ABSTRACT
THESEFORMANTSBECAUSETHEYWOULDBEPRESENTANDATAFAIRLYCONSISTENTLEVEL THROUGHOUT EACH SUCCESSIVE NOTE )F THE ANALYSIS SOFTWARE COULD DETECT THIS IT COULD THENEXTRACT THESE FROMTHEORIGINALlLE CREATEPARTIALS TOMODEL THESE ANDTHENPASSONTHERESULTINGlLETOTHElNALSTAGEOFANALYSIS"UTIFWEDONT HAVEANUMBEROFDIFFERENTNOTESTOANALYZETHENTHESOFTWAREHASNOTHINGTO USEASAPOINTOFREFERENCETOESTABLISHTHEFORMANTSFROM
'ETTINGBACKTOTIME STRETCHINGUSINGANADDITIVESYNTHESISMODELTHEPROCESS ISOFTENREFERREDTOASresynthesisANDIFYOUHAVEANADDITIVESYNTHESIZERAVAIL ABLETOYOUEITHERHARDWARESUCHASTHE+AWAI+ORSOFTWARESUCHASTHE #AMEL!UDIO#! )CERTAINLYRECOMMENDYOUGIVEITATRY4HERESULTSCAN BEUNPREDICTABLEATTIMESBUTDEPENDINGONTHEAMOUNTOFSTRETCHINGREQUIRED AND THE AMOUNT OF ADDITIONAL EFFECTS YOU WILL BE APPLYING TO THE RESULTING TIME STRETCHEDlLES ITMIGHTBEPERFECTLY SUFlCIENT FOR YOURNEEDS )FNOTHING ELSEITALLOWSYOUTOSTRETCHlLESBYAMUCHHIGHERRATIOTHANANYOTHERFORMOF TIME STRETCHINGANDSTILLHAVETHEMRESEMBLINGTHEORIGINALlLESALBEITWITHA SYNTHETICOVERTONETOTHEM
$ESPITEALLOFTHISTHEORYANDDIFFERENTMETHODSOFTIME STRETCHING)VEDESCRIBED WEDONT REALLYNEEDTOWORRY TOOMUCHBECAUSE THEREARESOMEGREATSOFTWARE THAT DO THE JOB FOR US QUICKLY AND EFFECTIVELY WITH VERY LITTLE INPUT OR EFFORT REQUIRED FROM THEUSER ,OGIC INCLUDES ANUMBEROFDIFFERENT TIME STRETCHING ALGORITHMSFORDIFFERENTPURPOSES3OMEOFTHENAMESOFTHEALGORITHMSAREFAIRLY DESCRIPTIVEWHILEOTHERSSEEMMOREGENERAL)TSWORTHTRYINGTHEALGORITHMSFOR YOURSELF ON A NUMBER OF DIFFERENT SOURCES SOLO INSTRUMENTS OF DIFFERENT PITCH RANGESDRUMANDPERCUSSIONLOOPSVOCALSANDEVENWHOLETRACKS TOGETAFEEL FORWHICHMIGHTBETHEBESTTOCHOOSEINANYGIVENSITUATION
)NADDITIONTOTHEBASIChSTATICvTIME STRETCHWHEREYOUINPUTASOURCETEMPO INPUT A DESIRED TEMPO AND THE lLE IS STRETCHED ACCORDINGLY ,OGIC ALSO INCLUDES A FEATURE CALLED &LEX 4IME WHICH ALLOWS A DEGREE OF mUIDITY TO THE TIME STRETCHINGPROCESS&ILESAREANALYZEDINITIALLYANDANINTERNALMAPOFTHE lLEISCREATEDBUTRATHERTHANJUSTUSETHATINASTATICWAYTHE&LEX4IMEALGO RITHMALLOWSYOUTOADJUST THESTRETCHAMOUNT INREAL TIME4HISCANBEDONE BYALTERINGTHETEMPOOFTHETRACKYOUAREWORKINGONANDHAVINGTHETEMPOOF THEAUDIOlLESTHATHAVEBEENANALYZEDAUTOMATICALLYADAPTTOTHENEWTEMPO BYAUTOMATICALLYADJUSTINGTHETIME STRETCHAMOUNT!LTERNATIVELYITALLOWSYOU TOALTERTHETIMINGWITHINASINGLEAUDIOlLEBYMOVINGINDIVIDUALSECTIONSOF THElLEAROUNDINTIMEANDHAVINGTHEPRECEDINGORFOLLOWINGSECTIONSOFTHE lLE AUTOMATICALLY STRETCH OR COMPRESS ACCORDINGLY 4HIS ALLOWS YOU TO EASILY QUANTIZEAUDIOlLESANDNOTLEAVEANYGAPSORHAVEANYSECTIONSOVERLAPPING ASYOUMIGHTHAVE IF YOUMANUALLY SLICEDANAUDIOlLEANDMOVEDANY INDI VIDUALREGIONSAROUND
