Generally you would use BPM rather than the duration setting, for example, you would press on BPM, then you would have these options..
1. Enter the original tempo manually.
2. Calculate tempo based on number of beats.
3. Auto detect tempo (Let B3 guess)
Now when you turn on Live stretch it will automagically change tempo to match the session.
Duration is used when you need more finite control, then you have these options..
1. Enter the length in bars.
2. Enter the length in beats (Go above 3 and it will reset to 0 and add a bar)
3. Enter the length in ticks (Go above 960 and it will reset to 0 and add a beat)
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@winconway said:
Generally you would use BPM rather than the duration setting, for example, you would press on BPM, then you would have these options..
1. Enter the original tempo manually.
2. Calculate tempo based on number of beats.
3. Auto detect tempo (Let B3 guess)
Now when you turn on Live stretch it will automagically change tempo to match the session.
Duration is used when you need more finite control, then you have these options..
1. Enter the length in bars.
2. Enter the length in beats (Go above 3 and it will reset to 0 and add a bar)
3. Enter the length in ticks (Go above 960 and it will reset to 0 and add a beat)
...however, if you've recorded the sample yourself (eg a loop you've recorded from vinyl) and you don't know the exact BPM, I often find it much easier to count the beats and bars in my head whilst previewing the sample and then enter these directly (and allow BM3 to calculate the BPM, which may be something like 97.3BPM).
Note here that I always recommend trimming the top and tail of loops and samples so that they begin and end neatly, otherwise you'll find your sample is always slightly longer than full beats and bars, in which case you may have to finetune by trial-and-error (resulting in weird durations like 001:1:674)
I'm still writing this section of my guide (as it's pretty complicated and there are lots of different 'schools of thought' on sampling) - but hopefully a more in-depth look at the different approaches that I'm writing will help newcomers use time-stretching in BM3 effectively.
Sorry, I seem to have given the impression that there is an either or choice here, there isn't, both ways are linked, you can neither set one without the other changing or vice versa, the reason I suggest using BPM first and foremost if possible is because it will always work in all situations that you either know the BPM or you can count the number of beats, duration however will not, it only goes up to 32 bars.
If you know the number of beats then using BPM can never be wrong, just use calculate instead of detect, again, setting BPM vs duration is preferred in this instance because you only have to enter one number, beats, not three numbers, bars, beats, ticks, in fact the only time that duration is specifically preferred is when you have extra ticks in your audio file, that would be an audio file that is not edited exactly to the beat, if you are capable of counting ticks i am mightily impressed, because there are 960 of those every quarter note, that would be 7680 ticks every second at 120BPM, so in these cases, edit the audio file to a single loop, calculate the BPM of that file, then use that to set the BPM of your file with extra ticks, another time duration is preferred is for special effects, when you are stretching for fun.
So just to reiterate.
BPM and Duration are linked (They are basically different ways to look at the same thing)
If you know the original BPM of your sample, use BPM and type it in.
If you know the number of beats, use BPM calculate, it's the quickest way to set.
Over time, music producers started to take over the programming role as well as playing and creating the instrumental, especially in hip-hop. Originally playing the piano/synth and creating all of the sounds and melodies. This was the case for most Dr Dre West Coast hip-hop.
Previously, in order to be a Music Producer you had to either intern or land a job at a commercial recording studio and work your way up the ranks or invest 30k-100k or more to startup your own studio. Now, people can download Logic for $200 which was previously $2000 before Apple bought it from Emagic to try to sell more Macs. Or they can download a DAW like Reaper for free or pirate software of the internet for free. The software is now called Music Production software, so having it must make you a Music Producer right?
So Sample Pack Companies Started approaching established and struggling Musicians and Music Producers to create loops. Royalty Free loops and Samples were always around and they usually sucked but now, there was a big demand for it. They had a way to market it.
