Downbeat Download _BEST_
Thi Santacruce
.mw-parser-output span.smallcapsfont-variant:small-caps.mw-parser-output span.smallcaps-smallerfont-size:85%DownBeat (styled in all caps) is an American music magazine devoted to "jazz, blues and beyond", the last word indicating its expansion beyond the jazz realm which it covered exclusively in previous years. The publication was established in 1934 in Chicago, Illinois. It is named after the "downbeat" in music, also called "beat one", or the first beat of a musical measure.
A most curious thing. Implementing your 6/4 back to 4/4 idea does indeed move the metronome's differential polyphonic downbeat to where it should be after the flourish that changed it. It does NOT, however, change the downbeat as shown in the Smart Tempo editor, which is where I altered the downbeat in the first place. The two appear to be divorced one from the other WRT downbeat emphasis.
Arrange shows 6/4 at playhead. Smart Tempo shows 4/4 at playhead. Arrange is correct; Smart Tempo is not. After 4/4 is reinstated audible downbeat is correct, but it does not occur on the downbeat shown in Smart Tempo.
Evidently I can change time signatures within an audio file, such changes can alter the song's downbeat, and therefore the metronome's downbeat click. Those changes are not reflected in the Smart Tempo display, however. I understand that Smart Tempo is a specialized capability, and I'm grateful it's part of Logic. The reasoning behind how Logic implements things, however, has occasionally eluded me, as in this case.
Changing time signatures in Smart Tempo does display corrected downbeats judging by their visual placement in the Smart Tempo window. However, such changes do not alter the downbeat in the metronome click, which remains audibly two-beats away from where it ought to be after the lone 6/4 section is past. If I only change things in the Smart Tempo window and can't introduce changes to the metronome click from there, then things will never be in sync with the song's downbeats. To make them coincident I also have to make the same changes in the audio file in the Tracks area. If that's what I need to do, OK. Nonetheless, it seems illogical that changes made in one place do not produce observable effects elsewhere. After all, both the Tracks and Smart Tempo windows are working with the same audio file.
Maybe in your present situation, but it's not always that simple. The Smart Tempo editor has to accommodate for audio files that may be used in multiple places in your project. Or when you're using only a portion of an audio file in your project. Or perhaps you're using a small portion in one place and another portion in another section of your project. Or perhaps your project uses multiple audio files on different tracks and those audio files don't all have the same downbeat/tempo/signature data embedded.
What irks me is how instantly complex things become whenever AI is involved. A garage band playing this song might not even notice the unconventional change in the middle. For all practical purposes they'd adapt to it unconsciously, as I'm confident the original band did. Trying to bring the song into a DAW, however, requires some gymnastics, and until they're done to the AI's satisfaction, it ain't happening. All I wanted to do was move downbeat emphasis two-beats after a certain point in a song, and look at what it took to get that done. Just another example of fundamental analog-digital incongruity, like human musicians having to follow a click-track; it just isn't natural.
Background: Several drugs that primarily act on gamma-aminobutyrate or muscarinic receptors have been used to treat downbeat nystagmus (DBN) syndrome despite their having only moderate success and causing several side effects that limit their effectiveness. These drugs were tested under the assumption that DBN was caused by a disinhibition of a physiologic inhibitory cerebellar input on vestibular nuclei.
i think there is no need for an option it just works in the background as an enhanced analyzing tool and tries to detect the first mesure of four beats, if you count 1-2-3-4 over a song and 1 is the most pronounced beat it is the downbeat. It will not always work of course, thats why preparation is key.
You can't! And if you prepare a song i would always check within the song, sone intros can fool you, and if the song really starts the downbeat is different to what you've expected from the start of the song. Not very often but it happens - at least to me
For the 80s or 70s or any live drummer type music, or music without a definite repeated and quantized pattern. Any music without a stable bpm throughout. Traktor is probably going to get the downbeat and possibly the Bpm wrong.
Analyzing short musical extracts in six recorded solos of different jazz musicians Friberg and Sundström observed that such downbeat delays did show up in a majority (not all) of their extracts16. As the variation in their measurements was quite large and some musicians did not make use of such delays, they called for a substantially larger data set to confirm these anecdotal observations16. We therefore also analyze a large set (456) of full solo performances using the Weimar Jazz Database29 and determine the average downbeat delays. We find downbeat delays of jazz soloists as a general trend and we find that their magnitude decreases with tempo.
