezing and bouncing. Bouncing (to audio file) lets me process the audio with much more freedom, if I want to.

 

what @Baxter said
"rendering" audio can certainly take longer than that audio length (in time) is - because of all the fx, process.. that you've put on it

Exactly, because you did not let your machine take the time to "render" it properly. Apparently your track is heavy processed and can't be rendered real-time (or faster) + recorded. You can "bounce" your track (to another one), but it's all the same, as said above.

Don't forget that this way you just added an audio track to your project. To save any computing power, you have to disable your original track (or at least the processing on it). By "Freezing", the DAW should do this automatically.

 

Normally I just turn off the plugins and effects on the first track after bouncing it to an audio track.

@Baxter why does it give you more freedom?

just a lot of audio-tracks should not be too much of a problem, right? I always thought it was mainly the effects und plugins that take a big toll on my system performance

 

Don't forget to deactivate the recorded track vsti/fx etc

 

Freezing may take longer due to oversampling. Many plugins will automatically use higher oversampling settings while freezing. Kclip for example. Should be the same for bouncing unless you're doing live bounce.

 

Thats how I do it at the moment

Just rendering a 'Group' onto a new 'Sound'
first i just trigger the sample with an event, later I switch to the Audio Module
After playback in loop mode I switch to gate mode and play some notes which transpose the clip in realtime yeah

I also keep the source events, that way i can change things at any time if desired
Sometimes I just chop up teh samples and triggern the parts I want. That saves CPU and diskspace

 

Last edited: Mar 25, 2018

Because audio editing and re-sampling. Re-sampling opens up a new door to endless new possibilities and features. Realtime vs. editing.

 

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Last edited by a moderator: Mar 26, 2018

Resampling also allows you to actually play with the audio when using a sampler, rather than just playing back things and rewind or loop

 

Sampling or Re-sampling are not for the professional composers. Be sure!!!

 

@foster911
Agree.. It's hard to swallow, that everything ableton, samplers, tape loops,..... was invented 50+ years ago.. oh yeah, btw, by professional composers... And, bummer - the greatest of all time..... like Steve Reich. Well, till we figure out, how to hack and delete all this info from x-pedias, I treat you with a beautiful ballet.. 1966 it was, I think.

"...one of the boys involved in the riots but not responsible for the murder; he was nineteen at the time of the recording. At the beginning of the piece, he says, "I had to, like, open the bruise up, and let some of the bruise blood come out to show them" (alluding to how Hamm had punctured a bruise on his own body to convince police that he had been beaten while in jail). The police had not previously dealt with Hamm's injuries since he did not appear seriously wounded and they had beaten him themselves.

Reich re-recorded the fragment "come out to show them" on two channels, which initially play in unison. They quickly slip out of sync to produce a phase shifting effect, characteristic of Reich's early works. Gradually, the discrepancy widens and becomes a reverberation and, later, almost a canon. The two voices then split into four, looped continuously, then eight, until the actual words are unintelligible. The listener is left with only the rhythmic and tonal patterns of the spoken words. Reich says in the liner notes of his album Early Works of using recorded speech as source material that "by not altering its pitch or timbre, one keeps the original emotional power that speech has while intensifying its melody and meaning through repetition and rhythm." The piece is a prime example of process music."

 

Last edited: Mar 25, 2018

Thanks Baxter for this great post!

 

Last edited by a moderator: Mar 26, 2018