Steinberg Cubase 5 Operation Manual

							241
The Sample Editor
Moving the insert position of existing warp tabs
If you simply wish to change the insert position of a warp 
tab in the audio, click and drag the warp tab header in the 
ruler. However, this will change the warping.
Bypassing warp tabs
You can disable all warp modifications by activating the 
Disable Warp Changes button in the AudioWarp tab or by 
setting up and using the “Bypass Warping” key command 
in the Key Commands dialog, Sample Editor category (see 
“Key commands” on page 479). 
Deleting warp tabs
You can configure a tool modifier for deleting warp tabs in 
the Preferences dialog (Editing–Tool Modifiers–Audio-
Warp tool). To delete a warp tab, hold down the tool mod-
ifier so that the pointer becomes an eraser and click on 
the warp tab. 
Resetting warp modifications
To reset all warp changes, click the Reset button on the 
AudioWarp tab.
Creating warp tabs from hitpoints
You can also create warp tabs from hitpoints selecting 
“Create Warp Tabs from Hitpoints” on the Realtime Pro-
cessing submenu of the Audio menu.
For descriptions of how hitpoints are created and edited 
please see “Using hitpoints” on page 235.
Flattening the realtime processing
You can “flatten” the realtime processing at any time. This 
can be done to serve two purposes; to reduce the CPU 
load and to optimize the sound quality of the processing. 
The flatten function takes the following into account:
 Warp modifications (see “Free Warp” on page 238 and 
“Warping segments” on page 250), even when Bypass is ac-
tivated. After the flattening, your Warp tabs will be lost. How-
ever, you can undo this function as usual.
 VariAudio pitch modifications (see “Changing the pitch” on 
page 247), even when Bypass is activated. In this case, the 
Realtime algorithm (Solo preset) will be used. After the flatten-
ing, your VariAudio data will be lost. However, you can undo 
this operation.
 Event transpose (see “Transposing individual parts or events 
using the info line” on page 106).
Select the audio event(s) you wish to process and se-
lect “Flatten” from the Realtime Processing submenu of 
the Audio menu.
You should also use this function before applying any offline processing. 
When the flatten processing is applied, a copy of the original file is auto-
matically created in the Pool so that the original audio clip remains intact.
Selecting an algorithm for the flattening (Cubase only)
When you flatten the realtime processing, you can use the 
MPEX 4 algorithm to process the audio, which may pro-
duce better sound quality than the realtime processing. 
This is also the only way to achieve polyphonic formant 
conserving pitch shifting, apart from offline processing. 
!In the Pool, you can select an algorithm for several 
selected clips at a time.
!If you are working with VariAudio pitch shifting, the 
Realtime algorithm (Solo preset) will be used auto-
matically. 
						

							242
The Sample Editor
Proceed as follows:
1.Select the audio event(s) you wish to process.
2.Select “Flatten” from the Realtime Processing sub-
menu of the Audio menu or use the corresponding button 
in the Process tab.
If you did not perform any pitch modifications a dialog appears where you 
can select an algorithm for the processing. You can either select the MPEX 
4 algorithm, which will produce the highest sound quality, or the Realtime 
algorithm which is much quicker but will not improve the audio quality of 
the processing (although it will reduce the CPU load).
ÖThis dialog will not be opened when the time stretch-
ing factor is outside the range of 0.5 and 2 or when you in-
troduced VariAudio pitch modifications. In these cases the 
Realtime algorithm will be used.
The MPEX4 algorithm allows you to select one of seven 
different quality settings:
If the audio has been transposed, the dialog also con-
tains the option “Formant Correction”. Activate this if you 
want to e.g. avoid a “chipmunk voice” effect.3.Select an algorithm and click OK.
After the processing, any loop that was previously stretched in realtime 
or had been pitch shifted will play back exactly the same, but Musical 
mode will be deactivated and the realtime pitch shifting will be set to 0.
The audio clip is now like any standard audio clip before 
applying realtime processing, i.e. it will not follow tempo 
changes. The flattening processing function is best used 
when you have determined the tempo or key of a project, 
but you can of course always adapt the audio to a new key 
or tempo. In this case, it is better to revert back to the orig-
inal audio clip rather than to process the already pro-
cessed file again.
Unstretching audio files
By selecting “Unstretch Audio” from the Realtime Proces-
sing submenu of the Audio menu, all realtime time stretch-
ing (by sizing or by warp tabs) is removed.
