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Editing the automatic recognition results in the TrueTone editor.
In all the previous steps, you used the editor only to view the resulting MIDI file. Now you will use it to fix inaccuracies in the MIDI file you have as the result of the automatic recognition. A file of the internal wne format is used. This file contains both MIDI and spectrogram, which allows you to compare notes with the original sound visually. Besides, you can use various play modes to compare them while listening to the melody. You can play Audio and MIDI synchronously to compare the files while listening to them.
Use the Play->Audio + MIDI menu item or the corresponding button on the TrueTone toolbar to enable synchronous play mode. You can read its detailed description in the description of editor play modes. Besides, set the Play All mode to listen to the entire file. Use the standard Windows mixer to set the volume levels for audio and MIDI so that they sound approximately at the same level (usually, you should reduce the volume of the audio channel).
Synchronizing Audio and MIDI.
The first thing that you notice is that the onset of MIDI notes lags behind the source record. This problem was described in the previous section. To fix it, just select all notes and shift them to the left in time.
A loud note is selected and used as a basis. It is better to select a note that is high enough – octave 4 or 5. To clearly hear the time when a note begins, play only this note with the source audio track in the background. To do it, use the Track Editor) to select the entire track (click the A button corresponding to one track) and mute all notes (using the M key). After that clear the selection by clicking the mouse anywhere on the spectrogram free from notes and disable the mute mode for the selected note. Then select the entire record again and set the play mode to Play Screen è Audio+MIDI. If the selected note is too quiet, you can temporary increase its volume to maximum.
Move the note (together with the entire track) to the left until the typical "croaking" sound occurring when notes begin asynchronously is no longer heard. After that we disable the mute mode for all notes by clearing the selection of the note that is not muted (Ctrl+Click) and pressing Ì on the keyboard again.
You can see the described process in demo 12.
Figure 12 (click to play the demo)
Of course, the level a particular note lags behind at also depends on how high it is, how loud it is, the instrument being used, but on the whole this operation allows you to improve synchronization. The further improvement will be individual for each note. To make this operation easier, you should set bar lines.
Setting bar lines.
You can find the detailed description of the purpose of bar lines in the program help, but in this case you need them primarily as marks that can be used to synchronize different voices.
Determine the meter of the piece. You can do it judging from the accompaniment (the guitar part). The meter is 4/4 in this case.
The meter is set in the MIDI File Properties dialog box that you can open using the Operations->Edit MIDI File properties menu item. 4/4 is the default value so you do not have to change it in this case.
It is sometimes difficult to determine the position of bar lines. Usually, it can be determined by the position of the upbeat, but sometimes it is the first and third quarters that are prominent in the bar. You can split each bar into two bars in this case. For you to be able to position notes more precisely after you set bar lines, it is recommended to select the shortest bar length of those possible.
It is convenient to use the Tapping tool for setting bar lines. You can use it to tap bar lines from hearing by upbeats. In this case, the lowest note in the accompaniment is taken as the basis and its position is taken as the beginning of the bar. It is recommended to listen to the audio track and tap bars first in order to practice it.
Move the play position to the very beginning first. The most convenient way to do it is to use the Note Map to just move the red rectangle representing the displayed spectrogram area to the left. Then open the Tapping tool using the Tool->Tapping Tool menu item or the button on the toolbar. Select the Audio mode and calibrate your tapping by clicking the Latency button. The Playback tab of the TrueTone Editor Options dialog box will appear. Now you should click Wave Latency, it will open the Calibrating Tapping Delay where you can measure the delay between the audio sound and keystrokes (it is most convenient to use the spacebar). Press the spacebar once and the program will open the metronome. Keep pressing the spacebar trying to follow the rhythm offered by the metronome. After the measurement is over, click OK. You will see the result in the Wave Latency field.
After the calibration is over, you can start setting bar lines. I just hit the spacebar each time the accompaniment reaches the lowest note. After bar lines are set for the entire track, close the Tapping dialog box.
It is also convenient if you enable showing the numbers of bar lines on the timeline. To do it, right-click the timeline and select Show Bars in the context menu. Version 3.3 allows you to display time and the numbers of bars at the same time.
Editing the accompaniment.
Now get down directly to editing the piece manually. It is the most difficult part of the recognition process, but the TrueTone editor makes it considerably easier as well. Start the process from the first part, the first three seconds. If you listen to them, you will easily hear that there is no flute, but only the guitar accompaniment in this part. The first flute note starts in 3.8 seconds after the beginning of the piece. To discard all unnecessary notes, you can use the Note Filter. The highest note in the accompaniment in this part is "Fa" of third octave (F-3) so select all notes higher then this that begin earlier than 3.9 seconds. You can see how to use the Note Filter in demo 13.
The selected notes are deleted by pressing the Del key or using the Edit->Delete menu item.
Now move on to editing the accompaniment in this part (from 0 to 3.9 seconds). You can easily see that the note D-3 selected in the picture appeared because several sequential notes of the same height had merged. It occurs when a note does not fade out before it is played again. It is necessary to split this note into several notes. After you listen to this fragment in the Audiomode, you can hear that the note D-3 is played three times: the first time when the merged note starts, the second time simultaneously with F-3 and the third time right after the second A-2. The most convenient way is to reduce the duration of the source note and then copy it to the places where it belongs. You can see the entire procedure in demo 14:
Take a look at the very beginning of the piece – up to 1.4 seconds. The very first "Re" note (D-3) is short and quiet and it can be deleted. After that select the first three notes of the piece (make sure that only they are selected – the number of currently selected notes is displayed in the lower-right corner of the editor) and set the play mode to Play Selected è Audio.
Now fix the position of the first bar line – it must coincide with the onset of the bass "Re" (D-2). You should make sure that the MIDI note and the corresponding note in the audio record actually sound simultaneously. You have already performed this operation, but at that time you moved the whole track, while it is the position of a specific note that you are interested in this time. That is why it is more convenient to select another play mode, to be exact – select the note you are interested in and some note not far ahead of it and use the Play Selected mode. After you choose the exact position of the bass note, insert a bar line there and align all notes played at the moment to the border of the bar (see demo 16).
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