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Sabrs Operating Manual WordPress. So I switched the vocal track to Elastic Audio, went into Warp view, placed Warp Markers at the start and end of the word to act as anchors, and then placed another at the syllable change point.
Then I simply dragged that point to the right to line up with to the locator point, and the singer was in time with the instruments — simple. All of this was in a Session with no click and no tempo grid to work to, and all tracks were samplebased rather than tickbased. The Elastic Audio plugin window enables you to finetune the timestretching.
If you need to change the tempo significantly — especially if a significant slowing down is involved — you may find the sound has been compromised, but Elastic Audio has another feature to help counteract this. Clicking on the Elastic Audio Mode button opens up the Elastic Audio plugin window for that track, and you can adjust the Decay control to bring the sound quality back into line.
Sometimes you can also improve the results by switching to a different algorithm: for instance, if you are stretching kick-drum sounds to get a longer, richer thud, it is worth trying Polyphonic mode rather than the usual Rhythmic, and increasing the Decay value. Here, Warp Markers are being used to move a syllable change within a word so that it coincides with a musical event.
Prior to Elastic Audio, producing believable varispeed effects has been difficult. It could be done by adjusting the clock speed of Pro Tools and somehow recording the result; then came along a couple of Audiosuite plugins, including Wave Mechanics Speed, Waves Soundshifter and Serato's Pitch n' Time, which could render good varispeed effects, but none was especially cheap.
Now, however, Pro Tools can do it out of the box: simply make sure your tracks are set to use the Varispeed algorithm and draw your slowdowns and speedups on the Tempo track. You can use Elastic Audio on samplebased tracks, but if you want to automatically conform a Region to the Session tempo, you'll need to switch your track to the tickbased timebase. You can then rightclick the Region and select Conform to Tempo, and Pro Tools instantly moves all the events so they line up with the tempo of the track.
It seems so much more 'intelligent' than Beat Detective, which may well be down to the improved transient detection. You can also quantise audio to a groove, rather than the strict tempo of the Session. This is accessed from the Event Operations option in the Events menu; if you choose the Quantise option in the submenu, you can select a groove from the dropdown menu.
Make sure you have Elastic Audio Events selected at the top — if you have Audio Regions selected, Pro Tools will move the complete Region rather than the elements within it. At last it's possible to create realistic tapestyle varispeed in Pro Tools, by switching tracks to Varispeed mode and editing the tempo map. Does Elastic Audio replace Beat Detective, then? In many ways I think it probably does, although Digidesign have added an improved analysis option to Beat Detective, which suggests they think there is life in it yet.
The key difference is that Beat Detective 'cuts up' files and moves small regions around to conform events, whereas Elastic Audio uses time compression and expansion. I had expected that Beat Detective would be the only way to be sure you could guarantee absolute phase coherence when moving around groups of events across multiple tracks. However, I understand that one of the reasons why version 7.
Certainly, judging from the content I have played with personally and heard in demonstration, Elastic Audio is more than good enough at reconforming multitrack events without creating undesirable sideeffects.
It took me ages to sort out and with Elastic Audio it would have been done in no time at all! Various other aspects of Pro Tools have been improved to make integration of Elastic Audio as smooth as possible. Many of these enhancements are found in the Digibase Browser. At last, there is a volume control so you can turn down the volume when auditioning samples in the browsers.
I, along with many others, am fed up of being blasted when auditioning loud samples and files, so this is very welcome. A new Conform to Tempo option means that files being auditioned in the Browser will be analysed and then will play at Session tempo rather than their native tempo. Here's what happens [this knowledge is from several hands on shootouts, discussions with Digi programmers and as a Digi Certified Op in Music and Post, this was definitely pointed out].
On the way there, it first truncates your data, then begins tossing out bits of information. If you're low on voices, the process is even more detrimental as it needs more power to do the operation and throws out more.
The result is something lacking in high end definition, a log jam of a mid range and a cluttered low end. With internal layback, you're staying in the DAE and avoiding all of that.
Essentially, what you mix is what you print. Thats your track. But its definitely there. Even beyond the sonic superiority of it, its great for workflow. With QuickPunch engaged, you can easily punch in a part of the print track that all of a sudden clipped because you forgot to fade a region. You don't have to cancel your bounce at the last minute, fix the problem and then wait it out again.
Imagine that! Ultimately, if you don't hear a difference, you dont hear one. If what you hear from the bounce engine sounds great to you, then thats all that matters. I'm a firm believer in what sounds good to you is best. However, these are facts and there is a sonic difference. Take a listen. Hi Earthone I just attempted this and it's not working and was hoping for a little advice. I'm running PT LE 7. Buss the output of all audio tracks including the Master Fader to a stereo audio track.
Your step 4 somewhat confused me When you say highlight do you mean highlight the Master Fader and new SUM track in the Mix window, or do you mean highlight all the audio in the Edit window?
I was thinking I was going to get a stereo mix. What am I doing wrong? Thanks so much for any assistance you may be able to provide. Peace, t. Just answered my own question. Thanks for reading t. Robert Randolph. All completely wrong. You are hearing things. I just tested this and the bounced mix and printed mixed nulled in PT 8, PT 6.
Bill, I just read a bunch of your posts and wanted to ask you about reverb if you dont mind. AFAIK - you can't dither when exporting regions, only when bouncing to disk.
If you export, the files get truncated, so you actually lose quality. I prefer BTD for the simple reason that it's easier to set up and one bus less to worry about. IMO, recording inside PT has the sole advantage of assembling a master in bits and pieces. Say you only want to change the last chorus and thus you just re-record that and splice it in as opposed to bouncing the whole mix down.
But I like the fact that you can't change anything when the mix is bouncing to disk. With all the automation features available in PT, I don't see the need to 'interfere' when the mix is finally being bounced or recorded. And yes, I've done the null-test too and it DID null.
I guess that speaks or rather mutes for itself And before I tried to Null them, I was certain I heard a difference. So much for trusting your ears. I only did this test summing two tracks to a final stereo track.
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