ÖNote that realtime transpose (in the info line) and Mu-
sical mode will not be removed by this.
Whether the “Unstretch Audio” menu item is available de-
pends on whether the time stretching was applied at the 
event or clip level: 
If you sized an audio event in the Project window using 
“Sizing Applies Time Stretch” (see “Resizing events using 
time stretch” on page 47), you can undo the time stretch-
ing by selecting the event in the Project window and then 
applying “Unstretch Audio”.
This will remove all time stretching and warp tabs.
When you have entered a tempo and/or length in the 
toolbar, this information is saved for the source clip and all 
events that use it.
These changes will not be undone using “Unstretch Audio”.
Option Description
Preview This mode should only be used for preview.
Mix Fast This mode is a very fast mode for preview. This works best 
with composite music signals (mono or stereo material).
Solo Fast Use this mode for single instruments (monophonic mate-
rial) and voice.
Solo Musical Same as above but higher quality.
Poly Fast Use this for processing monophonic and polyphonic ma-
terial. This is the fastest setting that gives still very good 
results. You can use this for drum loops, mixes, chords.
Poly Musical Use this for processing monophonic and polyphonic ma-
terial. This is the recommended MPEX default quality set-
ting. You can use this for drum loops, mixes, chords.
Poly Complex This high quality setting is quite processor intense and 
should be used only when processing difficult material or 
for stretch factors above 1.3. 
						

							243
The Sample Editor
VariAudio (Cubase only)
ÖBefore you continue, make sure you read the tutorial in 
the Getting Started manual.
With the AudioWarp features, editing audio in the time 
domain has become significantly easier. However, editing 
pitch was limited to having just one single numeric “trans-
pose” value per event or part.
With cutting-edge technology Cubase finally turns the 
dreams of musicians and producers into reality: editing 
vocal lines in the Sample Editor has become just as seam-
less and quick as if editing MIDI notes in the renowned 
Key Editor. This is the new VariAudio feature that offers 
completely integrated vocal editing and pitch alteration of 
individual notes in monophonic vocal recordings and can 
solve intonation and timing problems with only a few 
mouse clicks. 
And how does it work? First, the vocal line is analyzed and 
split into segments shown as graphic representation of 
the notes sung. After the detection process is complete, 
the recognized notes can be modified entirely “non-de-
structive” so that any modifications to the audio material 
can be undone or reverted to the state of the original file.
VariAudio was developed and optimized specifically to be 
used with monophonic vocal recordings. Though the de-
tection and stretching of notes of other monophonic audio 
recordings, such as those of a saxophone, may work well, 
the quality of the end result depends greatly on the generic 
condition and structure of the recording’s texture. The fol-
lowing sections explain the exciting functionality of VariAu-
dio in which we only refer to monophonic vocal material.
VariAudio allows you to change your audio on the vertical 
axis (see “Changing the pitch” on page 247) and on the 
horizontal axis (see “Warping segments” on page 250).
ÖIf you load projects with VariAudio files in Cubase Stu-
dio, the original files will be played back and your VariAu-
dio modifications will be ignored. If you want to hear your 
modifications in Cubase Studio, you will have to bounce 
the audio files that have been edited with the Cubase 
VariAudio features. 
Understanding the waveform display in 
VariAudio
When you open monophonic vocal recordings in the Sam-
ple Editor and click the Segments or the Pitch & Warp 
mode on the VariAudio tab, your audio will be analyzed and 
segmented to display the tonal portions, i.e. the notes sung 
or played. This process is called segmentation. The seg-
mentation allows you to easily associate the audio with 
your lyrics and to introduce pitch and timing changes. 
In between the different segments you may find gaps where 
non-tonal portions have been detected:
In this example, at the beginning of the waveform, you can 
see a gap where no segment is shown. Such gaps can be 
caused by non-tonal portions of the audio, e.g. breath 
sounds.
ÖPlease note that the audio waveform displayed on the 
VariAudio tab is always shown as mono, even if you opened 
a stereo or multi-channel file.
Audio waveform
SegmentsGap 
						

							244
The Sample Editor
The vertical position of a segment indicates its average 
pitch. If Pitch & Warp mode is activated and you move the 
mouse pointer over a segment, a piano roll will be dis-
played, showing the found pitches.
Furthermore, if you move the mouse pointer over a seg-
ment and the zoom factor is high enough, the average 
pitch – note name and fine tuning in cent steps (100ths of 
a semitone) – is shown on top of the segment.
