Best way to bounce tracks into your DAW?

One more cool feature of Ableton Live is the ability to drag’n’drop a whole session (.als) or a specific track from the Live browser. It will add to the current session. See below …

So if you need to bounce audio track 5 from your DT, you just need to drag’n’drop DT 5 from your saved-and-ready-to-go template!


Now, that is the kinda think I’d love to see. A simple drag n drop via overbridge/usb in to DAW without the need to re-record the session. Including all the automation and anything else needed.


This works great :slight_smile: finally tried it out yesterday

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I have the same process for my Octatrack and Digitone, with DN going in OT.
I must add that I usually record longer parts, I force myself to have over 30 secs of recordings for every part, by changing the sounds, or the sequence by all means I can think of. Gives you a lot a material to work with when you get into the arrangement process, and your tracks can go in many directions and sounds much more like a live recording this way

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@Martebar Interesting. How do you then work with the longer takes so that everything is seamless? Do you arrange them with fade in/outs? I usually have some delay or reverb going on so I rarely can just juxtapose variations of the same loop.

For me one of the big process related question is wether I do:

  1. filter and effects tweaking live on the DT
  2. leave filter relatively open and do filter and effects automation in Ableton.

The first approach gives a much more organic/live result but the second gives more possibilities to try different approaches and fine-tune the results.

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I usually take out any effects on the DT and reprogram them in my DAW. I use them mostly to give and idea of what I want them to sound like, but you’re right, if recorded too, they make things more difficult.

Although some times, if I use a big reverb on a specific hit as a variation, or play with tape delay time creatively, I record that for sure, but never an “ambience” reverb, for that I will use a send on Ableton later on.

For working with longer stems, there is usually a phase of listening and picking loops that I like, and then building parts of the songs with them. The crossfade in Ableton is a great tool to make transitions much smoother. And it pays of to have a cool 4 mins of synths you actually play to put in your track.

But I also make sure I record “safety” parts with open filters and no effects.

Actually I love this workflow, it make me feel like a film editor somehow :slight_smile:


Thanks for sharing, that sounds like a nice process/worflow.

Of course, thanks for sharing yours!
Good to see fun, simple and “overbridge free” process here :slight_smile:

how does that work exactly? The crossfade in Ableton is a great tool to make transitions much smoother.

I’m talking about the tool that allows to crossfade between two different recordings on the same track, not the actual crossfader to be clear.

Say you have two different loops extracted from a synth recording and you want to smoothly transition from one to another. Same sequence but different synth parameters. With the Ableton crossfade, you can actually lower the volume of the first part and increase the volume of the second part very smoothly, which ALMOST gives the sensation that the sound transition is actually performed on the synth. Which means you’re not limited to the transitions you actually recorded.

Also, if you want to extend a pad that you recorded but for a too short duration, using this you can loop a part and crossfade the ins and outs of the loop in order to avoid having a click at the transition and get a more continuous sound. There you go, infinite pad from a finite synth recording.

Cool wil check that out

This has always been my favorite daw thing that no piece of hardware seems to be able to execute properly.

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I’ve struggled with this workflow for a while. I finally bought myself a Novation Launchpad so I can now mimic the Digitakt in Ableton - I record 4 bar (or however long I need) separate loops for kick, snare etc and then I can do an arrangement by jamming the launchpad keys like I would use the Digitakt mute buttons.

But all I really want, even more than Overbridge, is to just send MIDI notes from my DG audio tracks into Ableton. But the “trig key dest” MIDI config option doesn’t work as I believe it should, I can’t understand how/why this option exists if it can’t do this.

If it did, I would be able to multitrack record the MIDI arrangement to Ableton, cut/paste/tweak it, and then record my audio tracks one after the other only once I’m happy with the arrangement.

I don’t like having to commit my audio so early on in the project as getting things sounding right is the hardest thing to do. I want to nail the arrangement but be able to continue to tweak the sounds afterward.

That’s what I do, to be able to also play the projects live with the best possible sound

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Recycling an old thread here, apologies, but would overbridge do this now?

I was pretty much recently going through the process of recording each track individually in ableton since i figured that was the only way to do it.

That is precisely what overbridge is used for, streaming and recording the tracks on the dt individually, simultaneously.


Thanks! I immediately found the overbridge thread and felt silly.


You can see how many milliseconds the latency is by zooming into your clip and mark the part that is off the grid (mouse drag to make the marking). Then you will see in Live’s grey bottom bar at left side how many ms the latency is. Then you type in the value on the track delay and listen with the metronome how the latency is now fixed.