1. Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Youtube
2. Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Definition
3. Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Video
4. Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Examples

I take it you’re talking about a recording. In a live ensemble, you pull the tuning slide/mouthpiece, or turn the tuning pegs on a string instrument to change the pitch. The ability to change the tempo or tempo/pitch of audio material, as MP3 Speed (free) allows you to do, can be very handy. For instance, musicians can slow down songs to learn fast licks, and DJs. If you don’t want to guess, and want to figure the amount to change the pitch control more precisely, use the following formula to work out how much an adjustment on the pitch control will change the original BPM: (Original BPM x pitch change) / 100 = BPM change. For example, 130 BPM tune with a 5 per cent pitch increase would be. Audio Pitch and Shift offers some commands to change pitch and speed. The BPM is displayed when a file is loaded and it makes the change easier. There are also other effects that can be applied such as reverb, distortion and many more.

Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Youtube

You've no doubt discovered there are many opportunities for a mandolinist who is able venture out of the lower seven frets (1st Position) of the instrument. One of the benefits of our FFcP system is of course, to make fingering in the upper frets comfortably familiar. The question arises, when do I leave the lower frets, or when do I need to 'shift.'

We can look to violin pedagogy for answers to questions like this, the purposes, the various types, the actual mechanics, and the appropriateness. We want to borrow from an excellent online resource by By Dr. Rami Kanaan, in his text 'A Handbook for Teaching Shifting to the Intermediate Level Violin Student.' His thoughts (substitute 'mandolin' or 'instrument' for 'violin':

The purposes of shifting
1) Shifting extends the overall tonal range of the violin
2) It extends the tonal ranges of each of the four strings
3) It facilitates the playing of awkward passages and eliminates string crossings
4) It opens the door to technical mastery on the violin through the knowledge of all the positions and their fingerings
5) It relieves the tension of the left hand from being constantly locked in 1st position (especially during the elementary study of the violin)
6) It enhances the musical expression and interpretation of musical passages
7) It makes the slide or portamento possible on the violin

Types of shifts
1) Same-finger shift (1-1, 2-2, 3-3, and 4-4 in an ascending and descending direction)
2) Two-finger shift, which can be subdivided into:
a) low-numbered to high-numbered finger ascending or vice versa descending (for example, 1-2, 1-3, 1-4, 2-3, 2-4, and 3-4 in an ascending direction)
b) high-numbered to low-numbered finger ascending or vice versa descending (for example, 2-1, 3-1, 4-1, 3-2, 4-2, 4-3 in an ascending direction)
3) Half shift (the thumb does not move from the original position while the hand and fingers extend to another position, and then come back to the original position)
4) Retarded or delayed shift (the fingers extend or contract to the new position, and then the hand and thumb follow the fingers)
5) Shift from an open string (the hand shifts during the sound of an open string)
6) Shift between two strings (the old and new positions are on two different strings)
7) Substitution shift (shift to the same pitch with different fingers on the same string or on two different strings)
8) The portamento (the audible slide which is used for its artistic effect)

The mechanics of shifting
1) The hand and fingers must slide smoothly
2) The hand, thumb, fingers, wrist, and forearm must remain relaxed and must move together as a single unit (in shifting among the lower positions)
3) The hand shape must be maintained during the shift
4) The thumb must pass under the neck of the violin when reaching the fifth position and higher to allow the hand and fingers to maintain their shape above the fingerboard
5) The speed of the shift must be controlled
6) The pressure of the shifting finger must be minimized on the string
7) The speed and the pressure of the bow must be minimized during the shift
8) The finger must remain in contact with the string during the shift
9) The hand should shift on the beginning finger in two-finger shifts (this rule is very general and exceptions exist)
10) The left elbow must be mobile during the shift (the elbow moves to the right in ascending shifts and to the left in descending shifts)
11) Violin hold, balance, posture, and the use of proper accessories are crucial to the execution of successful shifts
12) The role of the ear is paramount in shifting (the combination of aural, tactile, and visual clues help the violinist to execute successful shifts)

When to shift
1) Minimize the sound of the slide by shifting during a rest, after an open string, after a harmonic, during the same consecutive notes, during staccato notes, and after a dotted figure
2) Employ similar fingerings for similar passages (like in sequences)
3) Shift on strong or relatively strong beats (the concept of “rhythmic fingerings”)
4) Employ shifts that ensure the smallest shifting distance in order to affect a smooth and unnoticeable slide (like shifting with one finger on the half step)
5) Use contractions and extensions in shifting to accomplish smooth and secure shifts

Of course, some of this needs to be adapted for the violin. Devoid of frets, the violinist has a whole different baggage for determining finger placement and spatial reference. Most are taught to keep fingers down, if nothing else as a tactile guide to position. Holding the instrument vertical to the body rather than parallel like a mandolin requires a slightly difference way of handling the thumb, but in essence, there are far more similarities than departures.

An excellent (and free!) download is available on the www.ramikanaan.com website with some golden shifting exercises and etude to keep you busy for a while. This is well worth the time looking over!