Note pitches represent the perceived fundamental fre-
quency of a sound. The note A4 is perceived to be of the 
same pitch as a sine wave of 440 Hz. The notation of 
pitches is a logarithmic frequency scale. The table below 
shows the relation between pitch (note name) and 
frequency in Hz:
The average pitch of a segment is calculated from its mi-
cro pitch curve. Micro-pitch curves represent the progres-
sion of the pitch for the tonal portion of the audio. The horizontal position of a segment indicates the time 
position and the length. 
You can navigate through the segments by using the left/
right arrow keys on your computer keyboard.
You can zoom in on the segments that you want to edit by 
holding down [Alt]/[Option] while drawing a selection rect-
angle. To zoom out, i.e. to move one step back in the zoom 
history, hold down [Alt]/[Option] and click in an empty area 
of the waveform. If you hold down [Alt]/[Option] and double 
click in an empty area, the display will be zoomed out to 
show all segments.
C4 C#4/
Db4D4 Eb4/
D#4E4 F4 F#4/
Gb4
261.63 277.18 293.66 311.13 329.63 349.23 369.99
G4 Ab4/
G#4A4 Bb4/
A#4B4 C5
392.00 415.30 440.00 466.16 493.88 523.25
…a piano roll 
is shown in 
the waveform.
If you move the 
mouse over a 
segment…
Note name Fine tuning in cents
This portion of the waveform cannot be represented as a 
micro-pitch curve.
Micro-pitch curves 
						

							245
The Sample Editor
Applying editing, offline processes and 
VariAudio
The following offline processes and edits that affect the 
length of the audio file, may lead to the re-analysis of the 
audio material:
Options on the Select Process menu in the Process tab 
of the Sample Editor Inspector or in the Process submenu 
on the Audio menu that can be applied to selections
Effect processing using the options on the Select Plug-
in menu in the Process tab of the Sample Editor Inspector 
or in the Plug-ins submenu on the Audio menu (see the 
chapter “Audio processing and functions” on page 204)
Cut, paste and delete (see “Editing selection ranges” 
on page 227) or drawing notes (see “Drawing in the Sam-
ple Editor” on page 230)
This in turn may render any already existing VariAudio data 
invalid, and such data may be discarded automatically.
If you apply editing that affects the audio itself (like reverse, 
cut, etc.) to a file containing VariAudio data, the following 
warning message will be displayed:
When you click Proceed, your edits will be applied, and 
you will loose your VariAudio data.
Click Cancel to return to your audio file without applying any changes.
If you apply offline processing to a file containing VariAudio 
data, the following warning message will be displayed:When you click Proceed, your edits will be applied, and 
you will loose your VariAudio data.
When you click Proceed and Keep, your edits will be 
applied. Any VariAudio data in the audio file will be kept.
Offline processes that may not affect existing VarioAudio data are Enve-
lope, Fade In/Out, Normalize or Silence. 
Click Cancel to return to your audio file without applying 
any changes.
When you activate the option “Do not display this warn-
ing again” in one of these warning dialogs before pro-
ceeding, Cubase will no longer display these messages, 
and always proceed with the option you last selected. 
You can reactivate these warning messages by activating the options “In-
hibit warning when changing the Sample Data” or “Inhibit warning when 
applying Offline Processes” option in the Preferences (VariAudio page).
Segments mode
If you activate Segments mode in the VariAudio tab, your 
audio file will be analyzed and split into separate seg-
ments.
When you want to change the pitch of audio that includes 
non-tonal portions, e.g. consonants or effect sounds like re-
verberation, you may have to edit the segmentation in order 
to include the non-tonal portions in the segments. Other-
wise, pitch modifications will only affect the tonal portions 
and not the non-tonal portions. 
!Therefore, you should always apply offline process-
ing or edits before using the VariAudio features.
!Please note that due to the data gained during this 
process the audio and thus the size of your project 
can increase. 
!Please note that the analysis of audio files longer 
than 3 minutes might take some time. A dialog with a 
progress bar is displayed while the audio file is ana-
lyzed. You can click the Abort button to abort the op-
eration. 
						

							246
The Sample Editor
Editing the segmentation includes changing the start and 
end position of a segment, cutting or gluing segments, and 
moving or deleting them. Just select the section of the file 
that you want to change, activate Segments mode, and edit 
the segmentation for the desired section. If you are not sat-
isfied with your changes, you can go back to the original 
segmentation (see “Reset” on page 252).
