Hitpoints and Warp Markers - Why so complicated?

HI All,

I have recently been working on a track in Cubase Pro 10 that features a lot of guitar parts. Although my guitar-playing friend did an admirable job locking onto my precise electronic elements, I still needed to tighten up most of the guitar parts to mesh with the intricate keyboard arrangements.

Which brings me to my question: What is up with Cubase’s convoluted way of tightening acoustic parts? First you have to create hitpoints which must then be converted to Warp Markers before you can quantize and move individual notes to a grid. Why are there two different marker types? It doesn’t make any sense as far as I can tell.

It seems like Steinberg should just get rid of the old way of doing things (i.e., hitpoints) and move on to the much more flexible Warp Markers.

Am I missing something?

I have some other DAW programs that handle audio quantizing much more elegant and simple. It took me a few minutes to learn using audio quantizing, warp markers etc. in those. With Cubase I have spent hours figuring out how this works. I have now written my own notes to consult whenever I need to to time based adjustments of audio items in Cubase.

You can simply select the guitar (audio event/clip) and hit “Q”. It will quantize the guitar parts to selected grid value.

Then you go in and move warp markers as need in free warp, or adjust settings.

Are you sure that you can quantize audio based on the hitpoints alone? I know you can slice audio at the hitpoints (and create regions, etc.). But I was under the impression that you first needed to create warp markers in order to quantize audio clips.

I will have to give it a try using hitpoints. Thanks!

Yes, by default Cubase analyzes hitpoints automatically–there is a preference setting also. There’s an audio warp/quantize button right next to quantize presets/grid on the top tool bar. Turn that on, then select even and hit “Q”. Cheers.