Hallo, afer having successfully recorded the spoken-passages of a self-written "fairytale" (it will be a christmas-present), i now want to add some music and probably some sounds (the whole thing is planed to be the soundtrack for a video-dvd with this fairytale). But as the spoken passages are of different lengths and the speed of the music has to be adapted to the content of the passages, i don't know how to proceed. What i have: - 10 audio-files (*.wav) with the spoken passages, divided into the "scenes" - basic knowledge about the use of the Tempo-Track - basic knowledge about the fact that Cubase provides me the possibility of "locking" tracks and the consequences of these lock What i want: One Cubase-Project with all 10 audio-files *and* the music. The speed of the music has to be adjusted to the content of each audio-file (that's why i think of the Tempo-track and the locking of the track). What i have not: A clue of how to put this all together. Is anybody here to give me some hints for this problem? Many thanks in advance! Greetings Gerd-Ulrich Meyer
Gerd-Ulrich Meyer schreef: > Hallo, > > afer having successfully recorded the spoken-passages of a self-written > "fairytale" (it will be a christmas-present), i now want to add some > music and probably some sounds (the whole thing is planed to be the > soundtrack for a video-dvd with this fairytale). > But as the spoken passages are of different lengths and the speed of the > music has to be adapted to the content of the passages, i don't know how > to proceed. What i have: > - 10 audio-files (*.wav) with the spoken passages, divided into the > "scenes" > - basic knowledge about the use of the Tempo-Track > - basic knowledge about the fact that Cubase provides me the possibility > of "locking" tracks and the consequences of these lock > > What i want: > One Cubase-Project with all 10 audio-files *and* the music. The speed of > the music has to be adjusted to the content of each audio-file (that's > why i think of the Tempo-track and the locking of the track). > > What i have not: > A clue of how to put this all together. > > Is anybody here to give me some hints for this problem? > > Many thanks in advance! > > Greetings > > Gerd-Ulrich Meyer I love this sort of work. Get your stuff over here and let's do it! In fact, I have made several Hörspiele in my time. I believe I would create separate projects for the music, based on combinations of instruments. E.g. if I needed to record an acoustic guitar for fragments 3 and 5, these would go into one project. In the end, I would have a master project containing 10 spoken word fragments and 10 musical fragments, and I would align these to fit together, using fade-ins and fade-outs etc. Each of the individual projects will have the associated spoken word fragments "on board", to time your music and mood to. Advantages: - no tempo track problems. Working with audio on the the tempo track is risky: one misalignment and the rest of your project is out of sync. In the way I described, your master project will need no tempo track, and would be set to min:ss rather than bars:beats. - when the song is finished, you may need to move it. Moving it freely on the timeline is much more flexible than moving it by cutting and pasting bars, and adjusting tempos. - no problems with audio settings. Your individual songs may need audio settings in the master bus. If you compose your songs all in one project, these settings may not all be the same. This will lead to errors, like applying reverb twice. Automating things may work here, but can also be confusing. Disadvantage: - It is a two-step process, meaning that if you hear a mistake in the music when editing your master project, you need to save the master project, reopen the music project, correct your mistake, export mixdown, save, reopen the master project, and replace the wrong audio clip with the correct one. That is more cumbersome than being able to correct the mistake in the master project itself. In my opinion, the advantages are bigger than the trouble of having multiple projects. Especially the risk of misalignments when working with the tempo track is something that I tend to avoid. (I have at times moved the mouse pointer over an audio sample in time warp mode, and accidentally clicked. This inserted a tempo event at a random point, and dragged it along for a bit as well, and all of my carefully synced audio was messed up. Hint: export the tempo track before you start experimenting.) And yes, making music is 95% project management! Only 5% is creativity. Really. Of course, you may have other considerations that make it necessary to have just one project. But I would use multiple project files for all but the simplest projects. Happy to help, feel free to ask if you have any more questions, or if I haven't been clear. Sorry for the long post. Have fun, Jos. -- Ardis Park Music www.ardispark.nl