ÖIn Segments mode, the segments are shown with a 
hatched background. You can switch to “Pitch & Warp” 
mode (see “Pitch & Warp mode” on page 247) by press-
ing the [Tab] key.
The following paragraphs list the corrections that can be 
performed when Segments mode is activated.
Changing the note start or end point 
If you find that a note starts or ends too early or too late, 
e.g. when the reverb of a note or a consonant is not in-
cluded in the segment, proceed as follows:
1.Activate Segments mode on the VariAudio tab.
2.To change the length of a segment, move the mouse 
pointer over the start/end of the segment.
The mouse pointer becomes a double arrow.
3.Click and drag the segment start/end to the left or right. 
The segment length will be changed accordingly. As the average pitch 
(see above) is recalculated, the segment may jump upwards or down-
wards. Snap will not be taken into account. 
ÖNote that you can drag the segment start/end only un-
til it reaches the start/end of the next segment. Segments 
cannot overlap each other.
Cutting a segment
If you notice that a segment includes more than one note, 
proceed as follows:
1.Activate Segments mode on the VariAudio tab.
2.Move the mouse pointer over the lower border of the 
segment that you would like to cut.
The mouse pointer becomes a scissor.
3.Click at the desired position to cut the segment.
The segment will be cut accordingly and Snap is taken into account.
ÖNote that there is a minimum size for a segment. Very 
short segments cannot be cut.
Gluing a segment
If you notice that a single note is spread over two seg-
ments, proceed as follows:
1.Activate Segments mode in the VariAudio tab.
2.Hold down [Alt]/[Option] and move the mouse pointer 
over the segment that you want to glue to the next.
The mouse pointer becomes a glue tube. 
!Editing the segmentation always leads to a recalcu-
lation of the segment’s pitch. Therefore, it is recom-
mended that you edit segmentation before changing 
pitch.
!When the resulting segment pitch cannot be calcu-
lated because of an increase in non-tonal data, the 
segment will be deleted.
!When the resulting segment pitch cannot be calcu-
lated because of an increase in non-tonal data, the 
segment will be deleted.
!We recommend to correct the segmentation before 
pitching. If you glue together segments after changing 
the pitch (this includes manual pitch modifications, 
Pitch Quantize and Straighten Pitch), your modifica-
tions will be reset and the original pitch will be heard. 
						

							247
The Sample Editor
3.Click to glue the active segment to the next segment. 
If several segments are selected, they will all be glued together. Snap will 
not be taken into account.
Moving a segment horizontally
After cutting a segment, it may be necessary to move seg-
ments horizontally, e.g. if you notice that a note is at the 
wrong position. 
Proceed as follows:
1.Activate Segments mode on the VariAudio tab.
2.To move a segment, move the mouse pointer over the 
upper border of the segment.
The mouse pointer becomes a double arrow.
3.Click and drag the whole segment to the left or right.
The segment will be moved accordingly. If several segments are selected, 
they will be moved together. Snap will not be taken into account. 
ÖNote that you can only drag the segment start/end un-
til it reaches the start/end of the next segment. Segments 
cannot overlap each other.
Deleting segments
Sometimes it might be useful to delete segments. This is 
true for situations where you want the original audio to be 
played back, e.g. for non-tonal portions or consonants.
You can delete segments by selecting them and pressing 
[Backspace]. 
Saving the segmentation
The corrected segmentation is saved with the project, no 
additional saving is required. 
Pitch & Warp mode 
If you activate Pitch & Warp mode in the VariAudio tab, 
you can change the pitch and the timing of your audio.
You can edit the pitch and timing of audio segments for 
corrective purposes but also creatively by experimenting 
freely with note pitches in order to change the melody with 
or without preserving a natural sound, or by changing the 
timing of the audio (see “Pitch & Warp mode” on page 
247). 
ÖIn Pitch & Warp mode, the segments are shown with a 
plain background. You can toggle between “Pitch & Warp 
mode” and “Segments” mode by pressing the [Tab] key.
ÖThere are some restrictions concerning the highest 
and lowest possible note pitch. You cannot choose note 
pitches above C5 and below E0.
The following paragraphs list the modifications that can be 
performed when Pitch & Warp mode is activated.
