In some cases you'll want to sync your songs manually. Either because the song has not been synced properly, or because you want to learn more about the inner structure of the song you're working on. To enter manual sync mode, load a song and select Sync/Enter Sync Mode from the system menu.
The sync window is divided into four important sections. The first row displays the sync points already added to the song. Each red circle represents a single sync point and the numbers denote the bar numbers within the score. The second row shows the notation in a horizontal view. The third row shows the waveform of the associated backing track. The 4th row, which is the most interesting one, gives you a visual representation of all the notes that can be heard in the backing track. It is called a spectrogram, and displays all pitches along the piano keys from the C0 to the C7 octave. You can read more about the spectrogram later in this section.
There's a great chance that you've entered manual sync mode because the song is not synced correctly. In most cases you'll need to remove some points first. You have two options:
You can remove single points by clicking on them.
Alternatively, you can remove more points using the system menu items 'Sync/Clear All' or 'Sync/Clear Before Cursor' or 'Sync/Clear After Cursor'.
Move your mouse over a beat that you’d like to adjust. While holding down the mouse button, drag the beat to it’s correct position. Repeat adding new points at about four bars of distance, until you reach the end of the score.
When synchronising your songs, it can be extremely useful to turn on both the backing track and and the synth master track. You can even pan the backing track to the left channel, the synth notes to the right channel. This way you'll hear every single mistake quite precisely while setting sync points.
The backing track and synth tracks can be turned on/off in the left side menu, by clicking the red/green dots of the corresponding track.
The spectrogram displays the notes extracted from the backing track and the notes in the tab on two separate layers. The blurred lines represent the notes extracted from the audio track. The narrower and darker lines show the transcribed notes from the tab.
Ideally the two layers overlap each other. In reality the blurred audio layer contains some level of noise coming from distortion effects, scratching, plucking, sliding instrument noises, percussion sounds and many other sources. However, the most characteristic notes are clearly visible. The bass line can be recognised quite easily for example, and solo parts are easy to spot as well.
You'll get the most information from the spectrogram if you listen and watch the notes at the same time.