Reset it manually you can press 1 which will trigger an OSC cue that locks the It is reset at the end of this example, but if you need to Playhead, but you can also turn this setting on and off in Workspace Settings An OSC cue has been used in the example workspace to unlock the Like this, the selection stays where you put it, while the playhead, the whiteĪrrow-head on the left-hand side of the cue list, moves down the list as cuesĪre triggered. Observe the sliced cue while other cues are run. In this example the playhead is not locked to the selection, so that you can Reaches the next slice, instead of looping. The Devamp cues tell the play head to continue when it This video shows a different method of devamping. It is also necessary to addĪ cue to fade and stop the audible cue, as this is no longer the target of theĭevamp cue and will not be stopped by it. The silent cue is the one that’s actually devamped. Silent cue is one quarter of the length of the audible cue. For example, in the two-beat devamp approach, the length of the The length of this silentĬue is set to a fraction of the length of the eight beat phrase we areĭevamping. inf running alongside the Audio cue we can hear. How It WorksĪll the examples in the video use a second Audio cue with its volume set to This makes its operation similar to the quantize featureįound in programs like Ableton Live. Trigger either at the end of each four-beat, two-beat, or one-beat phrase of theĬurrently running cue. Video of the same sequence, but this time the programming allows the Devamp to Seconds at this tempo), before the sequence advanced to the next loop. Had just started, we would be waiting for nearly eight beats, (over three This works very well, but if the Devamp cue was triggered when the loop TheĬymbal crash is the coda to this cue sequence, and only plays once it is not another loopedĪudio cue called Loop 1.wav, and stops cue 1.Ĭue 3 sounds similar, but behind the scenes it operates quite differently. When cue 2 is fired, it waits for cue 1 to complete theĬurrent iteration of the loop and then fires the next cue, i.e. ItĬontains a Devamp cue targeting cue 1, and is set to start the next cue and Here’s a video of a simple vamp sequence, using two loops of drums and a finalĬue 2 is a Group cue set to “start first child and go to next cue”. Then seamlessly transition to a double tempo for the playoff. Performer would manage ten seconds before the chair fell, on a good day it mightīe more than a minute, so again the orchestra would vamp until the chair fell, Once the chair was stable, the music wouldĬhange seamlessly to triumphant chords. It balanced, during which the live orchestra would “vamp ‘til ready” with someĭrum rolls and tremolo strings. It might take anywhere from ten to twenty five seconds for him to have Go back to the days of Vaudeville and before. This example uses Audio cues, but you canĭo exactly the same thing with looping Video cues. The Devamp cue is very important in allowing sound and projection designers toįollow the timing of performers, rather than performers having to tailor their
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