some people have in other threads called for multitrack warp, which could be really nice for an upcoming update.
But until then there actually is a workaround if you can do with only six channels.
AudioWarp also works in surround, so if you collect six channels in a 6.0 Music channel, you can make free warp on them all simultaneously. Setup is a bit time consuming, but it works.
And if Cubase can do it with six channels, it should be manageable for Steinberg to extend it to multiple channels
(By the way, surround can also be used for side chaining in multi band compression, but thats another story).
…this sounds promising and interesting. I’m going to have to give this a try. Thanks for the tip
I tried this, but is there a way to only move 1 track at a time? I tried this and “ALL” the tracks want to move at the same time… How do you do this?
Does this have any advantage over the ‘quadro’ track method … or just a different example of using Cubase multichannel tracks to access VST2 external SC inputs?
And I’ll continue to complain that VST3 is no substitute for Cubase routing limitations preventing audio > audio for the straightforward use of VST2 external sidechaining.
I might had misunderstood you, but isn’t the whole point in multitrack warp that all tracks should move together, and thereby minimizing phase error
I know that it doesn’t solve the line up problem, but at least you get the possibility to warp multiple channels recorded with spill between channels. I used it for correcting timing problems on snare drum where the snare also was present on the overhead and tom channels.
I don’t know the ‘quadro’ track method, but it might in principle be the same. Maybe I should study this method a bit further
The problem here is that Cubase MultibandCompressor don’t have side chain input. But if you only need compression in one or two channels, the other channels in surround can do the job as side chain.
If you make compression in multichannel, all channels should have the same gain reduction (else the signal would start jumping around the speakers depending on level). The trick is then that you don’t have to worry about noise in floating point DAW, so if you lower the level of your main channel say -20 dB (the channels that shall be compressed), they would not contribute to the compression itself. Now you can adjust threshold, ratio, attack and release to fit the side chain (the other channels at normal level).
After compression route the main channels back to the mix, and compensate for the lost gain in some other way.
Well, here’s what I’m trying to do… I would like to “look at” the transients of my recorded Kick and snare tracks and try to “line up” my bass track to the hits of my kick and snare tracks. Do you know of a way I can do this …without buying protools ? ?
One option to achieve what you’re looking for.
Step 1 - solo the kick and snare and export/reimport a combined kick and snare track.
Step 2 - detect hitpoints on this new kick/snare track and make a groove quantise from it.
Step 3 - quantise bass track to new groove quantise preset. You can use slice/crossfade method, audio warp quantise or slip editing for this.
Sure its a bit of a workaround but it’ll get the job done.
Having an inplace sample editor would really help though. Then you could free warp in the project window lining up the bass to the kick or snare only where it is off.
In fact being able to see the newly created groove’s grid lines in the sample editor would be a good start.
To the original poster - great tips. Thanks! I never thought about using surround as a method for sidechaining where no sc input is available in the plugin.
And you’re right, if cubase can do 6 channels without phase issues, surely it should be possible to implement a multi track warp on as many channels as the user wishes?
For a method of getting sidechaining to work on vst 2 plugins with support for sidechaining checkout
Or at step 2 after detect hitpoints you can create warp tabs from hitpoints & then freewarp just the notes you feel need moving…bearing in mind that you’re actually trying to move the bass notes to where the warp tabs are originally…not where they’ll end up when you start pulling them around.
Not sure I explained that very well but I’m sure you’ll understand if you try.