-OST OF THE KEY PLAYERS IN THE $!7 lELD TODAY HAVE SIMILARLY CLEVER TIME STRETCHINGFACILITIES)N0RO4OOLSTHEREISAWHOLEFEATURESETSIMILARTO,OGICS &LEX4IMECALLED%LASTIC!UDIOWHICHALLOWSYOUTODOSIMILARLYCLEVERTHINGS WITHAUDIOlLES!BLETONS,IVEISACTUALLYFOUNDEDONTHEPRINCIPLEOFHAVING
AUDIOlLESTHATAREASEASILYMANIPULATEDASCONVENTIONAL-)$)DATAINTERMS OFTIMINGGROOVEANDDURATION4HEAIMOFALLOFTHESEDIFFERENTIMPLEMENTA TIONSISTOTURNWHATHAVETRADITIONALLYBEENVERYSTATICAUDIOlLESINTOSOME THINGTHATCANBEMOLDEDANDMANIPULATEDVERYEASILYANDUSEDINEVENMORE CREATIVEWAYS
%ACHOFTHEMAIN$!7SOFTWAREPACKAGESWILLHAVEITSFANSANDITSHATERSAND THE SAME IS TRUE OF THE TIME STRETCHING ALGORITHMS WITHIN EACH OF THEMAJOR PACKAGES3OMEWILLSWEARTHAT0RO4OOLS%LASTIC!UDIOISTHEBESTOTHERSWILL ARGUE THAT THE ,OGIC &LEX 4IME IS THE BEST AND SO ON )NMY OPINION THERE SIMPLY ISNTONEüber-algorithm THATS ALL THINGS TOALLPEOPLE AT LEASTNOT YET 3OMEAREMORESUITEDTOREAL TIMEMANIPULATIONWHILEOTHERSAREMORESUITED TO STATIC TIME STRETCHING 3OME AREBETTER SUITED TO SUSTAINEDPAD LIKE SOUNDS ANDVOCALSWHILEOTHERSWORKBETTERONRHYTHMICMATERIAL!NDEVENTHENJUST CHANGING THE SOUNDORPART YOUARE TIME STRETCHING CANVARY THE RESULTS/NE ALGORITHMYOUMIGHTNOTHAVE LIKEDMIGHT FOR SOMEREASON JUSTWORKBETTER WITHAPARTICULARSOUND
PRACTICAL TIME-STRETCHING )WANT TO RAISEA FEWMOREGENERALPOINTSABOUT TIME STRETCHINGNOW THATWE HAVE DISCUSSED THE TECHNICAL BACKGROUND AND IMPLEMENTATIONS OF IT/NE OF THEPROBLEMSTHATCANCOMEUPWHENYOUARETRYINGTOTIME STRETCHlLESISACTU ALLYlGURINGOUTTHEORIGINALTEMPO)NANIDEALWORLDYOUWOULDRECEIVESOME KINDOFINFORMATIONABOUTTHETEMPOOFTHEORIGINALlLESBUTTHISISNTALWAYS THECASE)NAVASTMAJORITYOFINSTANCESWHEN)MASKEDTODOAREMIX)AMSENT A COPYOF THE ORIGINAL TRACK TO LISTEN TO PRIOR TO ACCEPTING THE JOB 4HERE ARE SEVERALDIFFERENTOPTIONS TOlGUREOUT THE TEMPOOF THEORIGINAL VERSION 4HE MANUALWAYIS TO LOADTHETRACKINTOYOUR$!7LINEUPTHESTARTOF THETRACK WITHTHElRSTBEATOFABARANDTHENSIMPLYADJUSTTHETEMPOUNTILYOUlNDTHE ONETHATlTS4HISCANBEABITHIT AND MISSTOSTARTWITHBUTYOUWILLGETMUCH BETTERATESTIMATINGTHETEMPOOFATRACKJUSTBYEAR5NTILTHATTIMEAGOODWAY OFGOINGABOUT IT IS TOHAVEAGUESSAT THE TEMPOAND IF IT ISSLOWER THANTHE CORRECTTEMPOCHOOSEADIFFERENTONETHATISAGOODAMOUNTFASTER)FTHISSEC ONDGUESSISFASTERTHANTHECORRECTTEMPOTHENYOUHAVETWOGOALPOSTSYOUCAN WORKINFROM)lNDTHISTOBEGENERALLYQUICKERTHANJUSTGUESSINGRANDOMLYOR MAKINGONEGUESSANDTHENINCREASINGBYONEBEATPERMINUTEEACHTIME
