If you’re memory serves you that well you’ll recall what a bugger it was finding things, then! Wouldn’t it have been great to FF to the start of whatever bar, beat, in fact work a bit more like Cubase can do? Why ignore a feature that makes your life easier, even if it costs a bit of effort? I don’t deny there are times when it really isn’t worth the effort but they’ve proved few and far between. Well worth it imho, you never know what you might want to do later. I’ve tried it with and without tempo maps and tempo maps win hands down if there’s more than just straight overdubbing to be done, and who produces like that anymore - or ever did for that matter, come to think of it?
I’ve been wondering for a few posts now if I’m detecting a whiff of “structure is fascism” here? Please tell me I’m wide of the mark.
Apologies to the OP for hijacking his thread but some things have a life of their own and we are still more or less on topic
Stevont’s comment about the “virtual metronome in your head” while the freey-played music was recording, is excellent… especially if the original player was you yourself, you should be able to find it again quite easily. (Tapping it out… just imagine you were “conducting” the piece).
As I think I have mentioned before, worry about time signature last of all… you should be thinking primarily in beats… you can always correct the time signature afterwards. Was that pause a bar of 4/4 that slows down, or was it a bar in 5/4? Who cares, just tap out something that satisfies and still feels “musical”.
Then the standard procedure for “Merge Tempo from Tapping” should work just fine. Then add time signature events where necessary.
See highlight: I think this looks like one of those times. As I’ve said previously, but I can understand you not reading all of the thread and remembering it as it’s getting big, only use the bells and whistles when they do help but if they get in the way it’s best to not use them because nowhere does it say you must use them because they’re there. That would be just a tiny bit fascist.
Fascism is just a gang of twigs (where were you at Latin class boy!?). Structure has more logic behind it.
If the structure of the piece is detectable then use the Cubase tools as you say but they mainly depend on structure being found on their terms and on any other terms the user sees that makes sense to both.
That make sense?
Me. First I’d have a few blind goes at Tapping (and then merge tapping…) through the blank part and attempting to make sense of it but I wouldn’t push it too far as life’s too short sometimes. I’d trust my head was a better computer than a machine.
No. How can you possibly know this is “one of those times”? Look, we’re not idiots, and I can read even more complicated threads than this one. Hey, I can even read entire books. In short, can we stop this sideshow now, please, it’s getting tedious.
I thought Stevont’s comments were bob-on too but I’m not entirely with you on what you say about time-signatures, Vic. It is about beats but not all beats are equal and that’s what the t-s defines. You also have to count in bars or in long passages you just get lost. I would always have them set first so the beats drop into the right areas as I warp out the bars. I dare say it works out the same either way but I think it’s too basic to get bumped down the list of priorities without comment. Anyway, as long as it gets done…
Having a bit of a controversial evening, it seems…
Btw, what is the Mr Green ( ) supposed to represent?
Once and for all, the OP has asked similar Q’s multiple times and gotten the answer multiple times. If you don’t like my posts, put me on your foe list other than that, FO and mind your own clonking business. :redfu:
Thanks for all (OP here!). When I get back I’m going to try to figure out a way to keep the pause the same length while having a temporary click track count in a measure or so into the chorus after the pause (for overdubbing purposes). I’d then delete that temporary click track, and replace it with the “conductor-created” tempo track for the pause as suggested.
I use Jamstix drumming, which keys off the tempo track.
Wouldn’t it have been great to FF to the start of whatever bar, beat, in fact work a bit more like Cubase can do? Why ignore a feature that makes your life easier, even if it costs a bit of effort? I don’t deny there are times when it really isn’t worth the effort but they’ve proved few and far between. Well worth it imho, you never know what you might want to do later. I’ve tried it with and without tempo maps and tempo maps win hands down if there’s more than just straight overdubbing to be done, and who produces like that anymore - or ever did for that matter, come to think of it?
Look, we’re not idiots, and I can read even more complicated threads than this one. Hey, I can even read entire books. In short, can we stop this sideshow now, please, it’s getting tedious.