How to import cubase into pro tools

Best way I've found to do it is to create a bit of silence at the beginning all tracks that don't start at zero. This will create new WAV files in the project folder that start at zero and should be named appropriately if you have the tracks named well in cubase. You can then just send him these and everything will work perfectly.

If you have trouble finding which files are the ones you just bounced then when you go into the audio folder to find them, sort by date created or similar and take the most recent files. There might be a simpler way but I haven't found one yet John. My Studio. If im lazy then I set the left and right locator to include everything in the whole song. File-Export-Audio Mixdown, then select the little box that says 'Channel Batch Export' Now you can select all the tracks individually, set a prefix and where you want to save all the tracks to and hit export.

But, if I want to be nice, or have some extra time, ill rearrange all my tracks by length. Like, a guitar track that goes from measure will be at top, the little shaker sound that happens once at measure 23 will be at the bottom.

Then ill group them up and batch export them that way. Next is a handful of tracks I can get with locators at , export those, so on and so on. That way I dont end up with a super long wav file that only has audio at the beginning of the song then minutes of silence, they are only as long as they need to be. But they all start at the same left locator so anyone could drag everything to 0 and it all lines up, and they save some hard drive space.

Yes I saw the video but it's an incredibly unwieldy way of exporting the audio. You end up with all the takes and parts that you don't need. The OP wants a way of exporting just the audio that is wanted for the mix as far as I can tell. As stated here it's very easy,I don't see what the problem is here unless you have a really old version of cubase.

MC Sent from my Nexus 7. So, this is what I did for the last tracks, for anyone else who has the same problem! First, I went through and renamed each track with a '1' in front of it.

I then armed all the tracks and recorded about a second of silence on each one there were 8 or so bars before the music began, so this was no issue. After that, I set my markers and bounced them all down.

Thanks Psythe for the initial idea, worked a treat. Adding the number to each file name made it a bit easier again and I'd recommend anyone else to do that also! The problem with that is I'm bouncing hundreds of individual files, it took me five hours to do four tracks yesterday, with eight left to go.

I'm running version 5! I was doing them individually, yes! It was the only way I could figure out how to do it and still keep them all the right length. But as I said a couple of posts up, Psythe's way worked a treat!

They'll export all at the same length as the time selection , so if you want to bounce the whole song from bar one just drag the time selection from bar one to the end of you song.

Conversely,in the future if you want to bounce say a 4 bar drum loop just set your time selection around that and it will just give you a 4 bar audio bounce. Not if you just want to 'bounce selection' it won't! We're talking about getting individual tracks exported for use in another saw here and using export audio batch function.

If you set your left locator at bar one and you right at bar fifty and then channel batch export you'll get all tracks exported fifty bars long which you can drop into any DAW. The same process can be used for bouncing midi VI parts in a single pass, its a function I use every day.

Pro Tools won't let you edit multiple MIDI parts in one window, and more importantly, doesn't work well with several of my favourite soft synths. Similarly, if you ever want to give a Cubase Project to someone else to mix, you'll probably need to turn it into a set of multitrack audio files first. However, doing this can be a colossal pain in the arse, because Cubase really doesn't make it easy to export individual soft-synth parts as audio files. Instead, you're faced with having to solo each MIDI track individually, select 'Export Audio Mixdown' from the File menu, choose a meaningful filename, decide whether it needs to be stereo or mono, and then wait for it to bounce before going on to the next one.

Unless, that is, it's possible to automate the process To my mind, the really tedious thing about the track-by-track method I've just described is that you can't just leave the computer to get on with it. Every track has to be named manually, so you have to be watching your computer for the entire time you're creating the export files.

After some experimentation, I found that if you don't mind a little extra work at the start and end of the process, there is a way to eliminate this particular bugbear.

I want to export around 20 Parts, so I've created 20 Markers, each 89 bars apart. As you might expect, this involves a slightly tortuous use of Cubase's Macro function. This can't be applied to things like entering filenames, so it's not possible to automate the track-by-track export process; instead, a bit of lateral thinking is required. It might not be possible to automate the export of a different file for each track, but it is possible to automate the export of a single file containing all the Parts in a song.

A single 'Export Audio Mixdown' will then create one long stereo file with all the Parts in, which can be chopped up and re-sync'ed in Pro Tools , or any other editing and mixing application. As I said, this does require a little preparation. First, we're going to use Cubase's Markers to tell it where to place all the parts on the Project window, so you'll need to delete any Markers that already exist in your song.

Second, you'll need to make sure that all the tracks you want to include in the export are visible and adjacent to one another on the Project window — the method I'm proposing will work with both MIDI soft-synth and audio tracks, but you don't want them separated by Group tracks, and you don't want to include the tracks that represent the audio outputs from soft synths.

Third, you'll need to hide any automation tracks by choosing 'Hide All Automation' from the Project menu. Fourth, set the left and right locators to the start and end of the song. The process is made much easier if you set them both exactly at bar divisions which is easily done if you have Snap to Grid turned on. Fifth, delete or mute any unwanted Parts on tracks to the right of the song I often use this area as a holding bay for unsuccessful takes and so forth.

Click Add to add a Marker at that position, then set the Project Cursor to where the right locator is and add another marker. If you have set the locators to precise bar divisions, you should now easily be able to work out the length, in bars, of the gap between left and right locators. Write it down, it's going to come in very useful! Once you've created a Macro, it will appear in the Macro group of commands upper window , where you can assign a keyboard shortcut to it.

From this point on, the basic idea is to create a further Marker for each additional MIDI track you want to export, and have each Marker separated by the figure you have just written down. So if, for instance, your first Marker falls on the first beat of bar three, and the second Marker on the first beat of bar 83, that makes your song 80 bars long, and you'll need to create additional Markers at the starts of bars , , , — and so on.

The easiest way to do this is to hit the Add button on the Marker window and manually enter the bar number by double-clicking in the Position column. If your song has tempo changes, you'll need to do some additional editing to the tempo track, copying the tempo map between the left and right locators and duplicating it rightwards as many times as you have Markers. The final stage of preparation is to ensure that every track has an Event that begins exactly at the position of the left locator — otherwise, the Paste command won't take account of any empty space at the start of the track, and things will get out of sync.

Set the Project Cursor to the left locator again, and choose Split at Cursor from the Edit menu to split any Events that start before the left locator. Where you have MIDI tracks with space at the left locator, you'll need to either drag the bottom left-hand corner of the first Event back to the left locator to enlarge it, or create a blank MIDI Event at the left locator position.

To summarise: at this point, you should have a set of Cubase Markers, each separated by the length of your song; a set of MIDI tracks adjacent to one another on the Project window, all containing at least one Event that starts exactly at the position of the left locator; and a large area of blank space to their right.

OK, we are now in a position to write the Macro that will place each element of your song into its own area of blank space on the Project window. In order to stop the tracks going out of sync when they're copied, I've created empty Parts and used the Split at Cursor command to ensure that they all contain Parts that begin exactly at the left locator. The basic idea is that we begin by selecting the topmost MIDI track we want to include in the file export.

Our Macro will select all the Events on that track, copy or cut them, skip to the next Marker, and paste them.

It will then move to the next track and repeat the procedure; and because each Marker is separated by the length of the song, each track's MIDI parts will be pasted into a song's-length space of their own.