)FFORANYREASONYOUDONTRECEIVEEITHERACOPYOFTHEORIGINALTRACKORAWRIT TENINDICATIONOFTHEORIGINALTEMPOTHENBYFARYOUREASIESTOPTIONISTOJUST ASKSOMEONE)FTIMEORSOMEOTHERREASONPREVENTSYOUFROMDOINGTHATYOU HAVETOlGUREITOUTSOMEHOW4HElRSTTHINGTODOISTAKEALOOKATWHATYOU HAVEACTUALLYBEENSENTFORTHEREMIX3OMETIMESYOUWILLRECEIVEMANYREMIX PARTS WHICH WILL HOPEFULLY INCLUDE SOME KIND OF DRUM TRACK A KICK DRUM SNAREDRUMHI HATOR SOMETHING SIMILARWHICHHASA REGULAR RHYTHM %VEN THOUGHYOUMAYNOTBEINTERESTEDINUSINGTHEDRUMSFROMTHEORIGINALTRACKIN YOURREMIXYOUCANUSETHEMTOWORKOUTTHEORIGINALTEMPO
9OUMAY JUST RECEIVE AN A CAPPELLAWHICHON ITSOWN COULD GIVE YOUA FEW PROBLEMS WORKING OUT THE ORIGINAL TEMPO 4HE BIGGEST PROBLEM WITH JUST RECEIVINGANACAPPELLAWITHNOORIGINALSONGANDNOORIGINALTEMPOANDTHE TRACKISNTALREADYAVAILABLEON9OU4UBEORSOMEOTHERSIMILARSITE ISTHATYOU REALLYHAVENOCLEARIDEAOFWHERETHEDOWNBEATOFTHEVOCALIS%VENINSITUA TIONSLIKETHISHOWEVERTHECHORUSOFTHESONGWILLMOSTLIKELYHAVESOMEKIND OFREPETITIVEHOOKWHICHYOUCANUSETOESTABLISHADElNITENUMBEROFBARSOR A RHYTHMICPATTERNWHICHCAN THENBEUSED TOWORKOUT THE TEMPO )TSALLA LITTLEBITAROUNDTHEHOUSESBUTYOUDOGETMOREADEPTATlGURINGTHESETHINGS OUTMOREQUICKLYASTIMEGOESON4HISLASTSITUATION)DESCRIBEDCOMESUPVERY RARELYSOFORTHEMOSTPARTTHINGSSHOULDBEALITTLEEASIERTHANTHIS
/NCEYOUHAVE THEORIGINAL TEMPOYOUCAN THENSTART TO THINKABOUTACTUALLY TIME STRETCHING THE VOCAL -OST OF THE TIME YOU WONT HAVE TO WORRY ABOUT WHETHERTOSPEEDTHEVOCALUPORSLOWITDOWNBECAUSEITWONTBETOOFARFROM YOUR TARGET TEMPO )F YOUWANTED TOWORK AT BPMAND YOUR TRACKWAS AT BPMTHENOBVIOUSLYYOUWILLSPEEDITUP)FYOURTARGETWASBPMAND YOURTRACKWASATBPMTHENYOUWOULDPROBABLYTREAT IT LIKEAHALF TEMPO VOCAL AND SLOW ITDOWN TOBPM TOMAKE ITHALF TEMPO -ORE RARELY YOU MIGHTHAVEATARGETTEMPOOFBPMPERHAPSYOUAREDOINGACHILLOUTREMIX ANDYOURTRACKISATBPMSOYOUASSUMEADOUBLE TEMPOANDSPEEDITUP TO BPM 3OMETIMES HOWEVER YOU WILL BE FACED WITH A SITUATION WHERE YOURORIGINALTRACKTEMPOISMIDWAYBETWEENYOURTARGETTEMPOANDEITHERTHE HALF ORDOUBLE TEMPOFEELINWHICHCASEYOUNEEDTOMAKEADECISIONABOUT WHAT