Changing the pitch 
If you want to edit the pitch of a segment, proceed as 
follows:
1.Activate Pitch & Warp mode on the VariAudio tab.
2.Move the mouse pointer over the segment.
The mouse pointer becomes a hand symbol to indicate that you can 
change the pitch of the segment. If the zoom factor is high enough, a 
tooltip indicates the found note pitch and the deviation of the segment 
from this pitch in percent. 
!When the resulting segment pitch cannot be calcu-
lated because of an increase in non-tonal data, the 
segment will be deleted.
!When the resulting segment pitch cannot be calcu-
lated because of an increase in non-tonal data, the 
segment will be deleted.
!Before changing the pitch or timing of your seg-
ments, make sure that the segments you want to 
change are corrected (see “Applying editing, offline 
processes and VariAudio” on page 245).
!Before changing the pitch, you should have cor-
rected the segmentation. If you glue together seg-
ments after changing the pitch, your modifications 
will be reset and the original pitch will be heard. 
						

							248
The Sample Editor
You can set up the way in which a note will snap to a cer-
tain pitch in the Preferences dialog (Editing–Tool Modifi-
ers page):
 If you use “Absolute Pitch Snapping” (by default no modifier) 
the segment will be pitched to the next semitone.
 If you use “Relative Pitch Snapping” (by default [Ctrl]/[Com-
mand]) the segment snaps in relation to its current deviation in 
cents. That means that if the segment has a pitch of C3 and a 
deviation of 22% and you move it up by one semitone, it will 
be pitched to C#3 while keeping the deviation of 22%.
 If you use “No Pitch Snapping” (by default [Shift]) you can edit 
the pitch freely.
3.Drag the segment up or down to the desired pitch and 
release the mouse. However, be careful: The more the 
pitch deviates from the original pitch, the less likely it is 
that your audio will sound natural.
If the Solo algorithm is not turned on already, a warning appears inform-
ing you that Cubase has selected it automatically. (You can disable this 
warning message in the Preferences–VariAudio page.) The segment will 
be pitched accordingly. While dragging, the original micro-pitch curve of 
the segment is shown in orange. If several segments are selected, they 
will be pitched together. 
You can also use the up/down arrow keys on your com-
puter keyboard to edit the note pitches. 
Proceed as follows:
Use the up/down arrow keys to change the pitch in 
semitone steps.
Hold down [Shift] while using the up/down arrow keys 
to change the pitch in cent steps.
Pitch Quantize
You can also quantize the audio pitch upwards or down-
wards to iteratively reduce the deviation from the nearest 
semitone position. 
Proceed as follows:
1.Select the segments you want to quantize.
2.Move the Pitch Quantize slider to the right.
The selected segments are quantized iteratively. 
You can set up a key command for Pitch Quantize in the 
Sample Editor category of the Key Commands dialog (see 
“Key commands” on page 479). When using the key com-
mand, the segments will be directly quantized to the next 
semitone position.
Tilting the micro-pitch curve
Sometimes changing the pitch of the whole note segment 
is not enough. In these cases you will have to modify how 
the pitch changes inside the segment. This is indicated by 
the micro pitch curve (see “Understanding the waveform 
display in VariAudio” on page 243). 
Proceed as follows:
1.Activate Pitch & Warp mode on the VariAudio tab.
2.To change the micro-pitch of a segment, move the 
mouse pointer over the top left/right corner of the segment.
The mouse pointer becomes an up/down arrow. 
3.Drag upwards/downwards with the mouse to change 
the micro-pitch curve.
!If you pitch-shift audio events with the Transpose op-
tions (see “The Transpose functions” on page 103) 
the transposition will be added to the pitch modifica-
tions that you introduced in Pitch & Warp mode, 
even if this is not reflected in the segmentation dis-
play.
!The micro-pitch curve displays the progression of 
the pitch for the tonal portion of the segment. For 
non-tonal portions of the audio, micro-pitch curves 
cannot be shown. 
If the pitch falls at the end of the 
segment……activate Pitch & Warp mode, 
point at the top right corner and 
drag upwards. 
						

							249
The Sample Editor
If you want to change the pitch modulation only for the 
segment start or end, you can set an “anchor point” to 
specify which part of the pitch should be affected:
1.Move the mouse pointer over the top border of the 
segment.
The mouse pointer becomes an I-beam symbol.
2.Click at the position where you want to set an anchor.
A vertical line appears at the position where you clicked. A segment can 
only have one anchor.
