After you've named it, it should be available in the Groove Quantize window (Apple-G) ready for use. Make sure your loop has undergone Beat Detection, then select it and choose Create Groove from the Region menu. If you have an audio loop with a great rhythmic groove, this can be extracted and used to quantise other audio and MIDI. Choosing the 'Each Soundbite' option effectively combines all the beat divisions from all the Soundbites, whereas choosing a specific Soundbite causes this to become the 'master', as it were, with its beats being imposed on the other Soundbites. There's also a pop-up menu, for when you've first selected multiple Soundbites. In the little window that appears, the slider performs a similar 'threshold' function to 'Adjust Beat Sensitivity', discussed last month - it's a very intuitive control. You simply select a Soundbite and choose 'Create Soundbites from Beats'. As Propellerhead's REX and other loop formats demonstrate, the odd bit of silence between individual beats in a rhythmic loop can often go unnoticed, especially if there's some reverb in place, or the loop is being played against other instruments. Finally, if you've split an audio loop into smaller Soundbites, a large reduction in sequence tempo will cause them to simply move apart, potentially avoiding the artifacts that extensive timestretching can impose. Second, isolating beats and then edge-editing them to be shorter can give a very aggressive, modern, 'gated' effect. First of all, it could be a convenience feature for splitting up individual kick, snare and hi-hat beats from a drum-kit Soundbite (say), prior to dragging them to Mach Five. There are several reasons why you might want to create multiple beat-length Soundbites from one 'parent' Soundbite, and the Audio menu's 'Create Soundbites from Beats' command lets you do this. This month the spotlight turns to some related DP 4.5 features: using Beats as the basis for individual Soundbites, Smooth Audio Edits, and the powerful but mysterious Tempo Analysis. Last month in Performer Notes, I looked at the basics of DP 4.5's new Beat Detection functions, in particular how they can be used to quantise audio that has drifted slightly from a click track, and how they enable easy editing of rhythmic audio. Smooth your audio edits, create soundbites from beats, find out about tempo analysis and get the run-down on why you need the DP 4.52 update - all in this month's Performer Notes. Why can't the major DAW vendors do this? Isn't being open with customers a Good Thing? I'd MUCH rather have MOTU (or any vendor for that matter) admit to an issue and let us know they are working on it, than to fight an unsolvable issue for months and months because of vendor policies of secrecy.The 'Create Soundbites from Beats' window allows Soundbites to be split up into their beat components. The source of the bug (customer-found, internally found) is also provided. The conditions under which the bug are seen are described, and the version(s) that fix the bug are provided. And, EVERY SINGLE BUG that HAS been addressed is viewable/searchable. For the most part (heh) we're completely open about what bugs exist and haven't been addressed. You can search for bugs and find Resolved, Open, Closed, Junked, etc bugs. I mention this because the company I work for (not related to audio) has an extensive bug database that is viewable by our customers. Why is this so hard? Wouldn't it be helpful for users to be able to see at a glance when feature X was added? Or, when debugging a problem, be able to look at all the bug fixes in one place to see if one of them looks like it might be contributing to your problem? Use a simple HTML unordered list with a format like: It would be simple to include the pdf with the updater AND separately on their website.Īctually, I'd like to see a page that listed the bug fixes and enhancements for EVERY past version of DP. Yet another reason why MOTU should include update notes as a SEPARATE pdf on the subscriber portion of their website.
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