2013

Sound Effects 105
audible, for example, with speech, singing, or solo instruments. Problems may
arise with more complex spectra (sound mixes from various instruments or
finished mixes). For smaller corrections (factors approx. 0.9... 1.1), we
recommend setting the smoothing level as low as possible.
• Beat marker slicing: Beat-synchronous timestretching and pitchshifting via
splitting and temporal repositioning. Exactly set beat markers are required at the
beats or transients. The markers can be generated in real time (automatically) or
read from the WAV file if available (patched). In the deluxe version's included
MAGIX Music Editor, a patching tool is provided for users to set the markers
themselves. The algorithm is suitable for rhythmic material that can be divided
into individual beats or notes. This requires a low audio level before each beat or
note.
• Beat marker stretching: Beat-synchronous timestretching and pitchshifting in
standard quality. The material is stretched between beat markers positions so
that the beats or attacks at the beat marker positions are not impaired by
stretching. The markers can be generated in real time (automatically) or read
from the source file if available (patched). This method is suitable for rhythmic
material that can not be divided into individual beats or notes because the beats
or notes overlap each other.
• Universal HQ: Universal methods for timestretching and pitchshifting in very high
audio quality. Suitable for all types of audio material. Beat markers are evaluated
to improve audio quality. This method requires a lot of time for processing, so
application of the "Calculate all real-time effects (view page 136)" function
("Ed
it" menu) is recommended.
• Monophonic voice: Timestretching and pitchshifting for vocal solos, speech, or
solo instruments. The material must not contain background noise, and excessive
reverb may also be detrimental to the use of this method. With suitable material
the audio quality is very high. The "Correct formant factor" option preserves
formants if pitches are changed. These are characteristic basic frequencies of the
voice that are independent of the pitch that is sung. In other words, the
characteristic discoloration of pitch ("Mickey Mouse") effect does not occur in
this case. The formants, however, can be shifted by +/- 12 half tones. This
achieves suitable vocal distortions. Beat markers are not evaluated.
• Resampling: Pitch shift and tempo cannot be changed individually. This method
requires considerably less CPU time. If the pitch is increased or the sample is
shortened, then resampling is almost completely free of loss, and the sample
material will suffer almost no damage. In other cases, resampling causes loss of
overtones. For example, if the length of a 44.1 kHz sample is doubled, then the
freqency level of the result will be limited to 11.025 kHz. The sound is the same as
when the playback speed of a record player or tape recorder is changed.