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Chapter 41: Elastic Audio 879

Deleting Event Markers

To delete an Event marker:

In Analysis view, do one of the following:

• With the Pencil tool, Alt-click (Windows)

or Option-click (Mac) the Event marker

you want to delete.

• With the Grabber tool, Alt-click (Windows)

or Option-click (Mac) the Event marker

you want to delete.

• With the Selector tool, make an Edit selec-

tion that includes any Event markers you

want to delete and press Delete or Back-

space on your computer keyboard.

• With the Selector tool, make an Edit selec-

tion that includes any Event markers you

want to delete, Right-click the selection,

and choose Remove Event Marker from the

pop-up menu.

Edit Groups and Event Editing

Elastic Audio-enabled tracks can be included in

Edit Groups. For Elastic Audio-enabled tracks

that are part of an Edit Group, editing Event

markers on one track likewise applies to all other

tracks within that Edit Group.

Elastic Properties

Each region on an Elastic Audio-enabled track

has specific Elastic Audio properties (such as

tempo, meter, TCE factor, Input Gain, and Pitch

Shift).

The Elastic Properties window lets you view and

change the properties for selected regions. For

example, you can reduce the Input Gain for

Elastic Audio processing to avoid clipping that

can occur during processing.

From the Elastic Properties window, you can

also filter Event markers for Elastic Audio re-

gions on tick-based tracks. Filtering Event mark-

ers can result in better quality Elastic Audio pro-

cessing of material with ambiguous transients.

To view the Elastic Properties for a region:

Select a region on an Elastic Audio-enabled

track. The track can be either sample- or tick-

based.

Do one of the following:

• Choose Region > Elastic Properties.

– or –

• Right-click the region and choose Elastic

Properties.

Deleting an Event marker with the Pencil tool

Press Alt+5 (Windows) or Option+5 (Mac)

on the numeric keypad to open the Elastic

Properties window.

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Pro Tools Reference Guide

880

Elastic Properties Window

The Elastic Properties window displays informa-

tion about Elastic Audio processing and analysis

for one or more regions. You can also use the

Elastic Properties window to adjust Elastic Audio

processing and analysis data.

There are different Elastic Properties available in

the Elastic Properties window, depending on

whether the track is tick-based or sample-based.

If the track is sample-based, a reduced set of Elas-

tic Audio Properties are displayed.

Region Property

The Region property in the Elastic Properties

window displays the name of the region and in-

dicates whether or not the region is on a tick or

sample-based track. If more than one region is

selected, the number of selected regions is dis-

played. If regions on both tick and sample-based

tracks are selected, only the reduced set of prop-

erties are displayed.

Source Length Property (Tick-

Based Tracks Only)

The Source Length property in the Elastic Prop-

erties window displays the length of the region

based on the source file in bars and beats. If the

length of the source file was analyzed incor-

rectly, you can change it.

To change the Source Length of a region:

Open the Elastic Properties window for the re-

gion.

Do one of the following:

• Type the correct bar, beat, and tick values

in the Source Length field.

• If the duration was incorrectly analyzed as

being half the duration of the source file,

click the x2 button.

• If the duration was incorrectly analyzed as

being twice the duration of the source file,

click the 1/2 button.

Source Tempo Property (Tick-

Based Tracks Only)

The Source Tempo property in the Elastic Prop-

erties window displays the average tempo of the

source file, which is calculated based on the de-

tected transient events and the length of the file.

If the tempo of the source file was analyzed in-

correctly, you can change it.

Elastic Properties, tick-based

Elastic Properties, sample-based

Changing the duration of a region on an

Elastic Audio-enabled track using the TCE

Trimmer tool updates the Source Length in

the Elastic Properties window.

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Chapter 41: Elastic Audio 881

To change Source Tempo of a region:

Open the Elastic Properties window for the re-

gion.

Select the correct note value for the beat from

the Tempo Resolution pop-up menu. For exam-

ple, if the source file is in 5/8, select 1/8 note.

Do one of the following:

• Type the tempo in the Source Tempo field.

• If the tempo was incorrectly analyzed as be-

ing half the tempo of the source file, click

the x2 button.

• If the tempo was incorrectly analyzed as be-

ing twice the tempo of the source file, click

the 1/2 button.

Meter Field (Tick-Based Only)

Elastic Audio analysis does not calculate meter

and assumes all files are in 4/4. If you work with

meters other than 4/4, use the Meter property to

correctly identify the source meter.

To change Meter of a region:

Open the Elastic Properties window for the re-

gion.

