1. How to Bounce in Logic<br />Mr Pennington – Music Technology<br />
2. To Bounce or Not to Bounce…that is the question!<br /> All the hard work is done! Its about time you transferred this amazing composition into a popular format and allowed the waiting masses to hear your genus. One tiny, little thing to do and then the crowd of fans can get a taste of your new track. You need to Bounce! <br />‘Bounce’ gets its name from taking all the individual audio and MIDI tracks and putting these into a format that can be played on more common stereo systems. <br />
4. Bounce Window<br />Save As Menu<br />The Bounce window is broken into two main parts, (Upper Part) a normal "Save as..." window, similar to all Save options. <br />
5. The Bottom half of the Bounce window deals with the Destination, file formats and type of bounce. The Destination Box, here we can decide what area of the Arrange area will be bounced by setting the Start and End points.<br />Realtimeor Offline, normally Offline will be quicker but you won't be able to hear the Bounce as it takes place. <br />
6. Include Audio Tailis useful if there is delay or reverb that is still audible beyond the end point. This feature will allow it to be captured rater than cut off at the end of the song.<br />The Normalizefeature normalizes or raises the level of the final audio to make it perceivably louder. I set to OFF as I prefer to mix and master to my own custom settings before Bouncing the project. Other options include<br />Normalizationdoes not change the dynamic range. So the difference between the loud and soft parts are the same. Instead, it increases the volume until the loudest part is as loud as the soundtrack can handle without causing errors. This increase in volume is applied equally to the entire soundtrack, so that all parts are louder.<br />
7. PCM: PCM or Pulse-code modulation, is a standard form for digital audio. It is uncompressed and can provide high quality. <br />File Format (AIF and WAV are still the two most popular and widely accepted at time of writing).<br />Resolution (CD spec is 16-bit, and higher if you would like to master). <br />Make sure the Sample rate is either the same as your project or if needed change it to the sample rate required. CD is 44.1kHz. Audio for film will usually be required at a sample rate of 48kHz.<br />Interleaved: will place the left and right channels in the same audio file. There may be time when you want the Left and Right sides of your stereo field split The Dithering options are used when reducing the Bit Depth of your project from 24-bit to 16-bit. It adds a tiny amount of noise. <br />
8. MP3's or lower quality compressed versions of your music for distribution via MySpace and other MP3 sharing sites... or just to place on your iPod, enable the MP3 option!<br />AAC destination, but arguably they're better quality that mp3. For both mp3 and M4A/AAC you can also choose to add to your iTunes Library.<br />
9. An ID3 tag is used to embed information in an MP3 file, the ID3 tags usually contain meta-data (data that describes and gives information about other data) that relates to the audio file's contents. Many recording applications allow you to edit or create ID3 tags. The ID3 tags typically contain the title of the audio file, the artist and other information that would relate to the actual audio file.<br />
10. You can choose to Burn to CDDA (CD Digital Audio) or DVD-A (Audio DVD) from the Mode drop-down menu.<br />The other options are standard for most Burning software, but importantly you must choose the correct device (CD Burner connected to your Mac), speed and dithering options. Remember that if your project contains any 24-bit audio files you'll need to use the dither options to reduce the bit depth to 16-bit (which is required due to the CD tech spec).<br />
11. You are now ready to Bounce!!1<br />
12. <ul><li>Bounce: gets its name from taking all the individual audio and MIDI tracks and putting these into a different format.
13. Normalize/Normalization: Increases the volume until the loudest part is as loud as the soundtrack can handle without causing errors. This increase in volume is applied equally to the entire soundtrack, so that all parts are louder.
14. PCM: PCM or Pulse-code modulation, is a standard form for digital audio. It is uncompressed and can provide high quality.
15. Sample rate: How fast the audio is sampled per second. The Nyquist Theory states this MUST be double that of human’s highest frequency (44.1Hz) to stop Alising. </li>