I mentioned a common scenario in the article I wrote called “MicroWave Djs”:
Djs also learn to rely on the feature and may make big mistakes without realizing it. Phase matching in all programs besides Ableton is a truly hit or miss affair. Finally, for those worried about their hearing, auto syncing means lower monitoring levels as accurate listening is not as essential. Automatic phase matching also allows the layering of multiple tracks at once, a feat that few have mastered in the analogue domain. No more train wrecking because the clubs monitors have been blown out by the opening act. In programs like Ableton Live, with enough advance work you can always have reliably perfect mixes. SYNC the tempo, unless you really don’t have anything better to do and feel your $2000 dj fee is only justified by your ability to match tempos by ear. It also forces you to take your time and mix the songs in more slowly which is a really good thing these days with some guys throwing in new tracks every 30 seconds. Taking the time to match tempos by ear forces you to get used to how the songs are working together and get more into the vibe of the mix. Although i can beat match as instantaneously as the next DJ, i don’t give an at’s rasss about doing it and making people watch me do it.” And its sad, if your sport was showing off how wonderfully you can beat match, because that has really become obsolete. “.one of the GOALS used to be beat matching, that is now pretty irrelevant. Take that component out of the picture and an old school dj not familiar with the potential of digital might feel there will be nothing left for him to do on stage. Traditionally, most of a djs time was spent matching up the speed of his records and keeping them in time. You can accurately and instantly match tempos up and spend more time doing other things that have much more relevance to the party. Lets address each of these independently and offer arguments for both sides. You can either automatically match the tempos of 2 songs up or also allow the computer to attempt and keep them in phase with each other rhythmically. To be specific, Traktor (and most other dj programs except for Serato Scratch) offer 2 types of sync: Tempo and Phase. This argument has popped up several times in the past so we felt the need to address it.
Soundplant tempo sync pro#
While interested, Felix commented that many pro djs felt that the sync function was cheating. FCE will let you scrub the content frame by frame (while the audio plays) so you can get the marker placed at exactly the right point.One of our readers here at DJ TT mentioned that he had recently sat down with Felix the HouseCat in the studio and demonstrated the benefits of Traktor. I don't know what exactly you're trying to do, video-wise, but I am making music videos myself, and I can't imagine why I couldn't just plant markers on a clip or on the timeline in FCE and snap various video clips to those markers in fact I may do that if it needs it. Perhaps you can hang out on the Final Cut Pro discussion board and search for anyone trying to do what you're doing with Logic. Pro and a video editor, it would be Final Cut Pro, and not Express. I would think that if there's any interoperability between Logic Were you trying to line up using any SMPTE as a guide? There may be a way to have some kind of sync track in SMPTE that might exist in both projects.but it's beyond my knowledge.
Well I think the problem there is that FCE is thinking along the lines of video frames and Logic doesn't work that way naturally (and I should say, musicians don't work that way naturally) Logic works in ticks as part of a subgroup of a MIDI measure. I'm using Logic 8, that might be the issue.
Soundplant tempo sync full#
Or, perhaps I can load up the whole song in Final Cut and then just import one full bar chunk of silence to cut and paste along a track to indicate tempo. The slow ugly route would be to export every f**n region as an audio file, and then import every one of them into Final Cut and line them up. If Final Cut would import these regions - I would have a basic workaround. I need more info on this whole XML thing.
But after trying a number of variations, I just gave up. I made the most basic one track Logic project, no automation, nothing - basic Aiff at 44.1 nothing strange at all. I always got an error, and a log that read "unable to import, unsupported sequence properties". The problem is, I could not get Final Cut to import any XML that I exported from Logic. I thought it might export scene markers created in Logic (made to match each bar), or at least, if I took a single track of my song in Logic and cut it into regions of 1 bar - perhaps that would import into FInal Cut, where I would have those regions as a tempo guide.
My thought was that since Logic (supposedly) exports XML for Final Cut, I could get something working. I spent the afternoon looking for a workaround.
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