Downloard the whole thing: A Handbook for Teaching Shifting to the Intermediate Level Violin Student

Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Definition

Posted by Ted at November 22, 2007 4:33 PM

Time stretching is the process of changing the speed or duration of an audio signal without affecting its pitch. Pitch scaling is the opposite: the process of changing the pitch without affecting the speed. Pitch shift is pitch scaling implemented in an effects unit and intended for live performance. Pitch control is a simpler process which affects pitch and speed simultaneously by slowing down or speeding up a recording.

These processes are often used to match the pitches and tempos of two pre-recorded clips for mixing when the clips cannot be reperformed or resampled. Time stretching is often used to adjust radio commercials^[1] and the audio of television advertisements^[2] to fit exactly into the 30 or 60 seconds available. It can be used to conform longer material to a designated time slot, such as a 1-hour broadcast.

Resampling[edit]

The simplest way to change the duration or pitch of a digital audio clip is through sample rate conversion. This is a mathematical operation that effectively rebuilds a continuous waveform from its samples and then samples that waveform again at a different rate. When the new samples are played at the original sampling frequency, the audio clip sounds faster or slower. Unfortunately, the frequencies in the sample are always scaled at the same rate as the speed, transposing its perceived pitch up or down in the process. In other words, slowing down the recording lowers the pitch, speeding it up raises the pitch. This is analogous to speeding up or slowing down an analogue recording, like a phonograph record or tape, creating the Chipmunk effect. Using this method the two effects cannot be separated. A drum track containing no pitched instruments can be moderately sample-rate converted for tempo without adverse effects, but a pitched track cannot.

Frequency domain[edit]

Phase vocoder[edit]

One way of stretching the length of a signal without affecting the pitch is to build a phase vocoder after Flanagan, Golden, and Portnoff.

Basic steps:

1. compute the instantaneous frequency/amplitude relationship of the signal using the STFT, which is the discrete Fourier transform of a short, overlapping and smoothly windowed block of samples;
2. apply some processing to the Fourier transform magnitudes and phases (like resampling the FFT blocks); and
3. perform an inverse STFT by taking the inverse Fourier transform on each chunk and adding the resulting waveform chunks, also called overlap and add (OLA).^[3]

The phase vocoder handles sinusoid components well, but early implementations introduced considerable smearing on transient ('beat') waveforms at all non-integer compression/expansion rates, which renders the results phasey and diffuse. Recent improvements allow better quality results at all compression/expansion ratios but a residual smearing effect still remains.

The phase vocoder technique can also be used to perform pitch shifting, chorusing, timbre manipulation, harmonizing, and other unusual modifications, all of which can be changed as a function of time.

Sinusoidal spectral modeling[edit]

Another method for time stretching relies on a spectral model of the signal. In this method, peaks are identified in frames using the STFT of the signal, and sinusoidal 'tracks' are created by connecting peaks in adjacent frames. The tracks are then re-synthesized at a new time scale. This method can yield good results on both polyphonic and percussive material, especially when the signal is separated into sub-bands. However, this method is more computationally demanding than other methods.^{[citation needed]}

Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Video

Time domain[edit]

SOLA[edit]

Rabiner and Schafer in 1978 put forth an alternate solution that works in the time domain: attempt to find the period (or equivalently the fundamental frequency) of a given section of the wave using some pitch detection algorithm (commonly the peak of the signal's autocorrelation, or sometimes cepstral processing), and crossfade one period into another.

This is called time-domain harmonic scaling^[5] or the synchronized overlap-add method (SOLA) and performs somewhat faster than the phase vocoder on slower machines but fails when the autocorrelation mis-estimates the period of a signal with complicated harmonics (such as orchestral pieces).

Adobe Audition (formerly Cool Edit Pro) seems to solve this by looking for the period closest to a center period that the user specifies, which should be an integer multiple of the tempo, and between 30 Hz and the lowest bass frequency.

This is much more limited in scope than the phase vocoder based processing, but can be made much less processor intensive, for real-time applications. It provides the most coherent results^{[citation needed]} for single-pitched sounds like voice or musically monophonic instrument recordings.

High-end commercial audio processing packages either combine the two techniques (for example by separating the signal into sinusoid and transient waveforms), or use other techniques based on the wavelet transform, or artificial neural network processing^{[citation needed]}, producing the highest-quality time stretching.

Frame-based approach[edit]

In order to preserve an audio signal's pitch when stretching or compressing its duration, many time-scale modification (TSM) procedures follow a frame-based approach.^[6]Given an original discrete-time audio signal, this strategy's first step is to split the signal into short analysis frames of fixed length.The analysis frames are spaced by a fixed number of samples, called the analysis hopsize${\displaystyle H_a\in \mathbb{N}}$.To achieve the actual time-scale modification, the analysis frames are then temporally relocatedto have a synthesis hopsize${\displaystyle H_s\in \mathbb{N}}$.This frame relocation results in a modification of the signal's duration by a stretching factor of${\displaystyle \alpha =H_s/H_a}$.However, simply superimposing the unmodified analysis frames typically results in undesired artifactssuch as phase discontinuities or amplitude fluctuations.To prevent these kinds of artifacts, the analysis frames are adapted to form synthesis frames, prior tothe reconstruction of the time-scale modified output signal.

