Syncing Acapellas Without Having the Full Song in Java

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Syncing Acapellas Without Having the Full Song
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If you don t have access to the full song containing the acapella you want to use, you can still sync the vocals up to ACID s grid. The method is similar to matching up rhythmic material, but because the rhythmic cues aren t as distinct, sometimes it takes a few adjustments and readjustments. Try this: 1. Sync up your background track to ACID s grid, using the techniques described earlier in the chapter.
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2. If your background track has vocals in it, find a one, two, four, eight, or sixteen bar instrumental section that sounds good looped. One easy way to find this section is to click the Loop Playback button in ACID s transport (or simply type Q), and then adjust the loop bar above the timeline. You can change the length of the loop bar by dragging either end of it to the left or right. 3. Trim this loop, either by using the Time selection tool and the trim function (Ctrl+T) or by splitting the event on either side of the loop. Select and copy the loop by clicking on it and pressing Ctrl+C. Now position your cursor at beat 1.1 and press Ctrl+B to paste repeat. Paste it in 100 times (or some large number) end-to-end. You now have an instrumental backing track, although it s a bit dull. 4. Listen to the acapella and select a fairly rhythmic portion of it near the beginning of the song. If the beginning isn t rhythmic like the party people shouted at the beginning of Whoomp! you may need to look further. 5. Draw the entire acapella track in ACID, and trim it so it starts just before the rhythmic portion you ve identified. Place this vocal portion on the beat at which it occurs in the regular song. This is where familiarity with the full mix helps, even if you don t have it on hand. 6. In the Stretch panel of the Track/Clip Properties window, roughly adjust the bpm so the first few seconds of your vocal sound in sync. (It doesn t matter if there isn t a high level of precision at first.) 7. This step is similar to manually beatmapping a rhythmic audio file. Go through the song, roughly doubling the number of your beat markers each time, and adjust the tempo at each point, fine-tuning the synchronization, until you are to the end of your track. If you find at some point that the initial vocal has lost its sync, move the initial vocal and repeat the process. If your acapella has a constant underlying bpm, you should be able to line up the vocals pretty tightly with this method. If after considerable struggle, the vocals just don t seem to line up throughout, perhaps your acapella doesn t have a constant bpm. 9 covers variable bpm songs.
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As long as your tracks have a constant tempo, you should be able to sync them up pretty well. Well-matched rhythms are the foundation of good mashups. Now it s time to get your component songs in key, which is equally important and is covered in the next chapter.
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ne of the features of ACID that has made it the mashup producer s tool of choice for years is its ability to alter pitch and tempo independently of each other. In fact, it is this capability that helps to distinguish computer-based mashups from traditional turntablism, where tempo and pitch are inextricably linked together. When matching two records, a vinyl-based DJ will usually have to speed up or slow down one of the records. Beatmatching is the most fundamental aspect of blending two records, and if they drift out of sync, it will be obvious to all listeners, regardless of their musical background. Songs that are out of key with each other are sometimes tolerated in a vinyl environment. Often the transitions are short enough that the key clash isn t too painful, and often in dance remixes there are long stretches where there are no pitched elements, so that the blended portions don t contain any key clash. Often the key clash is simply tolerated. Sometimes a DJ can actually find two records that are in the same key and near enough to the same tempo that the pitch shift introduced when slowing down or speeding up one of the records doesn t shift the pitch so far that it sounds out of key. With ACID, any two tempos and keys can potentially be pitch-shifted and time-stretched until they match. This allows for consistent layering of beatmatched tonal music without key clash.
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