Alternatively, you can choose to do nothing, but then you’ll be hearing the same audio twice unless you mute the source track. Choosing Hide & Make Inactive will put them out of sight and out of hearing, which is what I normally do, but if you would prefer to be able to still see the source track you can just make it inactive. You also get to decide what Pro Tools will do with the source tracks.
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Likewise, if your source tracks are in Edit or Mix Groups and you would like the new rendered tracks to belong to the same groups, make sure you enable Copy Group Assignments. If you are using auxiliary effects on your source tracks and you want your rendered tracks to sound exactly the same, you’ll need to tick Copy Sends, which replicates any sends on the source track on the new rendered track. And in the first example only, I’ve chosen Copy Sends. In the first, second and fourth, I’ve chosen to consolidate the rendered clips, so Pro Tools has rendered a single clip for the entire track. In the first, third and fourth examples, I’ve chosen to commit the track rather than Selected Clips as you can see, Pro Tools has made the rendered clips longer than the source MIDI clips, so as to include the decay of the last piano notes. Screen 2: The results of choosing different options within the Commit Tracks dialogue. Finally, the Render Automation options let you choose whether pan and/or volume automation on the source tracks should be rendered into the new audio tracks. With Consolidate Clips checked, you will get one clip. There is also the option to Consolidate Clips: if you leave this unticked, Pro Tools will create separate audio clips for each active clip in the source track. If you select Edit Selection, the clips in the new audio tracks will be the same length as the source clips, with any tails cut off. If this is set to Selected Tracks, Pro Tools will attempt to render everything audible on that track, including reverb tails, long note decays from virtual instruments and so on, meaning that the rendered clip on the new track might well be longer than the source clips. When you select Commit, a new Commit Tracks dialogue opens, where you configure what will happen when the track is rendered. If you right-click on a track name in the Edit or Mix window, the contextual menu that pops up now contains a Commit option. Let’s have a look at how it works with virtual instruments: these can often be resource-hungry plug-ins, so committing can recover some memory and CPU cycles for other things, as well as allowing you to share those tracks with other users who don’t have the same virtual instruments. You can commit audio, auxiliary input and instrument tracks, plus MIDI tracks that are routed to an instrument plug-in within Pro Tools. Track input assignment, unless the channel width changes.The following source track data is always copied to the new track when committed: HEAT on HDX systems, if it is configured pre-insert.All inserts, unless you use the Commit to Insert option.This is very useful for freeing up processing power on your system, as well as for sharing sessions with other people whose systems may not have all of the plug-ins used in the session.Ĭommitting a track always renders the following: The Commit feature in Pro Tools creates a new audio track that contains the audio rendered from the output of the source track, including any real-time processing such as AAX plug-ins. For the most part, though, Commit Tracks achieves the same thing and enables us to do some clever stuff.
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However, they’re at pains to point out that Commit Tracks isn’t Track Freeze, which will be implemented in a later version of Pro Tools, probably as part of Cloud Collaboration. You could argue that today’s powerful computers mean such a feature is no longer needed so much, but Avid have put a new spin on the same idea with the Commit Tracks function.
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Most other DAWs have long offered some sort of ‘freeze’ function, whereby virtual instruments and plug-ins on a track can be temporarily or permanently rendered to an audio file to free up CPU cycles.
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Screen 1: The new Commit Tracks dialogue in Pro Tools 12.3 is accessed by right-clicking a track name. Over the coming months we are going to look in more detail at what you can do with the new features added in this latest version, beginning with the brand-new Commit Tracks feature. It is great to see Avid innovating again, with the launch of Pro Tools 12.3. Pro Tools’ new Commit Tracks feature is great for saving system resources and sharing sessions.