![]() The main window, simply named 'InTime', also allows access to most other panels at the click of a button, which is very useful in the beginning when you are familiarising yourself with the software. They are small enough to fit on to the screen at once, giving you all parameters at a glance. InTime is controlled from a sleek and intuitive user interface consisting of 10 separate windows that can be viewed simultaneously as well as individually. ![]() Now all you have to do is to connect a sequencer capable of handling tempo variations in real time to that MIDI port and you're up and running. By enabling Beat Clock and choosing the port you want to address, you set up InTime to be the sync master. As you might imagine, it is here where you do your routing of MIDI signals, be it within the computer or to the external world. Depending on your setup there are multiple ways of doing this in OS X, which I use, InTime recognises all connected interfaces and allows you to access them from its MIDI Devices window. Once the program is installed it needs to be connected into your MIDI environment. Installation on my system was smooth, and the authorisation is of the challenge-and-response type used by most software houses these days. InstallationĪfter filling in a lengthy questionnaire you can download InTime, and the small file size (about 2.2MB for the OS X version) makes that quick and painless. Another application, which ultimately could prove more useful, is InTime 's Groove Tracking mode, but more about that later. The basic idea, then, is to infuse the programming with some live feel, the computer slowing down and speeding up in sync with your playing. Ableton Live, on the other hand, makes a perfect partner for InTime, and I imagine that Propellerhead's Reason would suit the setup as well. For example, Logic 7 cannot cope with real-time tempo changes when using the Audio Engine and Apple Loops, although MIDI is no problem. Their InTime software generates tempo information from any MIDI source and transmits this in the form of MIDI Clock data to the sequencer of your choice: this can be a drum machine, hardware sequencer or any of the current desktop systems, bearing in mind the limitations of these systems. Circular Logic, a Florida-based company who proclaim as their mission statement that they "want to make computers that listen like musicians so musicians don't have to think like computers" are offering the technology. ![]() However, the ultimate challenge now is to do it in real time: generate the clock while you are playing and have the computer follow you like Tony does George W. In our times of weapons-grade home computing we take these abilities for granted, with all major DAWs featuring the ability to extrapolate tempo data from both MIDI and audio source material. In the days of tape machines and Atari computers, engineers used to painstakingly gate audio signals off tape to feed them into trigger units in their SRC SMPTE-to-MIDI boxes, or the audio input jacks of the trusted C-Lab Unitor. For those who want to put a human performance at the centre of their sequenced masterpieces, Circular Logic have developed software that can understand and follow tempo changes in real time.Īttempts to infuse sequenced music with a natural feel go back a long way. ![]()
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