saschafranck@... writes: >Of course, as long as this happens in realtime, there's no need to make a >difference between a "bounce" and a " digital rerecording" (unless you >bounce to a 24bit file using 16bit equipment), but as soon as bouncing >might >be "calculated" (as it allready is in VST for instance) there's gonna be a >huge difference and actually I really couldn't imagine how this should be >achieved with external MIDI equipment being included in the bounce as >well, >no matter if it's PT or not. I can't explain the technical reason why you can't hear while bouncing (with certain hardware), even though it's done in realtime. There are some advantages to realtime bouncing (if you could hear it): 1) When you are very sure the mix is complete, you perform the bounce and check while it's doing it. If there are any changes to be made, abort and tweak. If not, then you've saved the time of rendering to disk the mix. 2) You can simultaneously make cassette or DAT copies of the mix while bouncing. 3) You can include the live inputs (say, MIDI gear). Whether or not you can hear while bouncing doesn't change the usefulnes of this feature. Also, it seems to me that time-based plugins might be a bit tricky to render in non-realtime? Compression, delay, reverb..... Actually, this might impossible or impractical with TDM hardware: These plugins sort of occur "outside" the Mac, as if they were hardware units. For example, when pressing STOP, you can still hear the reverb trail. With native plugins, this isn't the case (at least I've never heard them work while in STOP mode). And... native plugins don't work outside the region boundaries unless you assign extra "gate time" TDM plugins don't work like this; they are more like hardware units in this regard. f-erenc "Fix signs"