TODO%ITHERWAYYOUCOULD FACEPOTENTIALPROBLEMSAND THERE REALLY IS NOEASYSOLUTION9OUCOULDBEFACINGAPOTENTIALTIME STRETCHOFINEITHER DIRECTIONANDTHATWILLalwaysATLEASTWITHCURRENTTECHNOLOGYINTRODUCEMANY ARTIFACTSFROMTHESTRETCHINGPROCESS9OULLALSOHAVETODEALWITHPHRASINGAND PERFORMANCE PROBLEMS FROM THE TEMPO CHANGED VOCAL INCLUDING TOO FAST OR TOOSLOWVIBRATOTOOMANYNOTESINASHORTPERIODOFTIMEANDPITCH BENDING OFNOTESWHICHSOUNDWAYTOOSLURRED
)NFACTTIME STRETCHINGVOCALSISSUCHAPOTENTIALMINElELDTHAT)HAVEDEVOTED ANENTIRECHAPTERTOIT#HAPTER WHICHDEALSWITHDIFFERENTWAYSINWHICH YOUCANGETAROUNDCERTAINPROBLEMSCREATEDBYLARGERATIOTIME STRETCHINGAND ALSO HIGHLIGHTS SOME OF THE THINGS THAT SADLY YOU CANT DO ANYTHING ABOUT 4HERE HAVE BEEN HUGE IMPROVEMENTS IN TIME STRETCHING TECHNOLOGY IN RECENT YEARSWHICHHAVEMADETHEACTUALAUDIOARTIFACTSLESSANDLESSOFANISSUE"UT THEREWILLALWAYSBEANISSUEOFTHEBASICPHYSICSOFSPEEDINGSOMETHINGUPSO )HAVEALSOMENTIONEDMYIDEASFORFUTURETECHNOLOGYWHICHMIGHTSOLVESOME OFTHEPROBLEMSTHATSTILLEXISTTODAY
4HEVOCALSALWAYSHAVETOBETHEREFRONTANDCENTERANDPROBABLYNOTSMOTH EREDINEFFECTSWHICHISWHYYOUHAVETOBESOMUCHMORECAREFULWITHYOUR TIME STRETCHING7HEN IT COMES TO OTHERMUSICAL PARTS OR INSTRUMENTS THERE ARE STILL ISSUES TO FACEWHENDEALINGWITHHIGH RATIO TIME STRETCHINGBUT AS A REMIXERATLEASTTHESETENDTOBELESSIMPORTANTBECAUSEYOUCANIFYOUNEED
TO BURY THE SOUNDBACK IN THEMIX OR PERHAPS NOT USE IT AT ALL 4HE BIGGEST ACTUAL SONIC ISSUEWITHALL INSTRUMENTSANDSOUNDS ISAPSEUDOMETALLIChRING INGvOVERTONE TOSOUNDS THATHAVEBEENSTRETCHEDA LOT )TDOESNT SEEMTOBE QUITESONOTICEABLEWHENSOUNDSHAVEBEENSPEDUPBYASIMILARAMOUNTBUT ITISSTILLPRESENT9OUCANTOSOMEEXTENTCOVERTHISWITHEFFECTSORPERHAPSA COMBINATIONOFVERYCLEVER%1USEANDlLTERINGBUTDEPENDINGONTHEACTUAL SOUNDITCANRENDERTHESTRETCHEDSOUNDUNUSABLE
)NTHECASEOFSOMETHINGLIKEARHYTHMGUITARPARTYOUCOULDALWAYSTRYTOSTRETCH ITTHEOTHERWAYIFITDOESNTSOUNDRIGHT&OREXAMPLEIFYOUSLOWEDTHEGUITAR PARTDOWNANDTHERINGINGOVERTONEWASTOOMUCHYOUCOULDALWAYSTRYSPEED ING IT UP INSTEAD/F COURSE THISWOULDMEAN THAT THEPARTWOULD LASTHALF AS LONGIN TERMSOF THENUMBEROFBARS SOYOUWOULDPROBABLYHAVE TOCUT THE PARTUPANDGETCREATIVEWITHREPEATINGCERTAINREGIONSTOMAKESURETHECHORDS CHANGEDINTHERIGHTPLACEBUTITMIGHTJUSTWORKANDITMIGHTEVENGIVEANEXTRA DIMENSIONOFPACEANDBOUNCE TO THE REMIX3YNTHPARTSPADSARPEGGIOSAND POSSIBLYALTHOUGHMUCHLESSOFTEN EVENBASSLINESAREALLPOTENTIALCANDIDATES FOR THIS TRICK 9OU HAVE THE LUXURY OF TRYING THISWITHMUSICAL PARTS BECAUSE A MUSICALPARTHASONLYTWODIMENSIONSPITCHANDRHYTHMBYTHAT)MEANTIMING ANDDURATIONTOGETHER WHEREASAVOCALPARTHASANEXTRADIMENSIONINTHEFORM OFmeaning9OUCANTSIMPLYCUTANDPASTEVOCALPARTSTOlLLUPSPACEINTHEWAY) JUSTDESCRIBEDWITHOUTOBSCURINGTHEMEANINGOFTHEWORDS
