That’s not only useful within RP, though - this is the name that’s given to the audio clip that you copy/paste back into your DAW, so the chance to call it something meaningful is welcome! So, for example, if I renamed an APT Process ‘Renamed Process’, it would be labelled ‘APT: Renamed Process-Guide’ on the Guide track, ‘APT: Renamed Process-Dub’ on the Dub track, and the Output would be automatically renamed ‘APT: Renamed Process’.
‘APT:’) and a suffix to tell you whether the Process is on the Guide or Dub, but you get to determine what goes in between. RP will retain a prefix to describe the type of Process (eg. It might not be called ‘automation’ but the facility to vary Process Settings over time will be familiar to any DAW user and allows you to create much more polished results.First, note that while the Processes themselves are given names automatically, they can be renamed. It’s possible to paste whole sentences or lyric sheets and use the Autosplit function to separate the resulting Marker into individual words - multiple Marker tracks can be displayed for different purposes. Obviously, methodical naming of tracks and Track Groups can help, as discussed in part one, but there are a couple more useful navigational aids.Īdding a Marker track and inserting a Marker, which takes the form of a text box. When you’re working with complex RP projects, with lots of tracks and multiple APT and Doubler Processes, it can be a bit tricky to find your way quickly to the correct Processes. With this grid in place, edits to the timing/length of notes become much easier. It’s worth noting that you can switch back and forth between a fixed-tempo grid and the MIDI-derived one without losing either setting. The grid will automatically change to reflect your DAW project’s tempo and time-signature changes, with the audio remaining at the position determined by its timecode. Then, in View/Settings, change the Bar & Beats Display setting to Import Tempo From MIDI File. To import a tempo/time-signature grid is a two-step process.
So if you’ve composed a piece with time-signature changes or tempo ramps, or have, say, warped your DAW’s grid to match a live performance, all you need to do is export a MIDI file from your DAW project and import it to RP. Thankfully, Synchro Arts have incorporated a means of importing the tempo and time signature from a MIDI file that you export from your DAW project. Here you can specify a fixed tempo and time signature, but while that’s useful enough for projects that have been either programmed at a fixed tempo or tracked to a fixed-tempo click, it won’t work for every project. Your grid will then appear, and its characteristics are defined in the View/Settings menu. You must also, via the drop-down menu at the bottom of the main GUI, change the view from the default (Timecode) to Bar & Beats.
Note that to get a grid to appear in the first place you’ll need to have an audio event in your RP project (the grid disappears when there’s no audio). I didn’t have space last month to discuss the timing grid, so let’s quickly address it here. Before I do, however, there are a few more operational points to run through. In fact, it makes various less obvious possibilities, erm, possible, so this month I’ll consider a few examples. So, hopefully, you’re already fairly proficient with RP, but there are more strings to RP’s bow than the simple aligning, doubling and pitch-correcting of vocals.
In the previous two articles, I took you through pretty much everything you need to know to manipulate the pitch, time and level of audio manually, how to apply the automatic doubling and alignment Processes, and some useful ways to organise and navigate your RP projects.
Welcome to the third and final instalment of our Revoice Pro (RP) series.