You need synth channel to bounce midi tracks to audio tracks. Stand-alone synth is not able to bounce tracks.

This process is for:

note Bounce midi track(s) to audio track(s).

note Bounce audio tracks to one audio track.

When you finish editing a certain number of audio tracks, you can conserve memory and simplify your mix by bouncing (combining) some tracks down to one or two tracks. You can choose to include any effects and automation in the new track that are on the tracks that you want to combine, greatly reducing the load on your CPU.

Do not use <R> button to combine/ mix audio tracks.  It may cause volume problem.


TxTip If you will proceed third party mix, you may directly export audio files and skip bouncing tracks. However, the blank beginning and fake ending are still required.

Bounce is good to mix same type tracks before final mix. For example, bounce all strings to one background track, bounce all percussions to one drums track.

Make sure no time range is selected by clicking in the Clips pane outside of any clips.
Select the tracks that you want to combine.

To select multiple tracks, hold down the Ctrl key while you click each track's track number.

Measure Selection

If you do not want the whole track, click the Snap to Grid button to turn it on (the Snap to Grid setting is still set to Measure).
In the Time Ruler, select desired measures.

Fake Ending Measure

Sometimes, the ending audio may be truncated too short with a sudden ending and will lose reverb. Add a fake ending measure after the real ending to avoid this case.

Edit-Bounce to Track(s) command

Choose proper settings.
In the Mix Enables field, make sure everything is checked. By checking the Track Mute/Solo option, you make sure that SONAR only mixes down the non-mute tracks. If any tracks are soloed, this option causes SONAR to mix down only the solo tracks.

Source Category

If you do not want to keep automation then use 'Main Outputs'.

If some of tracks already have been mixed, such as been added envelopes, use 'Entire Mix'.

Click OK.

It bounce better tracks.

Final mix bounce

Playback and check all tracks together before final mix bounce in case any of problems.

Insert one blank measure before the final mixed track then export the final mix to wave/mp3 file.


It may fail if you bounce to the same track for a couple times. It happens when the resources of the computer occur overflow.


1. Copy-Paste is the same as a single track bouncing.

2. Delete the current track, insert a new track and bounce to the new track.

Export to Audio

Very import settings:

Leave a blank measure before all tracks.

Select the track to output, with the whole length of the track, and click 'solo'.

<Ctrl> + Select the synths' track and click 'solo'.

tThough it is not necessary to click "solo" if the marked selections are right. However, it is a double safety.

Then >File >export.

Output Channel Choice

1. For Master Out (Final), choose "Stereo".

2. For separate tracks, consider the following:

For most of instruments, choose "Mono".

For instruments with natural/relative positions, such as Tom-Tom or two-handed piano, choose "Stereo".

It is important to choose "Mono" for Bass Drum, snare, etc. to concentrate the quality.


Dithering--whenever an audio signal is converted from a higher-bit resolution to a lower resolution, it is necessary to apply dither to avoid introducing undesirable quantization noise or harmonic distortion into the signal.

If the default audio setting is 48k, 24b, the same as export, dithering is not necessary.

If the export is CD quality (44k, 16bit), use pow-r2 or pow-r3 for dithering (compensate the density).

"Pow" produces better quality but requires more CPU resources. r3>r2>r1.

However, pow is not not recommended for operations where dither will be applied successively (e.g. bounce and freeze).

Use "Triangular" when successive dithering can occur.

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Music Aesthetics

Song Composition Theory

音樂知識美學 TX Aesthetics of Music
  音樂格律的破立    Music Grammars & Creativity
  譜曲的美學探索   Case Study on TX Music Aesthetics
Composition Theory and
Melody Analysis of Songs
歌曲賞析 Comparative Analysis of Songs
歌劇賞析:莫札特 Analysis of Operas: Mozart
歌詞創作 Verse Analysis and Composition



Aspects of Music: Art with Tech
Composition Analysis Framework
MIDI要素 Aspects of MIDI
基礎樂理 Music Grammar Basics
總譜:軟體與音源 Score of the Music: Overture and Synth
  Overture 記譜法‧頻道視窗設定     Digital Notation Methods‧Tracks Windows Settings 
  圖形視窗/琴軸檢視   Graphic Window/ Piano Roll View
  和弦視窗與和弦設定     Chords Window and Chord Input 
  歌詞視窗   Lyrics Window
  發音技巧   Articulations