!NOTHERTHINGTHATTENDSTOSUFFERQUITEALOTWITHTIME STRETCHINGINGENERALIS ANYTHINGWITHAVERYSHARPORPRONOUNCEDATTACKTRANSIENT4HElRSTFRACTIONOF ASECONDOFMOSTSOUNDSISWHATGIVESTHEMMUCHOFTHEIRCHARACTER3OMUCH SOINFACTTHATTHEDEVELOPMENTOF2OLANDS$ ANDOTHER$ 3ERIES SYNTHS WEREBASEDAROUND THIS IDEA4HEYWORKEDOUT THAT AFTER THE INITIAL ATTACKOF THESOUNDAVIOLINANDATRUMPETlNALLYENDEDUPRESOLVINGTOSIMILARWAVE FORMSSAWTOOTH IN THISCASE AND ITWAS THE INITIAL SCRAPEOF THEBOWONTHE VIOLINOR THE INITIALBREATHNOISE IN THE TRUMPET THATHELPEDUSDECIDEWHICH INSTRUMENT IT WAS 3O THEY DEVELOPED ,INEAR !RITHMETIC SYNTHESIS WHICH BECAMEKNOWNMORECOMMONLYASTHEh33vORh3AMPLE 3YNTHESISv TECH NIQUE7HATTHEYDIDWASHAVEASAMPLEDATTACKPORTIONOFTHESOUNDPLAYED BACK BY ONE OSCILLATOR AND THEN AMORE CONVENTIONAL ANALOG STYLE OSCILLATOR PLAYINGASAWTOOTHWAVEFORM4HECOMBINATIONOFTHETWOGAVEASOUNDTHAT WASMUCHMORE CONVINCING THANANYTHING YOU COULD ACHIEVEWITHPURE ANA LOGOSCILLATORSANDALSODIDNTNEEDTOHAVEALONGSAMPLEOFTHEWHOLESOUND SAMPLEMEMORYWASveryEXPENSIVEANDTHEREFORELIMITEDINTHOSEDAYS !S TIMEWENTON THISMETHODEVENTUALLYGAVEWAY TOUSINGPURESAMPLESBUT IT GAVEAMUCHMOREAUTHENTICSOUNDTHANANYOTHERFORMOFSYNTHESISTHATHAD COMEBEFOREIT)NADDITIONITPROVEDJUSTHOWIMPORTANTTRANSIENTSARETOTHE OVERALLSOUND
7HAT THIS SHOWS IS THAT THE TRANSIENTSORATTACKPARTOFA SOUND ISVERYMUCH AN INTEGRAL PART OF ITS CHARACTER 4HE PROBLEM OCCURS WHEN YOU TRY TO TIME STRETCHASOUNDTHATHASAVERYSTRONGTRANSIENTCHARACTER7HENYOUSTRETCHTHE
TRANSIENTYOULOSETHETRANSIENTNESSOFITANDITCANSTARTTOSOUNDATBEST A LITTLESQUISHYORATWORST LIKEACOMPLETELYDIFFERENTSOUND4HEONLYREALWAY TOGETAROUNDTHISANDTHISISCOMPLETELYIMPRACTICALANDQUITEPROBABLYNOT EVENPOSSIBLETODOMANUALLYISTOZOOMRIGHTINONTHEAUDIOWAVEFORMAND MANUALLYCHOPEVERYSINGLENOTEINTOTWOREGIONS THEATTACKPORTIONANDTHE SUSTAINPORTION9OUWOULDTHENHAVETOTIME STRETCHONLYTHESUSTAINPORTIONS OF THESOUNDANDLEAVE THEATTACKPORTIONSAS THEYARE4HISWOULDUNDOUBT EDLYGIVEAMUCHBETTERRESULTTHANANYAUTOMATEDFORMOFTIME STRETCHINGBUT EVENIF ITWEREPOSSIBLETODOTHISACCURATELYMANUALLY THEAMOUNTOF TIMEIT WOULDTAKECOULDRENDERTHISAPPROACHUTTERLYUNWORKABLEINALLBUTTHEMOST EXCEPTIONALOFCIRCUMSTANCES
