There are a number of reasons why I do this. My first task is to drag the songs into the right order, placing the first on the first audio track, the second on the next audio track, and songs three and four on the third audio track (see screenshot, bottom). Once all the files have been loaded into the Soundbites window, they can be dragged into the audio tracks as before. Alternatively, I can use the File menu's Import Audio command (Apple-F1) to navigate to and load the audio files using a standard file browser. Exact placement isn't important at this stage. Now, after switching to the Sequence Editor (Shift-S), I can simply drag and drop my stereo song bounces from OS X's Finder into any of the audio tracks in DP. In a new, empty project, I create three stereo audio tracks and a Master fader (we'll see why in a minute). I've already bounced (at 24-bit resolution) the separate songs that are going to form my EP, so first I need to get them into DP to make my 'master'. Step 2: Placing the songs on separate DP tracks where required, and adjusting the timing between songs. In this description there's room for confusion between the meanings of the word track, so I'll be consistent in referring to either a 'CD track' or a DP 'audio track'. I have some specific requirements for my example EP: the audio that will become CD track one needs to be boosted in level, EQ'd and have a fade-out applied to it, tracks two and three need to overlap, and I want track four to become one of those 'surprise' tracks, preceded by about five minutes of silence after track three. We'll 'produce' an example EP that can be burned (with suitable software, of which more in a moment) as an audio CD. To illustrate this process, I'll talk you through the six steps above in more detail. Bouncing to disk track-length audio segments of your master, ready for CD burning in a separate application. Applying any final 'mastering' adjustments, and dither if necessary.Ħ. Using markers to determine CD track start and end timings.ĥ. Placing those mixes in the correct order in the sequence's timeline, adjusting them relative to each other so that inter-track timings and pauses are correct, and applying fades where necessaryĤ. Creating a new sequence and importing into it all the individual stereo mixes that will eventually become separate CD tracks.Ģ. If all this CD mastering stuff sounds a bit daunting, don't worry - it all makes sense in practice. You can use mix and plug-in automation, fades are easy to apply and control, and you have access to all your favourite MAS plug-ins. Amongst other advantages, DP 's multitrack mixing environment makes it easier and more intuitive to overlap and layer tracks. DP is arguably much better for precision work, however, and also when your requirements are more demanding. This is a perfectly good approach, and well suited to simpler compilation-type tasks.
#Dsp quattro cd burning software
Some people perform these tasks with dedicated two-track editing software such as BIAS Peak or DSP Quattro X: they simply import their mixes into the application's playlist and use the timing, plug-ins and fade tools it offers. Dithering to CD's 16-bit resolution, if your audio is at 24-bit.
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