tjhewer

Yes! That’s essentially how I’ve been doing it, mostly retroactively for any such tracks, after the fact.

Hi all, I make occasional use of setting quantization parameters in advance, by having the Region Inspector open, clicking somewhere on the background to deselect any regions, at which point the Inspector displays, “MIDI Defaults”. Then, whatever MIDI region is subsequently recorded, it inherits those settings. It struck me that in an often-used template, certain tracks always need to quantized to 8th or quarter notes, whereas most others are in 16ths. I was wondering if anyone was aware of a way to set the quantization parameters, in advance, on a per-track basis, as I’m not aware of any such way now. Thanks!

Hi there, just stumbled across this thread today, not sure if it is any help, but it looks like they have now added such a feature: There is now a key command in the Audio File Editor to “Set Anchor by Playhead”. This is working wonders to set the anchor point of a cymbal swell, then have it instantly snap into place, to swell to the downbeat.

This solved an issue I was having this morning. Always thankful for the help on this forum.

This is brilliant!

Hi there, I believe somewhere I heard the Pro-Q being stated as able to have hundreds of instances with little CPU impact. Again, it has 3 modes that it can operate in, that will lead to more or less CPU usage, but having used it for a while, I can confirm that it has a negligible CPU impact.

Just found this advice here…love it.

I’ve been noticing the same problem for a few weeks too.

Excellent! This came in helpful today.

This again is a brilliant way to map tempo to video. Thankful!

Brilliant, this came in helpful today!

Brilliant! Big help today!

Brilliant. Just a note that for Shift-P to work, notes must be quantized 100%.

David, I think I understand now! I have sequenced each track in a way in which they musically overlap. I have done a master bounce of this file, so that all tracks exist in one big WAV. I have used the same markers to simply cut this master waveform at each new track point, again using zero crossings. I have exported each region as an audio file, rather than by using the master bounce, which seems to apply a fade in of a few milliseconds at the start. The unbroken waveform is now preserved between the end of one track, and the start of the next.

Hi David; thanks for checking in. Forgive me, I'm just a little unclear on what you mean. I am cutting from a file with the tracks already laid out in a way in which they musically overlap. I ran through your recommendation, and the result was longer wave files, with the region waveforms still in their original time position. Thanks for your help.