4OSOMEEXTENTHOWEVERTHEREARETIME STRETCHALGORITHMSDESIGNEDTOWORKBY DETECTING THE TRANSIENTS AND THEN LEAVING THEM INTACT ANDONLY TIME STRETCHING THEOTHERPARTSOFTHElLE4HEBIGGESTPROBLEMANDATTHESAMETIMEBENElT OF THESEALGORITHMSISTHATTHEYDONTOFFERANYKINDOFADJUSTABILITYFORTHEDETEC TION OF THE ATTACK TRANSIENTS &ARMORE USEFULWOULD BE TO HAVE SOME KIND OF OPTIONWHEREBYYOURAUDIOlLE ISANALYZEDAND THEN THESOFTWARESHOWEDYOU INSOMEVISUALFORMWHEREITTHOUGHTTHETRANSIENTSWEREANDGAVEYOUAOPTION TOLISTENBACKTOonlyWHATITHADDETECTEDASTRANSIENTSTOCHECKHOWACCURATETHE GUESSWAS)FITWASNTQUITERIGHTYOUCOULDPOTENTIALLYHAVEANOPTIONTOADJUST A THRESHOLD TOMAKE THEDETECTIONPROCESSMOREOR LESS SENSITIVE TO TRANSIENTS 4HISKINDOF TRANSIENTDETECTIONANDADJUSTABLETHRESHOLDEXISTSALREADYINSOFT WARESUCHAS THEEXCELLENT30,$RUM8CHANGERAND THEREARE TIME STRETCHALGO RITHMSTHATCLAIMTOPROCESSTRANSIENTSSEPARATELY7HATWEREALLYNEEDISSOME KINDOF AMALGAMATIONOF THE TWO AND THENWEWOULD REALLY BE INBUSINESS ) SHOULDPROBABLYMENTIONATTHISPOINTTHATFORDRUMANDPERCUSSIONRECORDINGS THERE IS A VERY GOODALTERNATIVE TO TIME STRETCHING FOR SMALL TOMEDIUM TEMPO CHANGESANDWEWILLBELOOKINGATTHATINTHENEXTCHAPTER
!S ) SAID EARLIER TIME STRETCHING QUALITY HAS IMPROVED GREATLY IN RECENT YEARS BUTITSTILLISNTPERFECT)HAVEGIVENYOUAFEWPOINTERSHEREABOUTWHATKINDOF LIMITATIONSTOEXPECTINGENERALFROMTHETIME STRETCHINGPROCESSBUTEACHALGO RITHMANDSOFTWAREORPLUG IN HASITSOWNIDIOSYNCRASIES)RECOMMENDPLAY INGAROUNDWITHTHETIME STRETCHINGOPTIONSAVAILABLETOYOUANDPUTTINGEACH THROUGHITSPACESONAVARIETYOFDIFFERENTMATERIALVOCALSDRUMSBASSSOUNDS ANDCOMPLETEMIXESGENERALLYMAKE THEBESThTESTMATTERv INMYEXPERIENCE 5SEAVARIETYOFDIFFERENT STRETCHAMOUNTS BOTH STRETCHINGANDCOMPRESSION AND FORMYOUROWNOPINIONSABOUTWHICH IS THEBESTOPTION TOUSEONEACH DIFFERENTKINDOFMATERIALANDATWHATKINDOFSTRETCHRATIO
4HEREREALLYISNTADElNITIVEANSWERORCONSENSUSOFOPINIONONTHISSOTHEREISNT ANYKINDOFLIST)CANGIVEYOUABOUTWHATISTHEBESTTIME STRETCHALGORITHMTOUSE ONAPARTICULARKINDOFSOUNDATAPARTICULARSTRETCHRATIO)SOMETIMESWISHTHERE WASBUTINTHISCASETHEREISNOSUBSTITUTEFORTRIALANDERRORANDBECAUSEOFTHE NATUREOFITITREALLYPAYSTOBEPREPAREDANDNOTBETRYINGTOlGUREALLOFTHISOUT WHENYOUAREUNDERPRESSURETOCOMPLETEAREMIXONATIGHTDEADLINE
