That would be one example of a endless array of things you can do when working with midi to sound design. In kontakt, or similar, you can assign all sorts of parameters to the mod wheel such as an LFO that is acting on the amp volume, then automate it's rate via the midi timeline and create stutter effects of longer sounds. Working with the midi functionality also allows all the standard midi tools to automate (pitch bend, velocity, and my favorite the mod wheel) remember also that midi clips can be time-expanded and contracted with the TCE tool so you can quickly explore various speeds of your midi pattern triggering your sounds. That's the advantage to midi in writing electronic music and such.Īs far as using midi for true sound design goes you might try using the midi notation to easily draw patterns (random, arpeggiating, ascending, descending) triggering soft-samplers like kontakt to play sound samples of your desire. You will now be able to click on the new green section you have created and use the tempo slider to drag your tempo into the desired BPM. Remember that tempo is a relative grid value unless working in 'ticks' with elastic audio so it will not change sync of waveform audio in your timeline, it is not however a relative grid to midi data and changing tempo will indeed change it's absolute placement in the timeline (sync to pict in your case) by design. Click where you want to include a tempo change in your project, then let go of ctrl (or right-click).

I personally avoid elastic audio unless I'm in a pinch to compress/expand a multitrack music session (non-midi) to a slightly different length. As a composer the tempo mapping scenes is critical and sometimes cumbersome when dealing with re-conforms. I use a good amount of the midi and tempo functionality in PT but it is usually when I am working on projects that blur the line between sound design and music composition.Īdam is correct about elastic audio.

How to change tempo in pro tools 10