User Manual

TRANSPOSING AUDIO
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ZTX Standard
Standard pitch-shifting transposes pitch and
formants by the same amount, producing the
classic “sampler” effect described above. It can be
applied as desired to any audio material.
PureDSP Solo Vocal
Digital Performer’s PureDSP Solo Vocal formant-
corrected pitch shifting (carried forward from
earlier versions of Digital Performer) often works
exceptionally well on solo vocal material. If you are
transposing or pitch-correcting solo vocals, try
this mode (instead of ZTX Formant-Corrected) to
see if it produces the best results.
☛ Pure DSP Solo Vocal does not work on
polyphonic material. Use one of the ZTX modes
instead for polyphonic material.
When tuning monophonic audio, you may find
that PureDSP Solo Vocal often works better than
ZTX, especially when fine-tuning vocals.
No Pitch Shift
Us the No Pitch Shift setting for any audio that you
would never want to pitch-shift. For example, you
would likely not want to transpose audio in dialog
tracks, sound effects tracks or percussion tracks.
This setting ensures that you won’t accidentally
transpose the audio (when making multi-track
time range selections, for example).
ZTX quality setting
For information about the ZTX quality setting
(Figure 81-1 on page 911), see “ZTX Preferences”
on page 900 and “ZTX quality setting” on
page 912.
PITCH AUTOMATION
Digital Performer allows you to manipulate the
pitch of audio material in the form of pitch
automation data that can be edited directly in the
track where the audio resides. Like volume and
pan, pitch automation is applied non-destructively
to track output in real-time during playback.
A wide variety of pitch-related operations can be
performed on audio data, from simple pitch
correction using the Pencil tool, to individual note
transposition, to wholesale transposing of an entire
track from one mode or key to another using the
Transpose command. The success of these
operations depends highly on the nature of the
audio material itself.
Pitch automation can be applied to mono, stereo
and even surround audio files, and it can be applied
to any pitched audio material, including the spoken
human voice.
Pitch analysis
Pitch automation is based on ZTX processing
(page 897). Therefore, if you plan to use pitch
automation and you’ve disabled preemptive file
analysis, you will find it more convenient to re-
enable background file analysis. To do so, choose
Preferences from the Digital Performer menu (Mac
OS) or Edit menu (Windows) and click the
Background Processing item in the list. See
“Background processing preferences” on page 904.
Latency compensation
Pitch automation requires Digital Performer’s
latency compensation features, so be sure that the
Automatic Plug-in Latency Compensation option is
enabled in the Setup menu> Configure Audio
System> Configure Studio Settings dialog. See
“Automatic plug-in latency (delay) compensation”
on page 32 in the DP Getting Started Guide.
Pitch automation note range
Pitch automation edits are limited to the note range
C0 through C6.
Pitch edits are bound to soundbites
Even though they look just like volume, pan and
other track-based automation data types, pitch
automation edits are bound to the specific
soundbite on which you perform the edit. This
means that if you then move the soundbite, the