We begin by an in-depth analysis of onset timing in a large set of jazz recordings. As outlined above, our main goal is to prove that there is a positive effect of downbeat delays on swing, but we first want to clarify the question, whether or not and to which extent soloists tend to delay their downbeats with respect to the rhythm section. We evaluated data from the Weimar Jazz Database29, which contains accurately labeled transcriptions of 456 jazz solos of various artists, and gives access to several quantities like note positions or rhythmic value. We want to stress that our general analysis, which does not consider individual differences and different playing styles, can only have a limited accuracy with a large scatter of data. Nevertheless, it is able to reveal general trends, which is the goal of this section.
For each given piece in the database29, we isolated every downbeat-offbeat pair of the solo to compute the average downbeat delay and swing ratio (averaged over each solo) as a function of tempo using the downbeats of the drums as a reference. The results presented in Fig. 1 show the existence of non-zero downbeat delays in most cases (with the exception of a few negative and a few very small delays). The data show some variation, probably reflecting individual preferences, but there is a clear trend for decreasing delays with increasing tempo (Fig. 1a). The trend becomes nearly linear, if the downbeat delays are measured in ticks (Fig. 1b). Ticks represent fractions of quarter notes (which are subdivided into 960 ticks) and are not an absolute measurement of time (see Eq. (1)). The figure demonstrates that many soloists are using systematic MTD, i.e., positive downbeat delays, which typically are of the order of 30 ms or 85 ticks for intermediate tempi of about 150 bpm. (This value in ticks corresponds to delays of about 9% of a quarter note). While this is true for a majority of jazz soloists, it should be mentioned that a few soloists use only small or no downbeat delays at all.
The above empirical observations indicate that a large fraction of jazz musicians play jazz solos with downbeats slightly delayed with respect to the rhythm section. Nevertheless, the question remains, whether these delays are an essential component of swing, as not all jazz musicians use them. To address this question, we adopted an operational definition of swing, that is, the performance of a piece swings if it is judged as swinging by expert listeners. Professional and semi-professional jazz musicians can be considered expert listeners, as they are trained and experienced in creating and evaluating the swing of a performance. For the study, we used an experimental approach, which we developed for a previous microtiming study on swing24. Manipulating the onset timing in MIDI recordings of piano jazz performances and letting expert jazz musicians rate the swing of different manipulations gives us the possibility to clarify whether different ways of microtiming have a positive effect on swing. In that previous study, we investigated the impact of random MTDs by amplifying them, deleting them, and inverting them. We showed that random MTDs, which are present in every human musical performance, did not enhance swing, which entails that these MTDs can be detrimental to swing. In the present work, we now focus on studying the effect of systematic MTDs.
Moreover, the analysis presented in the preceding section did not show whether soloists are also delaying their offbeats. The Weimar Jazz Database only reports downbeats of drums as a reference, but does not give access to their offbeats, which precludes determining the offbeat MTDs of soloists with respect to the drums. With our experimental approach, however, we are able to clarify the role of offbeat timing by studying how different versions with and without offbeat delays affect swing.
The research presented in this article aimed at identifying systematic MTDs in recorded jazz solos and clarifying their possible role for swing in jazz. Our observational study analyzing more than 400 recordings showed that downbeat delays, although piece and player dependent, are used by many jazz soloists and follow a clear tempo-dependent trend with increasing delays for decreasing tempo.
To find out whether these downbeat delays are relevant for swing, we conducted an experimental study. In lack of a generally accepted definition of swing, we used an operational definition of swing (a performance swings if it is judged as swinging by expert listeners). This approach required introducing a number of simplifications. In particular, we used a quantized original version as a well-defined starting point for manipulating the recordings. Another simplification was to consider a solo instrument, a piano, playing on top of a quantized rhythm section. Moreover, we focused on pieces with many downbeat-offbeat pairs, which are prominent in jazz music, in order to study the role of their microtiming. As soloists sometimes vary their playing style within a piece or even within a solo, it was necessary and worthwhile to make such simplifications, in order to reveal general trends.
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