I love the concept of elastic audio. It has made working with audio in a DAW so flexible. And there are two by-products of working with elastic audio. One is that we can move audio around with various tempos, four was small, subtle shifts at places in time. We can also do some interesting things with the pitch of our audio. Let's listen to this phrase starting at Bar 21 [MUSIC] And I'm currently at 92 beats per minute. Elastic audio allows us to take audio that was recorded at an absolute position and time. And give that audio the flexibility to now move around relative to different time bases. It does that first by analyzing the samples that are embedded, where they are embedded. And looking for transient energy, the spiky pieces of energy that might live in the audio. Polyphonic would be best for multiple instruments, kick, drum, snare drum, hi-hat, base, guitar, piano, vocal like a two-track file and a full song when you use Polyphonic. Rhythmic would look at drum instruments like a kick drum by itself, a snare by itself, or maybe even a kick, snare, hi-hat loop. Because those instruments are very short, if you try to make them longer they might not sound as much like drums anymore, so rhythmic analysis will help to hold the wave-forms in, so that they can remain short wave-forms. Monophonic is good for looking at single-note instruments, like a bass, a guitar, or in this case, a vocal. Varispeed is similar to the sampler that we saw, and that's why I showed you a sampler, because concepts of moving things around In time and concept of altering, the length of samples, begin with a sampler. To understand a sampler, is to understand Pro Tools, and to understand a sampler, and to understand Pro Tools, is to understand concept of pitch. They're all tied in to each other and that's why they were all in this particular lesson. Let's go to Monophonic analysis and that file was analyzed and let's listen to it. [MUSIC] So, if I look at the analysis of that file and zoom in you will see the transience that I spoke of that are being, that have been detected, live in this file and are currently at sample positions. And those sample positions are relative to a larger increment called the minutes and the second. And if I open up the symputon cue you'll see that this is relative to sympti also. But I have another concept, on not absolute time but relative time, bars and beats. So, let me go in and change my tempo. I'm going to turn my conductor off and type in a tempo of 126, and let's make this a quarter note, here we go. [MUSIC] So I don't know where I'm at. [MUSIC] The whole session is lost, so [LAUGH] I'll Command+Z, Command+Z, Command+Z, I'm back to 92 beats per minute. [MUSIC] And the reason that that didn't resolve was because I was still in a time based selector of samples. So, my audio was locked to samples. If I change my time based selector to ticks my audio is now locked to its bar bit position so this entry point at part 21, will always be the same entry point no matter what I do the samples. Let me play it again at 92 bits per minute. [MUSIC] Now, let me change this by turning the conductor off and changing this to 126 beats per minute. Because I'm in tick based mode, bar 21 will remain bar 21, no matter where 21 moves to in my composition. Let's listen to it at 126 beats per minute. [MUSIC] Let's move to 200 beats per minute and listen to the click and the tick. [MUSIC] Let's go to 60 beats per minute and listen. [MUSIC] The audio sounds like it's fragmenting at these low rate and it sounds like it's kind of explain into each other at high rates. A lot of people shy away from doing really large tempo changes when they're working with elastic audio. I feel like you should be able to play around with and experiment, there are many records that I've heard. On Friday night or Saturday night the DJs mash up and I hear the vocals bubbling like that. If you have the creative idea this technology will just get better and better and better. Go ahead explore, play around with it. Now, I told you that there is also had the ability to look at some other concepts, one of them being pitch. Let's listen to this phrase, and I'll actually make it start from bar 21. [MUSIC] I'll select this audio and go into my elastic properties, which is under my quick menu. I'm going to select this audio, look for the pitshift algorithm in my elastic properties. I'm going to change this mold to polyphonics so that I can get access to the pitshift and I'm going to change this by an octave. And what happens is Is that the pitch will change but the length of my audio, its time base will not have changed. I'll be totally in time at 92 beats per minute. Listen to it. [MUSIC] Now, let's go and do minus 12 this is the an octave the other way and listen from bar 21 [MUSIC] Different concept and we worked and when we worked in the sampler and we tried go up by an octave or down by an octave. Our sample got longer as it got lower and it got quicker as it got higher. We're remaining totally in time right now, using this pitch variation in elastic audio. Fascinating concepts, I know there are records out there that you've heard, and you were wondering how they were doing that. This is just one of the ways to do that, there are samplers like contact, that have a time based pro element in it that does something very similar to this You can do this with a pitch algorithm, which TCE and a pitch algorithm. There are lots of ways to do this. Not trying to be too complicated but knowing this stuff really brings you up to speed with what's going on in contemporary music And with contemporary vocal production. I'd also like to show you how you can edit minor sections or very, very small sections in a piece of audio. We'll go in here and look at a phrase. [MUSIC] And we'll actually pitch that phrase back up, To 0, Go in and take a look at it and I see what I wanted to do I want to get to know, much more then just your name. [MUSIC] Let's see if I wanted to move the more earlier [MUSIC] Much, one, two, much more than get to know. Much more, so want to get to know much more. I'm just going to do something radical like that. I'm going to put the much on the beat and the more's going to be on the upbeat, they're currently the inverse, where the much is on an upbeat and more's on the downbeat. [MUSIC] Much more, up and down, so for that we need to be looking at our bars and beats. And, we can look at our grid, I'm going to use the click track. And if you look in the click track, my grid will be set up for bars and beats and it will be set up for a 16th note. So, I can actually see these increments. Well, I'll set it up for 8th notes, because that's what I'll be moving. And the more is currently on a down beat. So it's bar 22 B3, the upbeat is right here. So, the much lives in that area, and I'll scroll. [MUSIC] [SOUND] Okay, so it's going to be a little bit complicated but we'll do it. And what we will first do is move over to work mode. In work mode, we'll place an anchor here so that none of the audio before this will move. We'll place another anchor here so that none of the audio after that will move. Now, what I will do is take the mutch and move it from the upbeat to the earlier down beat and let me see, so this will be a little bit earlier, so the much is right there, and the more will come to the down beat. Now let's listen to that phrase. [MUSIC] So, I might have to cool some other things out in order to make sure that the resolution of that phrase works all the way through. Now, let's listen to it. [MUSIC] [LAUGH] This is fantastic stuff. I'm working with polyphonic resolution right now. There's another algorithm in here called X Form, which will render this file at the highest possible elastic audio analysis. That Pro Tools can do for this audio wave form which will sound a lot better than what I'm doing polyphonic or with monophonic. I want it to monophonic and see if that sounds any different. [MUSIC] Hear that little metallic sound that happened on more. That's because I've kind of moved it quite a bit and my X Form would really help to make that feel a little bit more natural. Let's look at the flexibility our vocal piece in another DAW.