Form Design
  多樂章曲式   Multi Movement Forms
  範例分析:給愛麗絲    Exam: Fur Elise  
和聲:共鳴與自然音階 Acoustic Music and Natural Scales
  調律與數位音階   Temperament and Digital Scales
  調與調式音階   Keys, Modes and Modal Scales
  顯波學與癒療音階   Cymatics, Kymatica and Medicinal  Scale
  藍調與特色調式音階   Blues and Genre Modes
  和弦分析   Chord Analysis
  代理/轉位/人聲和弦   Substitute, Inversed, Human Chords
  和弦進行提要   Chord Progression Design
  終止型與級進進行   Cadence and Stepwise Progression 
  大調/小調和弦進行   Major/ Minor Mode Chord Progression
  轉調‧藍調和弦進行   Modulation, Blues, Modal Chord Progression
  名曲和弦進行示範   Demos of Popular Works
  全曲和弦進行綜合設計與實作    Total Chord Progression Design and Practice 
  對位    Counterpoint Design
節奏/4拍 Rhythm Analysis and Design/ 4-Beat
   3拍/2拍/混合拍   3-Beat, 2-Beat, Fusion 
  節奏模組,節奏動感搖梗    Rhythm Patterns, Groove Rhythm 
  全曲節奏綜合設計與實作   Total Rhythm Design and Practice 
配器 Instrument Arrangement
  數位樂器   Digital Instruments
  音階樂器與 GM   Melodic Instruments and GM Patches
  打擊樂器與 GM   Percussion and General MIDI Patches
   TX 結構意涵取向配器法   TX Structural-Contextual Approach Instrumentation 
  創意配器:民族樂器   Creative Instrumentation: Ethnic
  創意配器:中華樂器   Creative Instrumentation: Chinese
  創意配器:中華現代樂器   Creative Instrumentation: Modern Chinese
  創意配器:演化樂器   Creative Instrumentation: Evolving
  創意配器:變身樂器   Creative Instrumentation: Transforming
  人聲樂器:聲樂   Vocal Instrumentation
  人聲樂器的變化   Variants of Vocal/ Human Voices
  全曲配器綜合設計與實作    Total Instrumentation Design and Practice 
襯音、即興與變奏 Fill in and ad lib Design
編曲收成與輔奏 Finishing up: Prelude, Interlude, Postlude
  編曲收成與輔奏綜合設計與實作    Total Finishing up Design and Practice
變格作曲與變格編曲 Alternative Composition Theory and Arrangement Methods 
演奏/創意與詮釋 Performance/Creative & Interpretive
音樂流派的知識分類法 Methodology for Genres Taxonomy
流派-音樂分佈圖/展示 Genre- Music Map/Demo

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MIDI Production

Sonar 設定 Sonar Settings
錄音與後製-Midi Midi Editing & Post Production- Midi Notes
合成/轉化/輸出音軌 Bounce and Export
錄音與後製-數位聲音 Wave Editing & Post Production- Digital Audio
混音自動化 Mixing and Automation
等化與雜訊處理 Equalization
特效 Special Effect Featuring
總控與輸出 Mastering and Converting Output


Demo & Exercise

統雄作品選 Selection of Sean TX Wu's Work
相逢 Encounter
媽媽的愛心 Mother's Love




Music and Culture, Science, Information Technology
音樂創作研究科學方法 Scientific Research Methods in Music Composition
音樂創作知識管理 Scientific Research Methods in Music Composition by Information Technology


Digital Sound Effect

光碟標籤與包裝設計 Design of CD's Label and Package


Lab and Activities

臺大數位音樂實驗室 NTU Midi Lab
   實驗室發展歷程    Chronicle of NTU Midi Lab
吳統雄數位音樂 研究目錄 Listing of Research Papers by Sean TX Wu
吳統雄數位音樂作品目錄 Listing of Digital Music Works by Sean TX Wu