In terms of electronic music, they can often create all of the music/instrumental by playing in all the instruments on the keyboard/piano. However, this is not a requirement. Most rock music producers just do the directing part but they might occasionally play something for the recording.
In the video above, the producer is walking around and talking to the artists. The only way you can be a producer by siting at a computer is by talking to the artists at the same time or playing in a full composition yourself with the artist in mind or in person with them while picturing the final song in your head
This one is pretty straight forward. By picturing the final finished song in their head, the Music Producer can direct the artist to perform a certain way to fit the end product that they are picturing.
By first picturing the final song, a music producer, having skills of a musician, could play in all the melodies that they are picturing on the keyboard and/or other instruments and create all full instrumental to fit the artist, the song and what they have pictured for the song.
When recording the artist, the Music Producer can stop and start recording while giving direction to the artist. The producer might ask the artist to perform a certain way, sing a certain melody by first singing the melody to them. Rap a certain lyric by first rapping it to them. Change the timing of a line by showing them the different timing change suggestion. Suggest a change to the lyric. Ask them to build up with more energy in a certain section. Ask them to hold back a little or play a certain section quieter. All of this with the end product/song in mind that they are picturing.
A beat-maker often creates instrumentals randomly from loops without picturing any melodies or final song in mind. They usually sell the instrumental to an artist online who goes into a studio without them to do whatever on the track. The beat-maker rarely hears the end song nor cares. They are just making an instrumental and selling it.
So they are closer to a musician or possibly songwriter. Without picturing the final song, working with the artist and directing their performance to create the final song that they are picturing, they are not a music producer. Often they use the title. They should really be calling themselves a Beat-Maker but many incorrectly use the title music producer.
So what do they do? By some cheap recording equipment and start making beats from loops they found online and and start going around telling everyone they are a music producer now. Then the cycle of Fake Music Producers continues.
That meant, anyone who had a studio was very serious and if they were that serious about investing that kind of money in themselves, usually they were equally serious about learning their craft as a Music Producer, Engineer, Musician, in most cases, Pianist & Keyboardist and had a vast and deep understanding of music which helped them direct artists and picture songs and melodies.
In the old days, they just recorded to tape and often created instrumentals by either directing the musicians and/or by playing the Keyboard and synths. A DAW (Digital Audio Workstation) is just a modern tape machine and virtual keyboard. The tools have changed and even been re-branded to Music Production Software but being a music producer was never about simply using the tools.
In summary, the desire of kids wanting to be rich and famous. Greed of business praying on this desire with fake get rich quick and become a Music Producer schemes. Loops, Courses, Software. The tools that Music Producer use being re-branded as Music Production Tools. Kids having access to cheap equipment.
All this means that, any one can put in very little effort and pretend they are a music producer. All these factors have contributed to the general public not knowing what a music producer does. Look at all the confused people on Quora here when asked the question.
Some argue that the meaning of the word is just changing. I would argue that none of the professional music producers have got that memo. I believe it is simply being watered down and misused by people who are not actual music producers.
Hopefully this blog post has helped you learn the actual origin and meaning of the word and occupation, Music Producer. If you like it, please click one of the buttons below to share it and help educate some people.
I tested MPC Beats for a month, using it as my main software for capturing new melodies and other musical ideas. It performed amazingly well as a beat making sketch pad, although I still felt like I needed my main DAW to complete the production.
It lacks some of the features available in its premium counterpart, but all of the core functionality is included. You can use Waveform Free to record, mix, and master your music beat from the ground up.
Cakewalk by BandLab is another DAW that beatmakers should not overlook. Its conventional sequencing workflow becomes particularly advantageous when recording vocals or tangible instruments via a microphone.
Since the late 1980s, Cakewalk has been a steadfast presence in the music production software realm, debuting its first version in 1987. This longevity naturally leads to a well-refined, feature-rich music making tool. It shares most features with industry-standard music creation tools like Cubase, Logic Pro, and Pro Tools. 152ee80cbc
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