Click in the Meter nominator field and type

the correct number of beats per measure. For ex-

ample, if the region is in 3/4, type 3.

Click the Meter denominator field and type

the correct note value. For example, if the meter

is in 6/8, type 8.

TCE Factor Property

The TCE Factor property in the Elastic Properties

window displays the percentage of change ap-

plied to the source file. On tick-based tracks, this

property is display only and cannot be edited.

On sample-based tracks, you can change the

TCE Factor to apply TCE to the region. The per-

centage of the TCE factor is always calculated in

relation to the source file. The TCE Factor value

turns red when Elastic Audio processes exceeds

the valid range (see “Out of Range Processing”

on page 876).

Event Sensitivity Property

The Event Sensitivity property in the Elastic

Properties window lets you filter Event markers

based on the analysis confidence level. The con-

fidence level for any detected transient event is

based, in part, on the clarity of the transient. For

example, if the file is a drum loop, loud accented

hits will be analyzed with a higher degree of

confidence than a soft, unaccented hit.

The Event Sensitivity acts like a threshold for

showing only the transient events that were de-

tected with a high degree of confidence. In

Warp or Analysis track views you will see the

number of Event markers decrease or increase as

you lower or raise the Event Sensitivity.

Lowering the event sensitivity can help reduce

the number of erroneously detected transients.

In turn, this can result in better sounding Elastic

Audio processing. Pro Tools preserves the de-

tected transients when applying TCE in order to

avoid flamming and granulation of the tran-

sients. Consequently, false transients are also

preserved and the resulting sound quality can be

less than desirable. If you are working with au-

dio material that does not have clearly defined

transients, you may want to lower the Event

Sensitivity in the Elastic Properties, or you may

want to even edit the Event markers in Analysis

view.

If lowering the Event Sensitivity results in filter-

ing out important Event markers, you can pro-

mote those Event markers in Analysis view (see

“Promoting Event Markers” on page 878).

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Pro Tools Reference Guide

882

Reset Button

Click the Reset button in the Elastic Properties

window to reset event analysis data for the re-

gion to match the original file. The Event Sensi-

tivity property is reset to 100%.

Input Gain Property

It is possible to encounter clipping when time

compressing audio. Real-Time Elastic Audio

plug-ins provide a Clip indicator to let you know

when clipping has occurred and the Elastic Au-

dio plug-in button turns red. Rendered Elastic

Audio regions display a Clip indicator on the re-

gion when clipping has occurred (see “Region

Clip Indicator” on page 866).

If you encounter clipping when processing Elas-

tic Audio, use the Input Gain property in the

Elastic Properties window to attenuate the gain

of the audio signal before it is processed.

Pitch Shift Property(Polyphonic,

Rhythmic, and X-Form Only)

The Pitch Shift property in the Elastic Properties

window lets you pitch shift whole regions on

Elastic Audio-enabled tracks using the Poly-

phonic, Rhythmic, and X-Form plug-ins. You

apply real-time or rendered pitch shifting in

semitones and cents by +/– 2 octaves.

Elastic Audio Region-Based

Pitch Shifting

(Polyphonic, Rhythmic, and X-Form Only)

In addition to Pro Tools Elastic Audio time com-

pression and expansion capabilities, you can

also change the pitch of whole audio regions in

semitones and cents in the range of +/– 2 oc-

taves.

To pitch shift a region:

Make sure the region, or regions, you want to

pitch shift are on Elastic Audio-enabled tracks

(using the Polyphonic, Rhythmic, or X-Form al-

gorithm).

With the Grabber or Selector tool, select the

audio region you want to pitch shift. Only re-

gions that are completely selected will be af-

fected.

For REX files, Pro Tools converts the slices

as Events with 100% confidence. Conse-

quently, setting the Event Sensitivity from

99% to 1% does not filter out any events

based on slices. However, if you set the

Event Sensitivity to 0%, all markers are

filtered out regardless.

When you change the Event Sensitivity

property, Pro Tools writes temporary fil-

tered Elastic Audio analysis files (.aan) to

the session’s Rendered Files folder. Any

unused temporary filtered analysis files are

purged when you close the session.

Elastic Audio pitch transposition is not sup-

ported with the Monophonic algorithm.

However, if you switch to the Monophonic

plug-in after pitch shifting with another

plug-in, the pitch metadata for the region is

maintained.

Elastic Audio pitch transposition cannot be

applied to looped regions or region groups.

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Chapter 41: Elastic Audio 883

Open the Elastic Properties window for the re-

gion.

Adjust the Pitch Shift settings up (“+”) or down

(“–”) by an amount in semitones and cents.

