Also make sure you have a copy of the music, if at all possible, so you can see where the bars and beats fall. It pays to look at small sections each time, especially if there are large changes in tempo, so work in four‑bar sections unless there is a particularly consistent section, in which case you might be able to jump to eight bars - but, conversely, be prepared to treat complex sections in two‑ or even one‑bar chunks. Beat Detective has been designed to be extremely 'intelligent' and isn't easily fooled - so if it does query what you're trying to do, don't ignore it, and if it won't let you put a analysis mark where you want it, check you aren't making a mistake with bar numbers or time signatures. This can be a real boon when you want to overdub to such material, and allows you to quantise MIDI parts in a musically appropriate manner.Įven though we have Elastic Audio, Beat Detective is still the primary tool for analysing tracks to create tempo maps. This month, we're going to look at how to make use of them in a practical context: exploring different ways of creating tempo maps from material that was recorded without a click. In last month's workshop, we explored the various event rulers in Pro Tools. We explain how to create a tempo map in Pro Tools that will follow your musicians wherever they decide to go!
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