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A different set of circumstances happens when the song s tempo has drifted higher, and the second event is now too early. You will need to shift the second event later in time, to the right on the timeline. This can create a jarring gap in the audio that needs to be filled in. Again, this is best done by using the draw tool to drag the left side of the second event to the left until it meets the previous event, or overlaps in the case of ACID Pro 6. With ACID XPress, you may need to drag it a bit further if you can find a better transition point that doesn t have a lot of sound going on. It s important to extend the second event to the left, filling in the gap with the quiet portion of the waveform preceding the attack, rather than extending the first event to the right, creating a nasty double attack.
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Sometimes you may simply not be able to smooth out the transition between your clips even though the rhythm sounds accurate. No matter where you place the transition before the correctly timed attack, the switch between the events is audible. You ve tried adjusting the fade-in and fade-out points to no avail. What you need is the smoothing cross-fading of ACID Pro 6, but you are working with ACID XPress. If this happens, duplicate your track, delete the second event (right after the split) from the original track, and then delete everything except this event from the duplicate track. Drag the beginning of the second event from the new duplicated track slightly to the left so that it overlaps the first event. Then select both events on the two tracks and press F on the keyboard to automatically crossfade between events.
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This example of beatmapping variable-tempo tracks uses I Know There s Something Going On by Frida, a hit from 1982. This track can be found on the Something s Going On
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9 Beyond the Beatmapper: Handling Uneven Tempos
(Remastered) album at the iTunes Store. This song has a fairly variable tempo (even with Phil Collins on the drums!), and so you will need several different beatmaps to keep it in sync without cutting it up into a million pieces.
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The song can be purchased from the iTunes Store, burned to a CD, and then reimported into iTunes as an mp3, as described in 3.
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Drag the song into ACID, using the Beatmapper Wizard if you have ACID Pro, or following the instructions in 7 s Working Without the Beatmapper section. Do not attempt to beatmap the entire song, but only the intro, or the first eight measures. You ll start off with an initial tempo of around 108.15 bpm and a start offset of around 31,000 samples. It s okay if your numbers are a little different the exact placement of beats is somewhat of a judgment call. Because the first eight measures are beatmapped, the beats should maintain alignment with ACID s beat grid throughout. There is, however, a danger that the initial window of eight measures is too large, and that there is significant tempo variability even within that short time window. If the tempo varies a lot, the largest displacement would usually be toward the middle of the section. You may want to zoom in toward the center of the beatmapped area, in this case at beat 5.1. The kick at beat 5.1 seems to be slightly offset from the beat grid, but perhaps not enough to be unacceptable. To find out for sure, listen to the track with the metronome turned on. Indeed, the metronome sounds lined up with the track pretty well until around measure 11. If the beat is perfectly aligned at the beginning of measure 9 and audibly misaligned by the beginning of measure 11, probably the best place for realignment is the beginning of measure 10, halfway in between. Positioning the cursor at beat 10.1 and zooming in, the offset becomes visible, although it still may not be audible at this point, as shown in Figure 9-1. The attack visibly starts at 10.1.024, when it should have ideally started right at 10.1.000.
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