To transpose the pitch of an audio region in the

Transpose window:

Make sure the region, or regions, you want to

Transpose are on Elastic Audio-enabled tracks

(using the Polyphonic, Rhythmic, or X-Form al-

gorithm).

With the Grabber or Selector tool, select the

audio region you want to transpose. Only re-

gions that are completely selected will be af-

fected.

Choose Event > Event Operations > Transpose.

Do one of the following:

• Adjust the Transpose By settings by an

amount in semitones and cents.

– or –

• Adjust the Transpose From and To settings

by an amount in Semitones and Cents.

Click Apply.

Varispeed and Pitch Shifting

When using the Varispeed algorithm, pitch

transposition and time compression/expansion

are always linked. If you apply pitch transposi-

tion to an audio region using the Polyphonic or

Rhythmic algorithms, that transposition data is

stored in the metadata for the region. Conse-

quently, if you then switch to Varispeed, change

the TCE factor, and then switch back to the orig-

inal Elastic Audio algorithm, the region will re-

vert to the original amount of pitch shifting

while maintaining the amount of time compres-

sion/expansion applied by the Varispeed algo-

rithm.

Elastic Properties window

Event Operations, Transpose

The Transpose All Notes To and the Trans-

pose In Key settings can only be applied to

MIDI notes. When only audio regions are

selected, these options are unavailable.

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Pro Tools Reference Guide

884

Removing Region Pitch Shifting

If you have applied any pitch shifting to a re-

gion, you can remove pitch shifting and revert

the region to its original pitch. This can be use-

ful if you are not satisfied with the results and

want to revert to the pre–pitch shifted region.

To remove region pitch shifting:

Select the region for which you want to re-

move warping.

Do one of the following:

• Choose Region > Remove Pitch Shift.

– or –

• With any Edit tool, Right-click the region

and select Remove Pitch Shift.

AudioSuite Processing and

Elastic Audio Regions

Real-Time Elastic Audio processing is non-de-

structive. However, since AudioSuite plug-ins

process the entire region and write a new audio

file (or actually apply destructive processing),

when applying AudioSuite processing to regions

on Elastic Audio-enabled tracks, any Elastic Au-

dio processing is rendered first, the rendered file

is then processed by AudioSuite, and the result-

ing new audio file is analyzed for Elastic Audio

processing.

Remove Pitch Shift can only be applied to

regions and cannot be applied to region

groups. To remove pitch shifting from re-

gion groups you must first ungroup the re-

gion, then apply Remove Pitch Shift to the

underlying regions, and then regroup those

regions.

Chapter 41: Elastic Audio 885

Moving Elastic Audio Between Tracks

Pro Tools analyzes, conforms, and commits audio in different ways when moving audio regions be-

tween tracks with Elastic Audio enabled and tracks without Elastic Audio enabled. The following table

shows the different results for moving regions between real-time Elastic Audio-enabled tracks, Ren-

dered Elastic Audio-enabled tracks, and audio tracks without Elastic Audio.

Moving Elastic Audio between tracks

From

Result

Real-time Elastic

Audio–enabled track

Rendered Elastic

Audio–enabled track

Render region with destination track’s Elastic Audio plug-

Real-time Elastic

Audio–enabled track

audio track (no Elastic

Audio)

Render region with source track’s Elastic Audio plug-in

and commit the region to the destination track

Rendered Elastic

Audio–enabled track

Real-time Elastic

Audio–enabled track

Apply real-time Elastic Audio processing using the desti-

nation track’s Elastic Audio plug-in

Rendered Elastic

Audio–enabled track

audio track (no Elastic

Audio)

Commit to track

Audio track (no Elastic

Audio)

Real-time Elastic

Audio–enabled track

Calculate Elastic Audio analysis and apply real-time Elas-

tic Audio processing using the destination track’s Elastic

Audio plug-in

Audio track (no Elastic

Audio)

Rendered Elastic

Audio–enabled track

Calculate Elastic Audio analysis and render the region

using the destination track’s Elastic Audio plug-in

Pitched Elastic

Audio–enabled track

audio track (no Elastic

Audio)

Render region pitch shift with source track’s Elastic

Audio plug-in and commit the region to the destination

track

Regions that are committed, either by disabling Elastic Audio on a track or by moving a region to a

track without Elastic Audio enabled, are written to disk as new audio files (see “Committed Regions”

on page 862.)

