Beat edit

So changing the tempo causes the waveform to shift in relation to the bar/beat positions. If you have dragged a sound file onto a track, the event will be resized so that the entire sound still plays. If you have resized the sound event or created it with the pencil tool, the event will not be resized as the size of the event will be locked to the bar/beat positions.The Adjust Tempo To Cursor context menu command can be used to create a tempo map based on an audio recording. The command will adjust the tempo of the tempo event located before the edit cursor position to make the grid lines align with the edit cursor time location. The editor quantize value determines the grid snap resolution.If you want to extract the tempo from an imported loop file, simply insert a tempo event at the start of the loop, select the loop sound event, use the timeline ruler Set Cursor At Selection End command, and finally use the Adjust Tempo To Cursor command. The tempo event should now be set to the loop tempo and the position you marked with the edit cursor should be aligned on a bar/beat grid line.To tempo map a recording of a longer live performance with tempo variations:Align the sound event so that the first bar/beat in the recording is on a bar/beat grid line. If this position is not at the start of the recording, then also insert a tempo event at the first bar/beat position. Now move the edit cursor to the next noticeable bar/beat position in the sound and use the Adjust Tempo To Cursor command.You now have a tempo indication of the recording. If this tempo is general for the song, and you had a pause before the recording started, you could replace the default tempo event at the start of the arrangement with this tempo, and then realign the sound event to the new bar/beat grid positions.Repeat this procedure from start to end of the recording. Find the next position where the tempo is changing, insert a tempo event at

So let's listen to that one more time here with that second hit is so there's a, an identical hit on this beat as there is right here where that little thump is. That's what I want the next edit to be, use my ripple edit and bring this back. Okay, Cool. And then the next little thump is right there on that beat. So that's, that's kind of what I'm editing too. I'm going to ripple edit the rest of that back.Jake Bartlett (11:53): AndJake Bartlett (11:53): Then we've got this epic shot of these horses running, which is just awesome. So I'm going to give this one a little bit more time and use all four beats on this measure right here. I'm just going to ripple, edit back to that marker.Jake Bartlett (12:13): Same thing right there. So I'm going to ripple edit this clip back to that whole beat. And then from this point, the song is kind of mirrored or repeats from that point, at least the structure of it. So let's just listen to the restJake Bartlett (12:32): Okay. So it's very similar in the structure as the first half of this edit. So I'm going to make very similar choices in the editing. So for the first clip of the second half, I'm going to do the same three beats of that measure. So I'm going to go three beats and right there at that thump, that's where I'm going to ripple, edit this back to the next clip, make sure I get straight to the play head there. And the next set I want to happen right here. Right? Where that, that kind of clamp is right there when it bled it back. And then this shot, I want to be shorter. So I'm going to edit on that whole beat right there. Not the playhead, but the marker. There we go.Jake Bartlett (13:26): That will be the last shot. I don't think I have any more clips after that. Um, so I'm just going to trim this down to this point in the edit, just to keep everything contained. And this is what I'm left with. Now, I'm going to fit my timeline to my view by pressing the forward slash button. And now I have all of my clips in place. So let me switch back to my selection tool

A little bit, but, uh, I really, I just want to close up this gap down here. So I'm still going to click on this empty space right here. And this is my next quick little tip is called a ripple delete. And literally all you have to do is select that gap and press delete and everything on that track moves backward, just for good measure. I'm going to lock my music track. So nothing is going to be manipulated except the drone footage. And we can work on this next shot right here. Now I told you that I set these markers up to the beat of the music. And if you don't know anything about music, it's basically what you can clap your hands to the beat of the song.Jake Bartlett (09:52): And there are four beats per measure. And again, it doesn't matter if you don't know what that means, but I'm just going to count this out for you really quick. So we've got 1, 2, 3, 4 1 2 3 4 1 2 3 4 1. So on every one, that's where I put the marker. That's how this song is constructed. It's a very common format for music, especially stock music, uh, but there are four beats per measure. So the edits typically look good on those beats, but in this particular song, if we listen to this first clip again, right here, watch when the scrubber goes right there, there's a hit on the music there, right? And I think the edit is going to look nice if I shift this back one beat. So on the third beat instead of the fourth beat. So let's use that ripple edit tool, be on the keyboard, grab this clip. And I'm going to find where that beat is plus on the keyboard we'll zoom in and I'm kinda just gonna scrub through this and try and find where that is right there. You can hear it. Okay. So that's where I want the edit to be. I'm going to grab this clip right here, ripple edit back to that point and then play this again.Jake Bartlett (11:07): Cool. So for the next shot, I actually want to cut even a little bit quicker. So, um, I think I'm going to do two beats on this clip and then bring in the next clip.