2.0

phases, which maintains the impression of space for stereo signals. For drum loops or other "beaty"
material, this algorithm is only occasionally suitable because it can change the groove and - in rare cases -
doubles or erases beats. The cross-fade length parameter determines sample length to be added to this
algorithm. The optimal size depends on the basic frequency and/or the deepest frequency in the material.
If the duration of one period is larger than the length of the cross-fade, the wave shape can be distorted
and may develop greater artefacts.
For 44.1 kHz samples, approx. 900 samples works satisfactorily. This corresponds to a frequency of
approx. 50 cycles per second.
With heavily periodic material (e.g. instrument samples) it is recommended that you mark the duration
from in front of a sample and then use this area as your desired length.
Time Compression (shorter sample length) usually works better with this as timestretching. When
combining two samples, reduce the longer sample rather than the other way around.
Use recommended when:
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
working with complex material (Mix)
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the other algorithms fail
Load on the CPU: light
Smoothed
This is a substantially more complex algorithm which demands more computing time. The material can
now be processed even with very large factors (0.2... 50) without creating large artefacts. That’s
because the material is "smoothed", which creates a softer sound and changes phase position. This
smoothing is hardly audible in recordings of speech, singing or solo instruments. With more complex
spectra – mixed sounds from different instruments or fixed mixes – problems may arise. This algorithm is
not suitable for drum loops and other material with pronounced transience. The groove remains, but the
phase shift alters the ‘attacks’. In such cases, a small correction (factor approx. 0.9 - 1.1) often does the
trick.
Use recommended for:
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
orchestral instruments


speech recordings with background noise (e.g. video recordings)


Synth surfaces, guitars…
Use not suitable for:


Stereomix


Drum loops, percussion
Load on the CPU: very heavy
Beat marker-based slicing
This mode was primarily conceived for adjusting drum loops, but can also be used for other material
such as monophone bass lines or sequencer lines. The algorithm divides the material into individual
components – individual notes or beats marked by beat markers.
This "snippet". is then constructed in the new timeline: Individual beats are overlaid when the tempo is
increased. Small pauses appear between beats when the tempo is decreased.
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