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Digital Subscriptions > MusicTech > Sep-18 > EXPLORATIONS IN TIME AND PITCH IN CUBASE 9.5

EXPLORATIONS IN TIME AND PITCH IN CUBASE 9.5

Cubase has the ability to manipulate audio with almost the same degree of flexibility as can be achieved with MIDI – Adam Crute digs in to the options…

PART 1

The rate of change of technology has become, frankly, ludicrous. You upgrade to the latest shinything only to find that a new version, which claims to be better in every respect to the obsolete junk you’ve just sunk a month’s wages into, hits the shelves within a week. Or, no sooner than you’ve finished smoothing-out all of the glitches and software incompatibilities that result from a typical operating system update, a new, (allegedly) better, more secure version is released and you have to go through the whole rigmarole again.

AND AGAIN…

In such a world it’s comforting to think about the MIDI Specification (no, really… bear with me here!). Here is a technology that transformed the process of making music, and that was at the vanguard of the computer music revolution, but that was so well-formulated that none of the subsequent leaps in music technology it heralded resulted in its own obsolescence. Sure, some manufacturers have bolted on their own additions, and data transport mechanisms have evolved, but the underlying MIDI Specification has remained fixed at version 1.0 for 35 years – stick that in your pipes and smoke it, Microsoft, Apple, Google, et al!

BREAKING THE LINK

One of the reasons why MIDI became such an indispensable music making tool is that it broke the link between time and pitch in music production: changing the timing and length of MIDI events does not affect the pitch of the notes being created, and changing the pitch does not affect the timing. This is in stark contrast to the audio domain where, in the absence of any other processing, time and pitch are two sides of the same coin.

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About MusicTech

In our cover feature this month, Alex Holmes guides you through the science and logic behind why it’s necessary to calibrate your studio and equipment, and the steps you’ll need to take to guarantee perfect, balanced sound at all times. Also this issue, Erin Barra simplifies some vital music production concepts that may have long eluded your understanding – to hopefully increase your sonic vocabulary. We speak to Kanye West’s former controllerist and cutting-edge musician Laura Escudé, UNO synth designer Erik Norlander and Emmy-winning Guus Hoevenaars. Additionally, we present our in-depth reviews of Roland Cloud, PreSonus Studio One 4, Loopcloud 2.0, Elektron Analog Four MkII and more, as well as 5 brand new tutorials to broaden your production chops.