 Hey, it's Anafa, and yes, I haven't washed my hair in a week. Still looking pretty decent. In this short video, I want to show you something pretty crazy that I figured out, and that is how to use a sampler plugin to achieve a time warping effect that we can control very precisely. What I initially wanted to do is something a bit like wavetable synthesis, but this turned out to be pretty cool, so let me show it to you. So here is an empty Ardor session, and first thing we need is an audio clip that we want to time warp. So maybe let's try and record some singing. I am recording random vocals so we can process them later. Woo! Okay, don't pay attention to the bad performance. This is not important. This is just a test clip. Okay, so now I'm going to export this. So we can drop it into the sampler plugin. So I'm going to call this, oh, we can just call this region. Let's change the name of it and call this sample 01. You can also normalize it once we're at it, because it's going to make it easier to process later. Okay, so we're going to export it to 24-bit FLAC because that's pretty good. And here it is. Now you see I've created a second track here, and this is Synth V1, actually I think this is called with a smaller letter, by Rui Nuno Capella, who is also the creator of Qtractor and a few other plugins like Pad V1 or Drum K V1. So this is one of the more sophisticated sampler plugins that we have, and it has some options that are pretty unique. That is, you can, oh wait, it's a Synth V1. I need a Sample V1. Okay, so here is Sample V1. Let me load the sound we've rendered. So I can right-click, open sample, and now we have this thing, and I can just drag it here or here. Actually, I can't drag it anywhere. Okay, I can just copy this path, let's do it right here, and now. Okay, we have the sample loaded. So, now what we can do, you see there is an option to enable offset, and we can just drag these handles. Now if I... So the thing is, we can automate this switch, so we can play each note starting from a different position. And we're going to make each note very short. First, I want to disable the LFO, disable the filter, we don't need these. I'm going to turn on the volume to maximum. Effects. And I want to turn down the release. Okay, the attack is very short. That's good. All right, now we want to automate this offset start. So, you know what? I'm going to make it stay on top. So we can just have it on in here at all times. Aha! There you go. Perfect. So now I'm going to... Actually, we don't need this track at all. I'm just going to hide it. So I'm going to go to Automation, Processor Automation, Sample View 1, and then we go to Gen 1, which is the Generator, Offset Start. And this is what we need to automate. Now, if I move this thing, you can see that the offset start moves and this is the same slider here. Now, of course, we need some MIDI notes, and I would like the note that would play this in its original pitch. And because we have C4 selected here, we need to play C4 to get the original pitch. So that's the note. So you see, if I do this, we get that funny, repeating voice trying to fit everything on one screen. Not that easy. Now, if I make this automated and change this to play... You see, this is the basis of the effect that we were after. We're playing different notes. If I cut this and make it longer... You can see that the offset... the offset updates only when we hit a new note. So we need to put the notes really densely if we want to have any decent resolution of this time warping. So I'm going to duplicate this range, this MIDI region. I'm going to consolidate the range and now compress it even more. So you see, we have very densely packed notes. And now we can play with the attack and release. Maybe if we make this... So basically now we're playing back the entire sample that was loaded over the period of these four bars because we just simply automate this offset from start to finish with a straight ramp. But this ramp doesn't have to be straight. We can just do something like that. Pause for a while. We skipped some part and then we pause the time. You can see this moves. We're not precisely pausing because these values are not identical. But if I do edit, Ctrl-C, now right-click here, edit, paste and we have the exact same value. Now we can do some other crazy stuff like go back. We might think now that's a bit too little time resolution. Let's consolidate these notes and time-stretch them again. Compress them four times so you have even denser notes. Now this sounds a little bit... This sounds a bit dense. Maybe we can just shorten the release because we can have these notes overlap. There is a certain polyphony here. I don't even know if it's limited by anything. Let me see effects. By the way, it has a built-in limiter which is on my default. I don't even know how it works. I don't know what's the polyphony of this sampler right now, but I think it plays everything we throw at it. Oh, we've hit a limit. We could hear that there was a limit of the played notes and we had some silence. So if we shorten this... Now, if we want to have something a bit simpler, maybe just time-warp this. Of course, this is not clean. Don't think that you can correct some vocals and get some clean time fixes. No, you should edit the vocals regularly if you want to. I'm thinking about achieving some weird effects that could be useful in creative processes. Why doesn't it select? Now, where does this start? The cool thing is that if we... Okay, here is the... I want to go forward and then go back. Okay, how about we stretch that... for a longer period of time? Let's... Now, I have auto-return. Let's press 5. No, 6 on the keyboard. Okay, it's just near the end. Just need to skip some more. Yes. Now, maybe the density of the notes is too much. We can also alter that depending on where this is used. We can just have these interleaved and you don't have to have... Yeah, maybe a lower note density is a bit better. Not to mention, we can use the mod wheel to pitch shift this stuff. Sorry, pitch bend. By default, I believe this is two semitones. If we go... There's going to be 10 semitones? I don't know. Let's go Automation Bender Channel 1. I believe now we can basically pitch shift this thing up and down. As we go. Oh, yes, but it would be preferable if we just consolidated this all Whoa, that's weird. Don't want that many points. Oh, wait. It's in a discrete mode. I don't want discrete mode. Online ear mode. Yes, thank you. So we see now... I am recording. So you see the fun is we are controlling the pitch of every single slice and every single slice is a single note we are playing right here. Independently. That means we're changing the pitch independently of the timing and we are controlling the timing with this offset Automation. So we have independent control over the timing and the pitch. So this is like a manual way to do crude pitch shifting and time stretching, time warping. Why time warping? Because we can do whatever we want with this Automation Curve and just go back and forth. It's not like scratching because scratching would combine the pitch and the timing and we are like decoupling that. And of course it's full of artifacts but sometimes you don't want something clean. Sometimes you want something interesting and you know, many great things in the music has happened because of flaws like, you know, guitar distortion. Yeah, so that's what I wanted to show you. Have fun with this Sample V1 time warping. Maybe you'll find a use for that. And if you have other ideas, share them in the comments. So yeah, that was a quickly made video. Thanks for watching. I hope you learned something. Also, big thanks to everyone who supports my work financially. I really appreciate that. And I was very surprised to see a lot of new patrons coming in during this time of self-isolation. That was surprising and I'm very grateful for your support. So if you would like to join these people and help keep this show going, please go to patreon.com.anfa or liberapay.com.anfa. Now go, grab Sample V1 and maybe make some music.