Although I don’t mind switching to linear mode and the audio being off Cubase’s metronome, I have already made several edits to the part while it has been in musical mode. Resetting them to linear shifts the content in my events. Also, I have noticed that editing in musical mode makes for some visually “messy” and “inaccurate” crossfades, as if I had performed the crossfade exactly on a transient rather than right before it.
If anyone has any advice I would be very greatful.
Bane
Hello Bane - Forgive me please if I am off here, but it sounds like you are thinking of the opposite of “musical mode” being “linear mode”? As I understand it, that’s a little bit of apples and oranges, in that there is no opposite to “musical mode” I believe, it’s a toggle on/off thing. As I understand it: “Musical Mode” (which you can activate from the pool as you did, or the sample editor) is applied to audio to let it get stretched evenly when the tempo is changed. If an audio event is not in Musical Mode when the tempo track is changed, it will play back unchanged. If it is in musical mode, it will play back slower or faster, depending on the actual change to the tempo track you made.
The opposite to “linear time base” is “musical time base” , which is unrelated to “musical mode”, except that helpfully they have they same symbol (the little musical note) in Cubase! (Just to clarify, that eyeroll wasn’t directed to you!). These are activated from the track control settings.
As I understand it, “Musical Timebase” (the little note icon in the track control setting) vs. “Linear TImebase” (thle little clock icon in the same place) tells Cubase which of the two ways it has available to position the event when the tempo track is changed that you’d prefer. “Musical Timebase” tells cubase to have the audio matched to the position in the song as described by bars/beats when the tempo track is changed - “I want to have this flute solo at the start of bar 32 even when I change the tempo from 70 to 75 BPM”.
“Linear Timebase” (the clock symbol) tells cubase to peg the part to the position in the song as described by minutes/seconds when the tempo track is changed, “I want this flute solo to start when the snake begins its dancing, at 3:22 into the movie”. Another use for “Linear Time Base” is when you are using Time Warp to warp the grid - you like how your expressively performed free-form/non-click track recorded track sounds, but now you want to have Cubase match up the grid with your playing (maybe so you can overdub a tempo-locked drum track) - so you put the playing in “Linear Timebase” when you warp the grid.
Page 471-473 in the Cubase 6 manual, I’m guessing it’s similar to how Cubase 5 handles things?
To answer your specific question, would it be helpful to bounce the track after the edits/cross-fades, etc?
Hope this helps, and again, apologies if I am making a misunderestimation of the situation!
Thank you for taking the time to type all that out for me. You are correct, I was speaking of toggling musical mode on/off, my version of Cubase doesn’t do linear/musical timebase.
To answer your specific question, would it be helpful to bounce the track after the edits/cross-fades, etc?
I gave this a try (can’t believe I didn’t think of it before) and the results are confusing. Of course, the bounced event is not in musical mode, but the selected events were in musical mode. Therefore the effect of musical mode would still be there, correct? Because the audio still matches the metronome.
I can record a song at say 100bpm, delete it, insert it at left locator in the same project and the music is offbeat to the metronome without musical mode on.
On some projects that I have already made edits, the only way to adjust the edits after turning musical mode off is to resize your events and re-crossfade, but all the other events are a mess and so on. Tedious, but I guess I will have to learn from my mistake.
Hi Bane - sorry, I didn’t realize your version didn’t have that other stuff (I had come over from SX3).
When you bounce the event (to a unique event), and mute the original, does it play the way you would want, including the effects of stretching via musical mode, and crossfades, etc.? I would think all the edits/changes you made to the original file should be incorporated into the bounced event, though as above, I can’t be sure how your version will do this.
Another alternative to bouncing is to export/import.
I’m not sure about the phasiness - are you leaving the original track unmuted when you play the bounced one? I would expect a bounce to be sample accurate, but I have just learned on the C6 forum that the Warp algorithm isn’t sample accurate, so now I’m not so sure what to expect with these things anymore!
Don’t apologize. Thank you for taking your time to reply.
Normally, I choose to Replace the events when I bounce. As far as the phasey characteristics of the audio, the effects are very difficult to spot until the mixdown, after it’s been compressed and all. I’ll have to look closer and try bouncing it again. I’ll let you know what I find.
they have they same symbol (the little musical note) in Cubase! (Just to clarify, that eyeroll wasn’t directed to you!). These are activated from the track control settings.
Thank you for taking your time to reply.