Instead of paying for Christmas card stamps this year why not send a personalised copy of this lovely Pennypaws Christmas video to your loved ones – and help save more dogs this Christmas.
Every single penny raised goes to the dogs. Pennypaws is a UK Registered Charity (1200959) run entirely by volunteers.
How do we embed tempo and slice/transient/stretch markers into a rendered out audio file from Reaper. It is done in the Render Dialogue where there are several options: Note – when working in Reaper you cannot embed a Root Key, as it has no project key option. You can embed a key using Acid Pro.
Option 1: Render as WAV file only No other options selected – no embed tempo or stretch markers. When you bring this file back into Reaper it will load straight onto a track and will not try to conform to the project tempo. Looking at the info for this imported file you can see it has no tempo or slice information. However if you then subsequently change the project tempo, it will affect the play back speed of the loop if you have your timebase items set to Beats (position, length, rate) as opposed to Time in Project Settings. If you dont want this behaviour set it to Beats (position only)
No tempo or slice info
Option 2: Render as WAV with embedded tempo. Tick the ‘Embed Tempo’ option and render. When you import this file back into Reaper you will be given the option to let Reaper adjust your file to the project tempo or ignore it. (This import option displays according to your Preferences in Media/Import)
When you look at the info for this imported file you can see it now has a heading called: ACID with the BPM of 110.
Option 3: Render as WAV with stretch markers (seems to embed tempo whether selected or not)
To do this you need to add some stretch markers or transient guides to the item in Reaper. That’s a separate topic for another day. You can only render with stretch markers with the ‘Source’ set to ‘Selected Media Items’ selected in the Render dialogue window. Now when you import your file back into Reaper you will have more options in the Import Media Dialogue. First of all the dialogue is now called: ‘Slice Import” and there are 4 options:
And when we look at the info for the imported file, it now has slice information as well as BPM.
It’s worth knowing that whether you add transient guides or stretch markers to your item in media and then render – when you import that file back into Reaper and choose to import the file with transient markers, they will appear on the item as green transient guides not stretch markers. As soon as you touch or move one of them they will become stretch markers.
Question is, does having this embedded information help with how flexible you can be moving away from the original tempo and key. I used to find that loops made in Acid Pro and called Acidised loops could take more stretching before unacceptable artifacts crept into the sound, but maybe not so much these days. The main difference I can see is that Acidized Loops contain extra information: not just the tempo and number of slices but the number of beats and the root key. However with the time stretching algorithms in most DAWs, it’s quite easy to manipulate basic WAV files. I’m not sure whether to carry on Acidising the WAV versions of my loop collections or just offer WAVS with embedded tempo and maybe slices and Apple Loops. The important thing would be to always include the BPM and Root key in the file name.
YoPo Music has specialised in producing innovative royalty free documentary music for the BBC and broadcast productions since it started. In this post we take a look and listen to some of the most popular documentary music prodcued by YoPo Music. To preview and purchase any of the tracks on this page just go here and select “Documentary” in the category drop down list.
Orchestra version of Hubert Parry’s glorious nostalgic and rousing hymn “Jerusalem”. The words were written by William Blake, and the hymn has become popular as an English patriotic anthem.
Music for Classic Moments Royalty Free Classical Gold Vol 1 featuring Parry’s Jerusalem
And did those feet in ancient time, Walk upon Englands mountains green: And was the holy Lamb of God, On Englands pleasant pastures seen!
And did the Countenance Divine, Shine forth upon our clouded hills? And was Jerusalem builded here, Among these dark Satanic Mills?
Bring me my Bow of burning gold: Bring me my Arrows of desire: Bring me my Spear: O clouds unfold: Bring me my Chariot of fire!
I will not cease from Mental Fight, Nor shall my Sword sleep in my hand: Till we have built Jerusalem, In Englands green & pleasant Land.
The Spirit of Japan as featured on the BBC series “The Art of Japanese Life”. The tracks draw inspiration from traditional Japanese and East Asian Music.
There can be few pieces of classical music loved as much as Rachmaninov’s (Rachmaninoff) 2nd Piano Concerto.
Written around 1901 his Opus 18 concerto in C minor has become a worldwide popular classic. At the time it firmly established his reputation as a composer and pianist. (he was the soloist for the premier performance in 1901)
Sergei Rachmaninov (1873-1943) was a Russian pianist, conductor and composer
Royalty Free Non-MCPS Recording of Rachmaninov’s 2nd piano concerto
YoPo Music has recorded an extract of the beautiful slow movement. The track is now available to purchase and use in your productions. See below to preview the music and purchase your copy.
Use of Rachmaninov Piano Concerto in Films
Perhaps most famously, the piano concerto provided the score for David Leen’s 1945 film Brief Encounter, but it also can be heard in many other films including:
Frank Borzage’s 1946 film I’ve Always Loved You
William Dieterle’s 1950 film September Affair
Rhapsody (1954), directed by Charles Vidor
Billy Wilder’s 1955 film The Seven Year Itch
Clint Eastwood’s 2010 film Hereafter
Climactic end section of the second movement
Why has the piece remained so popular?
The concerto is a masterpiece of beautiful melodies and harmonic progressions continually pulling at your heart strings. There is an overwhelmingly sentimental feel to it – an almost depressed sad quality inherent in its c minor key. However there is also beauty and hope all through this work, a determination love will prevail no matter what. Perhaps it is this quality which has made the piece such a perfect fit for the many films it has appeared on.
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