3.Move the mouse pointer over the top left/right corner of 
the segment and drag upwards or downwards to tilt the 
micro-pitch curve.
The modulation curve will only be changed from the segment border to 
the anchor.
If you press [Alt]/[Option] while dragging up/down, the 
tilt anchor is used as an axis around which the micro-pitch 
curve can be rotated.
4.Repeat the steps above to set anchors and tilt the mi-
cro-pitch curve until you are satisfied with the result.If you want to remove a tilt anchor from a segment, hold 
down [Alt]/[Option], position the mouse cursor at the top 
border of the segment until it turns to a glue tube, and click.
The tilt anchor will be deleted.
Straighten Pitch
If you want to compensate for the rise and fall of notes, i.e. 
the deviation of the micro-pitch curve from the representa-
tive pitch, you can use the Straighten Pitch slider. This 
correction comes in handy when a note is played flat 
(pitch rises) or sharp (the pitch falls) at the end. Proceed 
as follows:
1.Select the segments whose pitch you want to 
straighten.
2.Move the Straighten Pitch slider to the right.
The pitch of the selected segments will be straightened. If no segment 
was selected, all pitches are straightened. 
MIDI Input
You can also change the pitch on the fly by selecting the 
segment you want to change and pressing a key on your 
MIDI keyboard or using the Virtual Keyboard (see “The Vir-
tual Keyboard” on page 65). 
Move the mouse over the top 
border and click to set an 
anchor……if you only want to compensate 
for the descending pitch at the end 
of the segment. 
If you set a tilt anchor…
…and press [Alt]/[Option], the mouse pointer becomes a diagonal 
arrow to indicate that you can rotate the micro pitch curve.
This micro-pitch looks a bit off. By moving the Straighten Pitch slider 
to the right…
…the micro-pitch curve is straightened.  
						

							250
The Sample Editor
Proceed as follows:
1.After having corrected the segmentation, select the 
segment for which you would like to change the pitch.
2.Activate Pitch & Warp mode and click the MIDI Input 
button.
3.Press a key on your MIDI keyboard or use the Virtual 
Keyboard to change the pitch of the segment.
The pitch of the segment changes according to the note you played. 
The MIDI Input function has two modes. You can switch 
between these by [Alt]/[Option]-clicking on the MIDI Input 
button:
In Still Mode you can select individual segments by click-
ing on them and change their pitch by pressing a MIDI key. 
You can also select several segments and press a MIDI key, 
to change the pitch of several segments simultaneously. 
The pitch of the first selected segment is changed to the 
pitch of the MIDI note you played. The pitches of the other 
selected segment are changed by the same amount.
In Step Mode you can step through the segments by 
selecting the first segment that you would like to change 
and pressing a MIDI key. The next segment will automati-
cally be selected afterwards. This allows you to work in a 
more creative way and to develop e.g. completely new 
melody lines via MIDI.
4.When you are done, deactivate the MIDI Input button.
ÖMIDI controller data like PitchBend or Modulation will 
be ignored.
Warping segments
Time correction, i.e. warping at segment level, is useful if 
you want to align a musical accent to a certain position, or 
change or quantize the timing of single segments in mono-
phonic vocal recordings. When warping audio segments, 
warp tabs will be created. These are shown on the VariAu-
dio and the AudioWarp tabs of the Sample Editor Inspec-
tor. (For information on warping complete audio files, see 
“Free Warp” on page 238.)
If you want to warp a segment, proceed as follows:
1.Activate Pitch & Warp mode on the VariAudio tab.
2.To change the timing of a segment, move the mouse 
pointer over the start/end of the segment.
The mouse pointer becomes a double arrow and the warp tabs are dis-
played in the ruler.
3.Drag the start/end of the segment to the desired posi-
tion. 
If the Snap button is activated, the segment border will snap to the grid. 
When you drag the segment border, warp tabs appear not only at the 
border but also at the adjacent segment borders to indicate which por-
tions of the audio are stretched/affected.
ÖWarping a segment will also change the timing of the 
adjacent segments. 
ÖTiming modifications introduced this way will not 
adapt to the project tempo. If this is what you want, you 
should use the Musical mode (see “AudioWarp: Tempo 
matching audio” on page 231). 
Still Mode is activated for MIDI Input. 
Step Mode is activated for MIDI Input. 
!Any correction of the segmentation must be applied 
before warping segments.