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Hello guys and thank you for the replies. Yeah I will work on the thread titles..not the best I will admit. I've always heard it referred to as granular re-synthesis considering you aren't actually synthesizing a new sound merely cutting an existing one into grains or particles. I will post the section of the BT interview so you guys can sees the exact terminology he uses. It may be a time stretch that he is talking about but I'm not sure as he calls this 'time correction' which makes me think instead of aligning off-beat audio like a granulized file so that it sounds rhythmical and works with the time signature and tempo of your project. Here is the section in which he talks about it all, maybe someone can decode what he is talking about into something more easily understood? Thanks for the help guys I really do appreciate it.
Interviewer- When you mix organic sounds with the electronic, how do you get them to jell together?
BT- So the essential thing for me about making acoustic instruments jell with electronic instruments is the proprietary time-correction modality that I’ve come up with over the period of 20 years, quite honestly. So it’s a thing that I’ve done many lectures on at different universities. It’s a very complicated technique and complicated in that there are many different types of time stretching that I like to use, from phase vocoding to granular to wave width, to something that I call wave-cycle repetition—on things like analog synthesizers where you take a single bi-polar, uni-polar wave and repeat it.
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