making loops from mp3s in FL

B

bigl2369

New member
can you load up an mp3 into slicex

delete approximately everything before and after where you want the loop

create hitpoints

delete everything but the first and last hitpoint

then copy and paste whats in between the two hitpoints as audio

???

someone said I would have to like delete everything before my segment that I want to make a loop like within 100ms of first and last slice... then load into slicex and play on piano roll and into Edison and after it plays several times Edison would detect its a loop and I could drag a loop from that
 
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Are you sampling or are you just trying to play the chops on a piano? You'll need to map your keys you use to those rectangle things at the bottom of slicex or directwave.
Also, all samplers will have "regions" where you make multiple "chops" of the audio in order to use them depending on what you're doing. I haven't used fl studio in months, however I can tell you that the "detect it's a loop" thing does not exist you can do what you want right away after chopping.

There are a good bit of tutorials on youtube that can help you get started if fl studio's what you decide on:
https://www.youtube.com/watch?v=skWbzPPtAPo
https://www.youtube.com/watch?v=xAxTnjeLgv0
https://www.youtube.com/watch?v=5y5rAdi-VWI
 
well the whole idea behind using slicex would be so I could like make a loop out of something without having to manually slice it... but if it wouldn't detect that its a loop like someone told me that it would then I would have to slice it manually anyway

because loops have to start on beat one... so my idea was that if I somehow found a segment that I wanted to make loop out of with a transient on the first beat and a transient four or 8 or 16 bars later(I don't deal with no 3/4 shit theres no damn waltzes in techno) then I could just do that

I suppose if I find that and record it into Edison a few times I could see the wave forms repeating and it would make it easier to slice
 
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Ah, you mean autochop. autochop works for robotic timing but on the natural stuff it's actually easier to do it manually tbh with you lol.
Autochop is pretty usefull if you're working with a very long collection of audio dialogue clips to extract but I recommend zooming in on the "zero crossing" points of the more complicated material that is right in the middle of the waveforms right where the waveform meets the middle line.
 
no man, no robticness, man

I would only be playing it directly into Edison.... not writing my own mash ups

I would only be using slicex to make it a little easier to get the loop to play exactly on the first transient

unless your suggesting that I would have gaps in the sound in between the slices which probably would only be like 1-3 ms and not noticable

it was just an idea... I know slicex is usually used to chop something up and use the piano roll to retrigger it in sync with the project... but like it also drops the entire sequence all sliced up into the piano roll too and at the same speed it was recorded at... so I figured I would be able to work with that

and record four bar(or doubles of 4, 8, 16, 32 and so on) loop if I were able to find segments where a a slice starts the loop and another slice ends the loop exactly four bars later

because if its not four bars then when you go and tempo sync it by aligning it to four bars then it wont be in tempo

but if all my loops are denominations of four bars and I always play in four I would just have to stretch or compress it to the nearest measure

While making the loops... I think it would be easy to tell like if the segment I chose was actually a denomination of four just by deleting everything approximately before and after the first and last slice, then loading it up into slicex and dropping it into the piano roll, then deleting the last slice(the last slice would need to conveniently end the loop exactly four bars after it starts)... then record it looping into edison ... and listening to it to see if it was indeed a denomination of four... then deleting everything after the first loop.... and saving that file

like i dont think you can make loops out of stuff that doesn't start and end on transients accurately... if you didn't have a transient to start it and end it on when manually slicing it would be pretty tough to manually slice exactly four bars because visually transients are easier to manually slice because you can see its a transient....and you would probably never get it exact and maybe 100ms off ...

but im not talking about manually slicing... I want to make it more easy and more exact

just an idea I had to make it easier to make loops

if you don't like it, or you think im retarded... I don't know what to tell you lol
 
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If you want the perfect no delay, you have to touch the zero crossing points in your sampler, right in the middle.
I can't help you with edison, but there should be an option to record yourself directly to the playlist as an audio clip. then from there you can smish into either edison or slicex.The record button on the samplers I've tried work sorta like the playlist but for maximum flexibility I recommend just recording directly to the playlist.
 
what is this zero crossing point you speak of?

are you saying my idea would be out of sync?

it wouldn't be more flexible... what I would be recording wouldn't pertain to the tempo of the grid... not yet at least... and I would want to loop it a few times so I could easily see where it loops and slice it there after I determined that it was in fact a denomination of four bars
 
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Hard to tell without example, but the zero-crossing is the very point at which the audio begins and ends anywhere in the waveform for all samplers.
Your idea will be out of sync if you're doing something that's not adding up, like multiple time signatures. Basically, everything you arrange, it'd be best to just do it manually because then it's exactly how you want it to sound. One other suggestion is to set a global tempo that you can divide and still get a whole number to make the process easier as well. I recommend a global tempo of 120bpm, so far that's worked better than 90 for managing time, but that's an opinion.

Nvm just read that, it will have to be manually done by either ear or the zerocrossing method. I get what you mean, but the grid can be looked at two ways.
traditional, or just using it in a static unchanging project tempo while everything else is at their own tempo unaffected.
 
