Fix Timing Issues 

Between Joe & Gregor my interest in StudioOne keeps growing. Close to making the switch too, and also going full SoundGrid Superack with a server and Presonus miser (hopefully still supports soundgrid plus i wanted the flexibility to take the studio system live maybe two times a year)

thanks man!

i personally don’t use the bend tool, but i believe it would cause some pitch/note issues and could sound detuned, if used too much. the slip event keeps everything clean, especially with crossfades

Thank you! Great tip!

With a mouse, at least, double-clicking will tend to jiggle to pointer a bit - might end up cutting in the wrong place. Not a big deal, but that's why the Control key alternate tool might be better.

You can do the equivalent of timestretching using Bend markers instead. You generally would work from the "middle" in that case - if you move a bend marker to the right, it will stretch the audio from the previous bend marker to the one you're moving, and shrink the audio from the one you're moving to the next one.

@@chrishillery yeah I know, but in my experience it is way better to timestretch whole events. The bend tool always ends up in a complete mess. You forgot to set an additional bend marker and you fuck up the whole event. I like to cut the event and timestretch only a whole event, this way I can be sure I don't ruin the previous part. But thank you a lot for providing a working solution to my problem, which is very kind of you.

if it's a low #, I believe it's the number of times that it has clipped? If it's 666, its an error code. It's probably a plugin that hasn't been updated to work well with the version of Studio One you are using.

@@lofomuses I am particular what plug ins I use, I use top notch equipment and update and upgrade on regular basis. My Studio One 5 Pro is the latest upgrade 5.4 There is a forum since 2015 and no one at PreSonus is paying attention.

You can do that too. Just detect transients and then drag them wherever you want.

I haven’t had any problems with my Q 🤷‍♂️

Quantizing isn't always the most musical approach. It's also is harder to get right on bass in particular - because of the long waveforms due to low frequency, the detection of transients can be pretty far off where you'd want them to be.

@@chrishillery What does not a musical approach mean? This is juggling with terms, nothing more. Modern algorithms keep the original sound quality. And if the transients are far from the desired point, then this means only one thing - the bass part is unusable. And in this particular case, on this particular video, just an option is presented that can be easily solved by simple quantize and without that unnecessary waste of time that could be spent on other creative ideas.

@@dimafg1 By "isn't always the most musical approach", I meant that quantizing tends to make parts sound more robotic and less human. It depends on the strength of the quantize, of course. But for some genres, you want to leave in a lot of the bits where the player wasn't strictly "in time" and only fix the most egregious timing errors. A one-click quantize process can't know those nuances. Hence, not the most musical. As for the second part of my note about bass, you missed my point. If you have a low bass part without a lot of clickiness in the attack, the transients that your software will detect can be pretty unreliable. The low E on an electric bass is 41.2Hz, which means a single cycle of the waveform is over 24ms long. That might not look like a transient at all to your software, and even if it does, the exact time it'll pick could be off from what you'd hear as the "start of the note" by a significant amount. So now if you ask your software to quantize these poorly-detected transients, well, garbage in, garbage out. It could end up sounding sloppier than the original recording. It doesn't have anything to do with how well the part was played at all. If you're working in a genre where regimented timing is desirable, and if just clicking Audio Quantize works for you, great! But I think it could very easily have produced noticeably less satisfying results for the part Joe was playing here.

@@chrishillery If your arguments were voiced 20 years ago, I would certainly agree with you. But now 2021 is already ending. And therefore: As for what you mentioned about "robotic", that's exactly what I'm saying that modern processing algorithms are such that they just exclude this "robotization", if, of course, do it in moderation. And quantization by no means implies a strict placement of the transient in the share. You can safely specify the degree of quantization. And you can also adjust these transients yourself as you like manually if you suddenly don't like something. Or, in general, specify all the transients that you want to shift yourself, without resorting to quantization. This is exactly how I corrected the sound 20 years ago, as shown in this video. This is exactly how I worked. But nowadays, in the presence of more advanced algorithms for working with sound and faster solutions than those indicated here and, of course, have the right to exist, but taking on a large amount of resources and time, I see no reason to solve such problems in this way. In no way do I impose my point of view. As for the second point about bass, I didn't miss it. It's just that in this case, in the right parts of the bass, I independently apply the transient and already move it to the right space as I need it. And "stretching" this kind of sound doesn't distort the sound. But just in such cases, the method indicated in this video can produce an unwanted sound effect - with or without crossfade. Don't think that I rely only on software and its algorithms and that I think it will do everything on its own. Not at all. It is only to help and nothing more. To achieve a good sound, we only use the capabilities of the software, but we shape everything ourselves if we want to achieve a perfect and natural sound;) And I work in different directions, not only and not so much in electronic music, where transients are mainly located exactly in beats. It is in this direction that I do not work very much. I have to work a lot both in rock and jazz. I often record multitracks of groups, and I personally record my parts from both bass and guitars, which I also correct later. And not the first year;) It seems to me that you made the wrong conclusion about what I am;) If I am talking about quantize, it does not mean that I have nothing to do with live music;)

it works on any audio wave with recognizable transients... although I also prefer to use audio bend markers...