Having switched to Ardour from Steinberg Sequel 3 the one thing I miss is timeshiting/stretching at arbitrary points within an audio event. The élastique function made it so easy to correct small rhythmical inaccuracies. thx

In the editor window select “Range Mode” (keyboard shortcut “R”), select portion (“range”)of an audio event you want to stretch/shrink, right-click on the selection and choose “Separate”. You will get a new separated clip (“region”). Switch to “Strech Mode” (kbd shotrcut “T”) and click to the region you want to change. A dialogue window will appear in which you can select the exact percentage… or just drag some point within region with mouse. Exit “Strech Mode” to continue with your work (“G” or “Grab Mode”, probably…).

  1. Elastique uses a proprietary library that is not usable (directly) by an open source application. We do have a vague equivalent in the form of librubberband though its quality is not quite as good as Elastique.

  2. Ardour 6 will feature the kind of manipulation you are describing, but Ardour 5 does not.

What kind of elastic Audio will ardour implement, will it be based on open source or proprietary code

Since Ardour is GPL’ed we focus on open source options, which primarily means Rubberband (which we already use). It might be possible to make it an option to buy and use (e.g.) Elastique, but it isn’t something we’re likely to be focused on.

Oh ok so rubber band has elastic type features or are they going to be created for version 6

They have always been a part of Rubberband.

Just to confirm, ardour 6 will have warp markers for time stretching similar to elastic Audio??

What will and will not be in 6.0 is not decided at this point. This sort of capability will show up in some version of Ardour, at or later than 6.0.

Also has the feature to apply plugins directly to Audio regions or sections of Audio been considered as well for ardour 6

No plans for that at this time.

Is their a timeframe of when 6.0 will be released

Absoutely not. We do not offer timelines, predictions, or even goals for release dates. I strongly believe that this leads to poorer engineering quality than releasing when the program is actually ready.

oh ok
I agree

These are great news! I hope warp markers for ardour finally will come true in the 6.x release cycle! Then only comfortable (mono/vocal) pitch correction is missing :slight_smile:

I agree i cant wait to see what they release

I would like to stress that I personally am largely against this sort of functionality. I do appreciate that it can be used for creativity, but when it used to simply “correct” performances by mediocre performers, I can find no motivation to implement it.

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Warping can be used in sound design to create interesting effects or to correct lip sync when working with video. Sometimes the best audio take is not the same as the video take and you need to sqeeze end expand actors words a little to sync better with video.


I will second mhartzel on this one for the record, though I will admit I have both uses that I need on occasion (Though like you I would rather re-record till it is right if that is an option, similar to how I approach autotune)


Personally when I think of technologies such as time remapping - or melodyne style note extraction, I don’t first think “this will make bad musicians better”.

Rather I find it amazing regarding all the creative possibilities that can happen.

If a DAW user is using the software for composition - they could create phrase libraries out of the same legato phrase. (Change major to minor, or another mode and experiment)

I know this discussion is about speed changing - not auto tune, but the same issues of misuse can be extended to note extraction, which in itself is simply complete creative control.

Actually multitracking can also be misused (and abused) by bad musicians as they can re-record a phrase until they finally play it correctly 1 out of 1000 times. (Or edit correct notes into the phrase).

I can only comment on how I personally use varispeed (and note extraction technologies) and they are all for creative control - composition usage- SFX and other exciting usages.

For example it is brilliant to be able to change streatching mode while time-streatching legato material - to a mode designed for percussion, which creates a fantastic zipping sound. To do that dynamically- that is start with the normal phrase- and transition into it is really great for SFX, experimental music, etc.