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meh, I don't really value you anything you said at all kon koss kang... sorry brother

but yeah it wouldn't work if I saved a loop and it wasn't four bars and hence a different time signature

I hate when like people give advice to like just give advice and it makes like no difference

and if your saying ill have delays just because im using slicex then your full of shit man

ill load my mp3 into Edison, delete everything almost exactly before the first slice where I want my loop to start, and everything just a few moments after the last slice(the last slice needs to start exactly four bars later)

then ill take that and move it into slicex and drop it into the piano roll and delete the last slice

then ill record it into Edison and slice it exactly where it starts over again the first time and save that as my loop

as long as its a four bar loop or 8 or 16 or 32 so on then I can use it in any project that's 4/4 just by stretching or compressing to one measure.... it can also be 6, or 12, or 24 or so on cuz that would fit into dotted notes
hCE856EB7.jpg
 
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Yo, it's not like that man. The point of audio you choose in any sampler dictates what happens, as said earlier. The zero-crossing point is where there is no delay, which is what you asked for at first. I'm just here to help whenever I can, and learn things along the way. The 120bpm idea is an example of what you can do to make things easier, if that would help you depending on whether or not you care about the specifics.
 
What I mean is using the project tempo, as a static timebase that doesn't change as an alternative to having varying tempos for each track you decide to make.
The things that you want to record on whatever you're doing can be tackled in multiple ways, since doing the arranging and chopping manually will give you the results you want. Basically if you mess up something, gotta do it again. Choose a method. Traditional, or the fixed project tempo template.
If you record something and it ends up not fitting, you will have to manually edit the recorded file to fit properly.

You can also try simply arranging with snap to events on, as well as arranging your recorded items manually along the grid after recording to make sure everything is where you want the audio to be at. And if all else fails, adjust project tempo to a variable if those methods are not to your liking.
 
no, project temp doesn't have anything to do with constructing loops

creating loops only has to do with creating four bar segments...
 
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Oh boy, ok the traditional method is simply relying on project tempo while the fixed tempo method differs.
I get where you are coming at, what I mean with the fixed tempo method is that you do not worry about project tempo when creating your loops, because 120bpm is a 2 second long bar 24/7. You do not have to creat your loops around a fixed tempo unless you feel it makes it easier to arrange.
You need to realize that manually adjusting is the only answer for 100% control over the track.

Creating loops has nothing to do with project tempo, but it serves as a simple timebase while you are creating individual loops and recordings to make the arranging process better. you can make any time signature you want, as long as you can manually adjust them to fit the grid. if you have two 3/4's you aren't limited by the grid, you are if you want them to sync on the grid without manually adjusting each clip to a non-traditional point on the grid.
 
if you created all four bar loops, you would be able to stretch them to four bars in any project... that's all im saying

I don't know how you would use the tempo to create loops

four bars is obviously a short loop...

and by bar I meant beat

so yeah four beats is a short loop

so yeah... loops of 4, 8, 16, 32, beats and so on

if you made a loop that was 3 bars... you would have to label it as 3 bars, or 2 and a quarter bars, or 3 bars and one sixteenth note etc... so you would know how to stretch or compress it

you can multiply it by 1.5, or any factor of 1.5... so .75, .375, 3, 6... and can multiply by any factor of 2 as well

you can make tons of clips especially if you have an algorithm that adjusts the pitch along with time stretching by a percentage to avoid artifacts

im not talking out my ass with those mathematical numbers either

just get audacity... its the only program that can do it actually besides logic or pro tools... and input either 50 or -25 or -50 or 100 for both

I've never done it... but ill figure it out

http://manual.audacityteam.org/o/man/sliding_time_scale_pitch_shift.html

its a shame that the only way you can make the first stretch or compression follow the pitch/shift algorithm would be with repitch in ableton(even if you had pro tools or logic or were using audacity)... and its also a shame that FL studio and reaper have no pitch shift/time shift algorithm at all...
 
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Yes, if you want to not worry about the program automatically timestretching anything without your input.
You do not have to do the "every project has the same global tempo but doesn't interfere with the actual timebase of the imported audio" method and can stick with the traditional way, if this is more comfortable. It seems like you already know all of this to begin with, after reading your post.
I honestly believe you already know the answer after actually reading that. Your methods are less predictable.

But, I'm assuming this. Manually editing whatever you're doing, every method discussed here is pretty valid.
My opinion is basically why worry about tempo if I can use math and a fixed timebase? I've broken it down as best as I could big, someone else should probably be able to explain it better.

One sec, just read the bottom. You can achieve timestretching/pitching in any software that allows it.
Studio one, reason, ableton, fl studio protools and more.
 
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I haven't worked in a daw for a while... but alls I know is you cant get everything done all in one place if we're talking about pitch shift/time shift algorithms... we can argue about that a little bit if you want

im like half retarded though if you can tell

my ideas are all over the place

im gonna figure out this whole music thing one day though

I think ableton might actually be the only place you can do everything... slicing at hitpoints without any manual slicing... timeshift/pitch shift via warp markers(not just time shift)
 
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You can do what you want, in all daws. They all handle the modular approach differently. Pick the one/s that you like more.
As a person with actual aspergers, I can clearly tell you aren't retarded. You certainly try to act as if you are, but you aren't.
If ableton works for you {it seems like you like it a lot} then use that. I'm not arguing with you, I was giving information that I truly believe is helpful to a degree :/
 
i don't think ive actually made a single post on a forum in my entire lifetime and gotten a response that has given me any insight on anything

in fact... I hate everyone in the entire world... except for the person who edited all of my posts(he's cool)
 
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The methods you use to move about is similar to desire inspires [sorry dude but bigl2369 is slightly similar with the humor]
After closely examining your posts, your humor is above me man. I can not handle the high brow.
 
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