Pro Tools Reference Guide

886

Fades and MicroFades

Fades and Elastic Audio

Processing

When applying fades to warped regions (regions

that have been processed by Elastic Audio), the

audio selected for the fade is first rendered and

then the fade is generated based on the rendered

audio file. While you can create fades and cross-

fades on regions on Elastic Audio-enabled

tracks, neither Real-Time nor Rendered Elastic

Audio processing can be applied to fades. Con-

sequently, fades always retain their absolute du-

ration and fades must be recalculated after any

Elastic Audio processing has been applied to the

underlying audio.

For example, if you change the session tempo, a

region on a tick-based Elastic Audio-enabled

track will change its duration (in minutes and

seconds) to match the new tempo, but any fades

that are part of that region do not change dura-

tion. The underlying audio is processed to

match the tempo change, then it is rendered,

and then the fade is regenerated. Even though

the underlying audio changes, the absolute du-

ration of the fade does not.

In Warp view, you will notice that Event mark-

ers never appear in fades and that Warp markers

cannot be added within fades. As a general rule,

apply fades to regions on Elastic Audio-enabled

tracks only after you have finished any manual

warp editing.

Microfades

Real-time Elastic Audio processing is not com-

pletely deterministic. Consequently, depending

on where you start playback, the part of a region

being played might actually be a few samples

longer or shorter. When fades or crossfades are

applied to warped regions, the audio waveform

at the boundary between the (real-time) region

and the (rendered) fade may not actually be con-

tinuous.

For example, if there are two butt-spliced re-

gions on a Real-Time Elastic Audio-enabled

track, Elastic Audio processes them separately

even though they are contiguous on the track.

As a result, the audio may not really be contigu-

ous after Elastic Audio processing and there may

be an audible pop when playing back across the

transition between the two regions.

To help compensate, Pro Tools applies micro-

fades to region boundaries on Real-Time Elastic

Audio-enabled tracks. Microfades are small real-

time fades at region boundaries intended to mit-

igate artifacts across region boundaries, or be-

tween an Elastic Audio processed region and a

rendered Fade file. Microfades are very short;

they are only about 1.5 milliseconds long (64

samples at 44 kHz, 128 samples at 96 kHz, and

256 samples at 192 kHz).

Region groups that contain regions with

fades are not allowed on Elastic Audio-en-

abled tracks.

Chapter 41: Elastic Audio 887

Approximate Waveforms

Another consequence of Real-Time Elastic Au-

dio processing is that the drawing of the wave-

forms is only approximate. For example, if you

bus record a Real-Time Elastic Audio processed

track, you will notice that the Waveform on the

source track does not necessarily exactly match

the recorded track. However, be assured that

what you hear is an accurate rendition of the

Real-Time Elastic Audio processing even if the

waveform drawing on the source track is only

approximate.

Elastic Audio Preferences

The Elastic Audio settings in the Processing Pref-

erences page determine which Elastic Audio

plug-in is used for preview and import, and

whether or not new tracks are created with Elas-

tic Audio enabled using the selected default

plug-in.

Default Plug-In Lets you select any Real-Time

Elastic Audio plug-in as the default plug-in for

previewing and importing Elastic Audio. The se-

lected default Elastic Audio plug-in is also used

when new tracks are created with Elastic Audio

enabled. The Elastic Audio Plug-In selector in

DigiBase browsers inherits the selected Default

Plug-In setting. Likewise, changing the selected

plug-in in DigiBase browsers updates the se-

lected Default Plug-In setting in the Processing

Preferences page.

Default Input Gain Lets you attenuate the signal

input to Elastic Audio plug-ins by 0 to –6 dB for

preview and import. If you experience clipping

due to Elastic Audio processing during preview

or after import, you may want to set the Default

Input Gain to slightly attenuate the audio signal

input for Elastic Audio processing. This prefer-

ence also applies to any audio imported to an

Elastic Audio-enabled track.

If you commit any regions on a track (by dis-

abling Elastic Audio on the track) that were im-

ported with Input Gain, their region-based In

put Gain is reset to 0.

The Elastic Properties window inherits the De-

fault Input Gain preference. To apply further re-

gion-based Input Gain for Elastic Audio process-

ing, select the region and adjust the Input Gain

setting in the Elastic Properties window (see

“Elastic Properties Window” on page 880).

Enable Elastic Audio on New Tracks When se-

lected, new tracks are created with Elastic Audio

enabled. The selected default Elastic Audio plug-

in is used.

Elastic Audio preferences

If the Enable Elastic Audio on New Tracks

option is selected, you may want to also

select the New Tracks Default to Tick Time-

base option in the Editing Preferences page.

Pro Tools Reference Guide

888

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