Must timestrech whole songs -what´s best for?

Posted: Sat Jun 30, 2001 8:46 am

Hello there . I am new here, so I hope this topic is in it´s right place Sad

Right now I think Prosoniq´s TimeFactory will be the one, but I´d really love to hear general thoughts and suggestions from you guys outthere...(as there´s so much to learn for me)The thing is: I worked for almost 3 months now on this thing, and deadline is 15th of july.. (they told me about this "little" problem yesterday) Surprised

what do you think?best regards putte

Posted: Sat Jun 30, 2001 1:52 pm

Try serrano's Pitch and Time. It's amazing! regards,raregrooveNYC Smile

Posted: Sun Jul 01, 2001 6:01 am

Thanks very much Niko..Do you think it would be possible in this to get in contact with you via email? Just because my english isn´t the very best, and I suppose you know far more about this issue then I do Wink

I´ve been to your homepage, impressing stuff...Waere fein, weil ja doch irgendwie dringend. merci putte

Posted: Sun Jul 01, 2001 6:32 am

HI!I have used prosoniq Timefactory with amazing results. I managed to increase the speed of a pop song (rhodes, synths bass, 808 drums, acoustic guitars, female vocal) by 6 BPM (89 to 96) without any noticeable artifarcts. Now try that in Wavelab.... Cheers, Stefan

Posted: Sun Jul 01, 2001 8:26 am

Yes, can second that - TimeFactory is really good. And as I posted my question in 4 different forums, most people recommended TimeFactory for my purpose.The thing I still wonder about is if the RolandVP9000 can compare to this...hmm. Anyone? Wink

putte

Posted: Mon Jul 02, 2001 5:53 pm

<BLOCKQUOTE>quote:<HR>Originally posted by Putte: I did 13 tracks for a film, and this film was intended to be shown in televison. (So they used 25frames a second)<HR></BLOCKQUOTE>Is that some kind of 'European standard' like "PAL" or something? US video 'timecode' is 29.97 [otherwise known as 30 dropframe timecode]. <BLOCKQUOTE>quote:<HR>Now the film may go cinema, and that means 24frames a second.<HR></BLOCKQUOTE>Unless you left out a chapter to this story somewhere, the scenes are still the same length, the music and story remain the same...only the 'timecode' is different. Most 'film labs' can lock any and all forms of SMPTE time codes and their standard variations. <BLOCKQUOTE>quote:<HR>For me this means that I have to timestrech-down all the songs about 4.16%. <HR></BLOCKQUOTE>Unless they changed the picture, then you don't have to change the music. It's just timecode and lock up stuff which is all done in post production. They just have to 'restripe' the timecode on your music, and relock it to the picture. From your description, unless the director changed the timing of the visual, then the audio should be spot on. Relax, something tells me you're more than covered.

Posted: Thu Jul 05, 2001 7:47 pm

Fletcher wrote: <BLOCKQUOTE>quote:<HR> Is that some kind of 'European standard' like "PAL" or something? US video 'timecode' is 29.97 [otherwise known as 30 dropframe timecode]. <HR></BLOCKQUOTE>In Europe, thier standard wall outlet AC power is at 50 hz. They use this as a "clock" for thier picture (half of 50 is 25) just as American b&w is at 30 fps (half of 60 hz, our AC freq.) and color is at 29.97 or 30 DF. The drop frame format is used so that they can still take advantage of the 60 hz line frequency (again, half of 60 is 30) as opposed to using a straight 29.97 rate. Just a little FYI. and Putte, These guys are right, you most likely don't have to worry about time stretching your audio. They simply have to re-stripe the SMPTE on your tape/disc. I would check to see if this guy knows what he's talking about though! Best Regards,Chris O'Rourke

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