![]() This is particularly effective with loops and other tempo‑based audio files, but if you are pulling in a recording of a guitar, drums or other instrument then the tempo might be a bit more up for discussion.Ĭonforming a project’s tempo to an existing audio recording. If an audio file doesn’t have an associated tempo, then Studio One can attempt to detect it and then do the time‑stretching after that. If an audio file has tempo information built into it then it will automatically adapt that to the song tempo using time‑stretching. Studio One has lots of automated processes that try to make conforming the tempo of audio as painless as possible. Once you introduce audio files to a tempo environment things can get out of hand. If you select Beat‑Linear then the bar lines remain a constant width while the song pointer speeds up or slows down depending on the tempo. With Time‑Linear the song pointer is always moving at a constant speed, so when you change the tempo the bar lines on the timeline expand and contract to compensate for the changes. In the top toolbar under Timebase you have two options: Time‑linear and Beat‑Linear. You can create quite complex lines of timing change, and there are a couple of ways of viewing them in the timeline. To jump tempos rather than transition, it’s easier to enter the tempo value into the box on the track header and hit the ‘+’ to enter the change at the position of the song pointer. A central node between the two lets you pull in a curve if you want a less linear movement from one tempo to another. Inserting a new tempo change gives you a node that you can move about and place along the timeline, drawing a straight line from the original tempo point. ![]() If you click and drag up or down you’ll move the entire tempo or selection up and down. Secondly, if you hover towards the top of the track the cursor becomes a trim tool, shown by a short horizontal line with a vertical line on either end. Firstly, in the lower section of the track it becomes a pointy finger, which lets you add a tempo change at that point on the line. Your mouse pointer has two functions within the Tempo Track. You can also change the minimum and maximum tempo range to keep your focus where you need it and give a better resolution. In the header for the Tempo Track you can enter a tempo and the line will change to reflect that. When you open it, you’ll find it’s there as a single line set at the song’s tempo, as defined in the transport bar. If your song is made up of MIDI tracks then the Tempo Track can be a useful place for messing about with the timing of your song. It’s shown with a clock icon, but if you can’t see that you’ll find it under the ‘Global Track Visibility’ icon which looks like a hamburger with a single beady eye staring at you from the meat layer. The Tempo Track resides at the top of the tracks, in the same place you’d find the Chord Track, Marker Track, Arranger Track and so on. Let’s take a look at the Tempo Track in Studio One and see if it can help us hit that downbeat with everything all at once. Whether you prefer to languish in free‑form movements or keep things as tight as an atomic clock, you inevitably need to pull disparate parts from disperate tracks towards some kind of common sense of rhythm. Trying to keep everything together is a bit of a lifelong mantra for musicians. Manipulate the timing of MIDI and audio with Studio One’s Tempo Track. If you play and hold a note, then play another note, both will be heard and sustained.The Tempo Track allows you to change the tempo of your song, either abruptly, in a straight ramp, or as a smooth curve. NOTE: Notes that are still held when playing additional notes won’t be cut off. The last notes played will continue to sustain until the sound decays or the pedal is released. ![]() This is especially useful when playing Rock style bass lines, and is great for certain chorded phrases as well. When the Alternate Sustain Mode is selected and your Sustain pedal is depressed, any note played and released will sustain as normal, but additional notes played will cut off the previously played notes.Sustains will be heard until the sound decays or the pedal is released. Notes played then released will be held, and additional notes played will overlap and sustain when the pedal is depressed. When the Standard Sustain Mode is selected, your Sustain pedal will behave normally.The Sustain Mode selection switches (numbered 1 and 2) allow you to switch between modes, and are MIDI-Learnable switches. There are two Sustain Modes available in the Footer-Standard Sustain (Mode 1) and Alternate Sustain (Mode 2).
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