Steinberg Nuendo 3 Operation Manual

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Quantizing without hitpoints
It is also possible to apply Quantize Audio without creating hitpoints 
first. Although this method is quicker, it is in most cases better to cal-
culate hitpoints using the normal method, as this gives you more con-
trol over where the warp tabs will end up. 
•If you apply Quantize Audio to a selected audio event after just having 
set the length or tempo, the whole event will be quantized. 
Hitpoints are detected automatically,...

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Freezing the realtime processing
You can “freeze” any realtime processing at any time. This can be done 
to serve two purposes; to conserve CPU power, and to optimize the 
sound quality of the processing. 
•Select the audio event(s) that you wish to process and select “Freeze 
Timestretch and Transpose” from the Audio menu - Realtime Process-
ing submenu.
You should also use this function before applying any offline processing. When the 
freeze processing is...

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3.Select an algorithm and click OK.
When the processing is finished, any loop that was previously stretched in realtime or 
had been pitch shifted will play back exactly the same, but Musical mode will be deac-
tivated 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 freeze 
processing is best used when you have determined the...

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19
Working with hitpoints and
slices 

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19 – 456 Working with hitpoints and slices
Background
Hitpoint detection is a special feature of the Sample Editor. It auto-
matically detects attack transients in an audio file, and then adds a 
type of marker, a “hitpoint”, at each transient. These hitpoints allow 
you to create “slices”, where each slice ideally represents each indi-
vidual sound or “beat” in a loop (drum or other rhythmic loops work 
best with this feature). When you have successfully sliced the audio 
file, you can do a...

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Calculating hitpoints and slicing a loop – a quick tutorial
Before proceeding, find a suitable loop using the criteria above. At 
this point it doesn’t matter whether you know the original tempo of the 
loop, as this will be automatically detected. Proceed as follows:
1.Open the event or clip for editing in the Sample Editor.
You could do this by double clicking an event on an audio track in the Project window 
or a clip in the Pool. In this example, we...

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6.Click Process.
The hitpoints are detected.
As you now can see, hitpoints have been set at the beginning of each 
sound in the loop (or at least at most of them).
7.If you now move the hitpoint sensitivity slider to the left, this gradually 
hides the hitpoints. Moving the slider to the right increases the sensitiv-
ity to reveal additional hitpoints detected during the calculate process.
The basic aim is to add, remove or in various other ways edit the...

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• The loop is automatically adapted to the project tempo.
The slices in the Audio Part Editor. Here, the project tempo was higher than the 
loop’s original tempo – this means the slice events will overlap slightly.
•If you opened the Sample Editor for a clip in the Pool, you will find that 
the icon for the clip changes in the Pool (to indicate that it is sliced).
Dragging the sliced clip from the Pool to an audio track will create an audio part with 
the...

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Editing hitpoints
In this section, we go back a bit and look at what can be done with hit-
points in the Sample Editor. There are two ways to invoke the hitpoint 
calculation:
• Select Calculate Hitpoints from the Hitpoints submenu on the Audio menu.
• Select the Hitpoint Edit tool from the toolbar or Quick menu.
The last method will calculate hitpoints if they haven’t already been calculated.
As outlined in the previous section, this makes the program...