The request not only calls for firsthand experience, but also details from employers and technology developers, data and related research, and suggestions for best practices, opening up the study to virtually all US citizens who can have their say. Mulligan describes some potential scenarios for monitoring, including RFID tracking for nurses, telematics for drivers, employee monitoring software for office workers, and scanners for warehouse workers. The news coincides with that of the Biden-Harris Administration’s Blueprint for an AI Bill of Rights, which among other things aims to protect humans from malicious technology. > Amazon is being sued over claims Go stores tracked shoppers biometric data > Amazon employees really aren't happy at being told to go back to the office However, if you’re working with cross-rhythms and looking to alter the tempo, this is the opposite of what you want.> These are the best productivity tools around If you compose one bar in 4/4 and alter the project’s time signature and tempo, the MIDI will be altered to the new time signature and tempo automatically too. Within the DAW, the default setting dictates that Instrument and MIDI tracks are set to follow ticks. However, there is one more spanner in the works we must contend with, courtesy of Pro Tools. For more complex polyrhythms, however, brushing up on your maths might help, as this simple equation should keep your compositions running smoothly. Thankfully, for three-over-four rhythms, you can simply split the grid into triplets, which allows you to visualise the bar in three without tying yourself in knots trying to remember how to do basic maths. So, a 4/4 bar at 120bpm would create a polyrhythm with a 3/4 bar at 90bpm (120 x 3 ÷ 4). Or, in reverse, you would have to multiply the tempo of the 3/4 bar by four and divide by three to get the tempo of the 4/4 bar. To form a 3/4 over 4/4 cross-rhythm, for example, you must multiply the tempo of the 4/4 bar by three and divide by four to get the tempo for the 3/4 bar. To properly create a cross-rhythm, you must also multiply the original tempo by the ratio between to the two meters. Similarly, while layering these two rhythms will result in three bars of 4/4 over four bars of 3/4, an interesting syncopation, this isn’t a cross-rhythm. Instead, the tempo will result in the 3/4 bar lasting only three quarters of the length of the 4/4 bar. However, simply writing a pattern in 4/4 and switching the time signature to 3/4, for example, won’t produce a cross-rhythm. Most DAWs allow you to alter the meter of your track, Pro Tools included. The Nine Inch Nails song La Mer uses a three-over-four rhythm, with the piano holding down a pattern in 3/4, while the drums remain in 4/4. The track’s rhythm does not have to be created via a single voice, nor does it have to be created solely by percussive instruments. Utilising one rhythm for the voice and applying another with the beat is an important and powerful facet of polyrhythms and cross-rhythms. ![]() Polyrhythms and cross-rhythms, while uncommon in straightforward radio-friendly fare, are customary in many forms of contemporary music, from modern classical, improvised jazz and madcap progressive rock to almost all forms of sub-Saharan African music, as well as electronic music and hip-hop, in which many talented rappers and MCs enunciate polyrhythmically to the beat. These concepts are relatively easy to implement and can be incredibly rewarding in practice. The theories at play here might seem off-putting to those lacking in conventional training but don’t despair. This will help ground things for the listener, giving them a simple hook to engage with alongside some more complex rhythms. But this can be taken further, by playing off various combinations of meters – not just three against four but two against three or four against five – all while retaining the simplicity of a more conventional rhythmic foundation. Triplets indicate a 3/4 rhythm atop the standard 4/4 meter. If you’ve ever employed a triplet rhythm inside a 4/4 meter, for example, then you already have some experience. There’s a chance you’ve played with polyrhythms and cross-rhythms before, without even realising it. With cross-rhythms, the two different meters overlap throughout the song, while polyrhythms are used to accent bars or phrases. Polyrhythms and cross-rhythms see the use of two different overlapped time signatures.
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