The strategy of how to derive the synthesis frames from the analysis frames is a key difference amongdifferent TSM procedures.

Speed hearing and speed talking[edit]

For the specific case of speech, time stretching can be performed using PSOLA.

While one might expect speeding up to reduce comprehension,Herb Friedman says that 'Experiments have shown that the brain works most efficiently if the information rate through the ears—via speech—is the 'average' reading rate, which is about 200–300 wpm (words per minute), yet the average rate of speech is in the neighborhood of 100–150 wpm.'^[7]

Stringed 2 8 – Shift Pitch And Manipulate Tempo Music Examples

Speeding up audio is seen as the equivalent of speed reading.^[8][9]

Pitch scaling[edit]

These techniques can also be used to transpose an audio sample while holding speed or duration constant. This may be accomplished by time stretching and then resampling back to the original length. Alternatively, the frequency of the sinusoids in a sinusoidal model may be altered directly, and the signal reconstructed at the appropriate time scale.

Transposing can be called frequency scaling or pitch shifting, depending on perspective.

For example, one could move the pitch of every note up by a perfect fifth, keeping the tempo the same.One can view this transposition as 'pitch shifting', 'shifting' each note up 7 keys on a piano keyboard, or adding a fixed amount on the Mel scale, or adding a fixed amount in linear pitch space.One can view the same transposition as 'frequency scaling', 'scaling' (multiplying) the frequency of every note by 3/2.

Musical transposition preserves the ratios of the harmonic frequencies that determine the sound's timbre, unlike the frequency shift performed by amplitude modulation, which adds a fixed frequency offset to the frequency of every note. (In theory one could perform a literal pitch scaling in which the musical pitch space location is scaled [a higher note would be shifted at a greater interval in linear pitch space than a lower note], but that is highly unusual, and not musical^{[citation needed]}).

Time domain processing works much better here, as smearing is less noticeable, but scaling vocal samples distorts the formants into a sort of Alvin and the Chipmunks-like effect, which may be desirable or undesirable.A process that preserves the formants and character of a voice involves analyzing the signal with a channel vocoder or LPC vocoder plus any of several pitch detection algorithms and then resynthesizing it at a different fundamental frequency.

A detailed description of older analog recording techniques for pitch shifting can be found within the Alvin and the Chipmunks entry.

See also[edit]

others

• Dynamic tonality — the real-time changes of tuning and timbre for new chord progressions, musical temperament modulations, etc.

References[edit]

1. ^https://web.archive.org/web/20080527184101/http://www.tvtechnology.com/features/audio_notes/f_audionotes.shtml
2. ^http://www.atarimagazines.com/creative/v9n7/122_Variable_speech.php
3. ^Jont B. Allen (June 1977). 'Short Time Spectral Analysis, Synthesis, and Modification by Discrete Fourier Transform'. IEEE Transactions on Acoustics, Speech, and Signal Processing. ASSP-25 (3): 235–238.
4. ^McAulay, R. J.; Quatieri, T. F. (1988), 'Speech Processing Based on a Sinusoidal Model'(PDF), The Lincoln Laboratory Journal, 1 (2): 153–167, archived from the original(PDF) on 2012-05-21, retrieved 2014-09-07
5. ^David Malah (April 1979). 'Time-domain algorithms for harmonic bandwidth reduction and time scaling of speech signals'. IEEE Transactions on Acoustics, Speech, and Signal Processing. ASSP-27 (2): 121–133.
6. ^Jonathan Driedger and Meinard Müller (2016). 'A Review of Time-Scale Modification of Music Signals'. Applied Sciences. 6 (2): 57. doi:10.3390/app6020057.
7. ^Variable Speech, Creative Computing Vol. 9, No. 7 / July 1983 / p. 122
8. ^http://www.nevsblog.com/2006/06/23/listen-to-podcasts-in-half-the-time/
9. ^https://web.archive.org/web/20060902102443/http://cid.lib.byu.edu/?p=128

External links[edit]

• Time Stretching and Pitch Shifting Overview A comprehensive overview of current time and pitch modification techniques by Stephan Bernsee
• Stephan Bernsee's smbPitchShift C source code C source code for doing frequency domain pitch manipulation
• pitchshift.js from KievII A Javascript pitchshifter based on smbPitchShift code, from the open source KievII library
• The Phase Vocoder: A Tutorial - A good description of the phase vocoder
• How to build a pitch shifter Theory, equations, figures and performances of a real-time guitar pitch shifter running on a DSP chip
• ZTX Time Stretching Library Free and commercial versions of a popular 3rd party time stretching library for iOS, Linux, Windows and Mac OS X
• Elastique by zplane commercial cross-platform library, mainly used by DJ and DAW manufacturers
• Voice Synth from Qneo - specialized synthesizer for creative voice sculpting
• TSM toolbox Free MATLAB implementations of various Time-Scale Modification procedures
• Pitch Shifter Audio Tool Online pitch-shifting audio tool implemented by SoundTouch algorithm