- -As a general approach, the best way to control tempo ramps is to use them in -pairs. + As a general approach, the best way to control tempo ramps is to use them in + pairs.
-One typical use of tempo ramps is to match the click to a drum performance recorded in -'free time', like in the (admittedly bad) 4/4 example on the left. + One typical use of tempo ramps is to match the click to a drum performance + recorded in 'free time', like in the (admittedly bad) 4/4 example on the left.
-
- -The first thing needed is determining where the first beat is in the recording -and left dragging the first meter to that position. + The first thing needed is determining where the first beat is in the recording + and left dragging the first time signature to that + position.
-
@@ -36,12 +37,12 @@ and left dragging the first meter to that position.
-Now the first click will be in time with the first beat. By listening to the recorded -drums, the position of bar n (here, 9th beat, 3rd bar) is visually located (the -playhead may be moved to this location to "pin" it). + Now the first click will be in time with the first beat. By listening to the + recorded drums, the position of bar n (here, 9th beat, 3rd bar) is + visually located (the playhead may be moved to this location to "pin" it).
-
@@ -49,19 +50,21 @@ playhead may be moved to this location to "pin" it).
-Holding the constraint modifier ( by default), the third -bar marker in the BBT ruler is dragged at the position of the third bar in the -recording (where the playhead is located). This drag can be done either in the Meter -or in the Tempo rulers. The tempo (on the first and only tempo marker) reflects -the new value based on this change. + Holding the constraint modifier ( by default, may be + changed in Preferences > Editor > Modifiers), + the third bar marker in the BBT ruler is dragged at the position of the third + bar in the recording (where the playhead is located). This drag can be done + either in the Time Signature or in the Tempo rulers. The tempo (on the first + and only tempo marker) reflects the new value based on this change.
-The click now matches the first 8 beats, but after that it can wander off, which -will be reflected in the tempo lines thet won't quite match the drum hits. + The click now matches the first 8 beats, but after that it can wander off, + which will be reflected in the tempo lines thet won't quite match the drum + hits.
-
@@ -69,12 +72,12 @@ will be reflected in the tempo lines thet won't quite match the drum hits.
-A new tempo marker is placed on the last position where the click matches the -recorded audio, by -clicking the Tempo ruler. This will -"anchor" the value of the tempo at that position. + A new tempo marker is placed on the last position where the click matches the + recorded audio, by -clicking the Tempo ruler. This + will "anchor" the value of the tempo at that position.
-
@@ -82,12 +85,12 @@ recorded audio, by -clicking the Tempo ruler. This will
-Another tempo marker is placed n beats after the previous marker (here, -4 beats, 1 bar). + Another tempo marker is placed n beats after the previous marker + (here, 4 beats, 1 bar).
-
@@ -95,11 +98,12 @@ Another tempo marker is placed n beats after the previous marker (here,
-Now, -dragging any beat after the second -new tempo marker will allow to align the drum audio and tempo after the second marker. + Now, -dragging any beat after the + second new tempo marker will allow to align the drum audio and tempo after the + second marker.
-
@@ -107,41 +111,42 @@ new tempo marker will allow to align the drum audio and tempo after the second m
-Although it may be unnecessary in some cases where the tempo changes abruptly, most -of the time, the tempo change is progressive in time, like an instrumentist drifting in tempo. -In those cases, the tempo change should be progressive too, and Ardour allows that -by ramping the tempo change. + Although it may be unnecessary in some cases where the tempo changes abruptly, + most of the time, the tempo change is progressive in time, like an + instrumentist drifting in tempo. In those cases, the tempo change should be + progressive too, and Ardour allows that by ramping the tempo change.
-right clicking the first tempo marker, a menu appears, -allowing to Ramp to Next. This will make the tempo -between the two markers linearly change from the first marker's value to the -second's. + Right-clicking the first tempo marker, a menu appears, + allowing to Ramp to Next. This will make the tempo + between the two markers linearly change from the first marker's value to the + second's.
-Again, some time later the click will probably drift again, so the same technique -has to be repeated: adding two new tempos and dragging the BBT ruler -after the newest tempo so that the beats align with the audio -again. + Again, some time later the click will probably drift again, so the same + technique has to be repeated: adding two new tempos and dragging the BBT ruler + after the newest tempo so that the beats align with the audio + again.
-In a general sense, adding tempo markers in pairs allows to 'pin' the tempo at the -marker's location while moving further to the right. + In a general sense, adding tempo markers in pairs allows to 'pin' the tempo at + the marker's location while moving further to the right.
-Audio locked meters can be useful when composing, as they allow a continuous -piece of music to be worked on in isolated segments, preventing the listening -fatigue of a fixed form. Reassembly is left as an excercise for the reader. + Audio-locked time signatures can be useful when composing, as they allow a + continuous piece of music to be worked on in isolated segments, preventing the + listening fatigue of a fixed form. Reassembly is left as an excercise for the + reader.
-Tempo ramps can also be used in a video context, e.g. for an accelerando, -by snapping to TC frames and dragging the ruler so that a bar ends up on a significant -video frame. + Tempo ramps can also be used in a video context, e.g. for an accelerando, by + snapping to TC frames and dragging the ruler so that a bar ends up on a + significant video frame.