by the looks of what you've illustrated it seems you are most comfortable with acid-like looping as it stands.superddman wrote:What would you say if there was a loop format with the following:
- Contains three parts: beginning, middle, end.
Beginning: contains the natural attack of the sound
Middle: this is the looping part, you can loop this as many times as possible
End: contains the natural release of the sound
This format would use some special algorithms that creates seamless transitions between these parts
(I am smart, eh?)
- uses some kind of compression technology similar to REX2 that can minimize the size of the loops without affecting the sound quality
- contains a whole ocatve of loops at different pitch. Each part (beginning,middle,end) can be independently changed to a different pitch. Each repeating middle part can also have a different pitch. There would have to be some special algorithm that creates nice transitions between parts that have a different pitch.
I call this "SUPER LOOP" format.
Here is a little drawing that lets you imagine what this Super Loop format would look like inside of a sequencer:
B - beginning
M - middle
E - end
+1 - part at one semitone higher
-3 - part at 3 semitones lower
Figure 1 shows the original Super Loop imported into a project. There is no looping here, just a natural attack, middle, and natural end.
Figure 2 shows the same Super Loop being looped 5 times, changing pitch the second time and the fourth time it loops.
To go from Figure 1 to Figure 2, all you would do is just drag the vertical line between the middle part and the end part.
Also, there should be an option to hide (cancel sound output) for the beginning part and the end part.
That's about it for now. Please feel free to add or subtract.
EDIT: Consider the waveform as only the top-half of a waveform hehe, I don't know why I drew it this way.
and yeah there could be something to your idea. in an acid clip, you simply repeat the whole thing when you drag outwards, you create duplicates of the entire clip. when you stop dragging there is no natural decay or anything.
i think what you are trying to say is really workflow based and not so much 'innovation'. i think your best bet though is to just load that same loop in acid before and after your stretched out duplicated looping section, and add a volumen envelope to fade out or in or whatever, or if you want to create some special effect like a smash hit or something, well then basic waveform editing and junk could be used for that. like mixing a cymbal crash or a bass kick thud with a long pad sound with no fade-in on it's own, for your start bit, and then some natural decaying destructive fade out edits on the end bit, so you'd have 3 clips.
i understand what you are trying to say, and it's kind of interesting for workflow reasons. but they are right, it's basic sampling. you might be interested to try out a sampler that has multipoint envelopes for this kind of stuff. something like dimension pro can have many complex points for an attack, lots of points for a sustain phase, and a release. what you've illustrated makes sense in translation to that.
it's interesting in that the workflow is visual that you prefer. in this case i would recommend cakewalk sonar with the live waveform preview enabled (it draws audio right as it plays on top including any real time automation modifications) - basically if you use the synth rack to insert a plug, then you do your editing on the midi track and turn on 'waveform preview' on the audio track that the midi track outputs to and you can see in realtime this visual feedback. this would let you work with any synth in the way you would like. while it's not perfect 1:1 match for your desired workflow, as you have to drag the midi clips around and do editing in the midi domain relying on either your synths built in envelopes or envelope followers inserted after your synth effects-wise, you still can achieve that visual overview.