More of an explanation of what Im trying to do from http://www.soundonsound.com/sos/oct05/a ... setech.htm
This touches upon one of the obvious pitfalls of working with any of the modern MIDI + Audio recording environments — it is so easy to just set the tempo at the start of the project, start the click track and then slavishly follow it. In reality, most music, when performed live by a group of musicians, will contain some variations in tempo. Even at a subtle level, and just like variations in dynamics, these tempo variations can add to the emotional response of the listener. A simple example would be a slight increase in tempo during a chorus relative to a verse — a live band might do this almost subconsciously, adding to the excitement of the song. However, if the same band have to follow a fixed-tempo click in the studio, they might find it difficult to capture the essence of what gives the live performance some of its character.
Fortunately, ***** has the necessary tools to allow a tempo 'map' to be constructed from a freely recorded performance (whether recorded as audio or MIDI or both). Indeed, it can be quite a liberating experience in the studio to forget all about the sequencer's tempo and lay down your backing or guide track 'live'. Alternatively, you could use a live recording from a rehearsal session that has the right feel as a basis for constructing a tempo map for a later studio recording of the song. Either way, once the tempo map is constructed within the ***** Tempo track, the click track will follow its variations. Any subsequent MIDI parts can then be edited and quantised to the bar grid using all the usual tools, regardless of variations in musical tempo. So, just how do you become the master rather than the slave in the musician-sequencer relationship?