Hallo, Jos Geluk schrieb: > Gerd-Ulrich Meyer schreef: >> Hallo, >> >> afer having successfully recorded the spoken-passages of a >> self-written "fairytale" (it will be a christmas-present), i now want >> to add some music and probably some sounds (the whole thing is planed >> to be the soundtrack for a video-dvd with this fairytale). >> But as the spoken passages are of different lengths and the speed of >> the music has to be adapted to the content of the passages, i don't >> know how to proceed. What i have: >> - 10 audio-files (*.wav) with the spoken passages, divided into the >> "scenes" >> - basic knowledge about the use of the Tempo-Track >> - basic knowledge about the fact that Cubase provides me the >> possibility of "locking" tracks and the consequences of these lock >> >> What i want: >> One Cubase-Project with all 10 audio-files *and* the music. The speed >> of the music has to be adjusted to the content of each audio-file >> (that's why i think of the Tempo-track and the locking of the track). >> >> What i have not: >> A clue of how to put this all together. >> >> Is anybody here to give me some hints for this problem? >> >> Many thanks in advance! >> >> Greetings >> >> Gerd-Ulrich Meyer > > I love this sort of work. Get your stuff over here and let's do it! In > fact, I have made several Hörspiele in my time. I admire your experiences, but if i gave this project to you, i could't get experiences in it. ;-) > I believe I would create separate projects for the music, based on > combinations of instruments. E.g. if I needed to record an acoustic > guitar for fragments 3 and 5, these would go into one project. > In the end, I would have a master project containing 10 spoken word > fragments and 10 musical fragments, and I would align these to fit > together, using fade-ins and fade-outs etc. > Each of the individual projects will have the associated spoken word > fragments "on board", to time your music and mood to. That's the way i think i will follow. > Advantages: > - no tempo track problems. Working with audio on the the tempo track is > risky: one misalignment and the rest of your project is out of sync. In > the way I described, your master project will need no tempo track, and > would be set to min:ss rather than bars:beats. Sounds plausible. > - when the song is finished, you may need to move it. Moving it freely > on the timeline is much more flexible than moving it by cutting and > pasting bars, and adjusting tempos. > - no problems with audio settings. Your individual songs may need audio > settings in the master bus. If you compose your songs all in one > project, these settings may not all be the same. This will lead to > errors, like applying reverb twice. Automating things may work here, but > can also be confusing. Sounds also plausible. > Disadvantage: > - It is a two-step process, meaning that if you hear a mistake in the > music when editing your master project, you need to save the master > project, reopen the music project, correct your mistake, export mixdown, > save, reopen the master project, and replace the wrong audio clip with > the correct one. That is more cumbersome than being able to correct the > mistake in the master project itself. Following your described way i will have enough time to correct possible errors in the music. > In my opinion, the advantages are bigger than the trouble of having > multiple projects. Especially the risk of misalignments when working > with the tempo track is something that I tend to avoid. (I have at times > moved the mouse pointer over an audio sample in time warp mode, and > accidentally clicked. This inserted a tempo event at a random point, and > dragged it along for a bit as well, and all of my carefully synced audio > was messed up. Hint: export the tempo track before you start > experimenting.) Great! > And yes, making music is 95% project management! Only 5% is creativity. > Really. And exactly these 95% are my problem in this project. > Of course, you may have other considerations that make it necessary to > have just one project. But I would use multiple project files for all > but the simplest projects. I will try your description - i'm fully convinced that it will be the best to have multiple projects. > Happy to help, feel free to ask if you have any more questions, or if I > haven't been clear. Sorry for the long post. I'm of the opinion that a long, but very helpful post is even better than a short but incomplete one. At the very moment there are no further questions. Many thanks for taking the time to explain - after your explanations i can't wait to finish my answer and to continue the project with fresh ideas. Thank you a lot! > Have fun, I will. > > Jos. > Greetings Gerd-Ulrich Meyer
