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Comparing several vocal time stretches at faster BPMs

From: Remixing Techniques: Time Stretching

Video: Comparing several vocal time stretches at faster BPMs

Let's take a listen to what we have here, our kick drum is in. (music playing) I'm already noticing a little bit of degradation. So let me double check and make sure that I have everything set on Complex Pro, I do not. So we're going to change that right now.

Comparing several vocal time stretches at faster BPMs

Let's take a listen to what we have here, our kick drum is in. (music playing) I'm already noticing a little bit of degradation. So let me double check and make sure that I have everything set on Complex Pro, I do not. So we're going to change that right now.

Ableton defaults to Beats, so when it comes to bringing vocals or other audio that's not a drum loop, you always want to set it to Complex Pro, it'll give you the best quality in terms of time stretch. Let's start that over and take a listen. (music playing) Sounds good. I'll expand these Track Views a little bit so we can just have a better handle of where we are in the song.

Okay, so those are the wet vocals, they are not super wet there's a little bit of reverb on them. But there's enough to factor into the time stretch, so we are at 114, I want to reference the dry vocals and just hear if there's a difference. (music playing) They sound better, and you also notice visually that the wet vocals are a little bit louder.

I mean, you look at the waveform amplitude, and you can just see that the wet vocals were bounced a little bit hotter. So that's not going to necessarily play a role in terms of the time stretch, but it's just something to take notice of as you're auditioning wet and dry vocals. We're at 114, let's push it up a little bit further and see where the limit is with our time stretch. I'll take it up to 120, and play from the same spot. (music playing) The lead vocals still sounds really good to me, the background vocals are starting to get a little bit warbly because they're sort of textural, the ooh's are almost have a Synthesizer Pad type texture to them.

So let's push it even a little further. Again, when it comes to doing a Remix, you may not want to use all of those ooh's, you may take one sample it, delay it, affect it somehow so, we don't always want to marry ourselves to using every single bit of the vocal from the original but the lead vocal is the most important vocal file. I'll push it up to 124, and let's hear what that sounds like. (music playing) Still sounds good, let's jump over to the wet vocals, and hear how they sound.

(music playing) The lead vocal still sounds good, we can push it even a little bit further to 126, going back and listening. (music playing) It still sounds good to me.

It's important for me to mention at this stage that even though the quality of the vocal is still there, the phrasing is starting to get a little bit fast, and we never wanted time stretch vocals so that the vocal performance itself doesn't feel credible. We're 22 beats per minute faster than the original, and I would say this is definitely the line, and I would not time stretch beyond this point because the phrasing and the performance of the vocals just won't feel credible. So you can see the value here, and having both the wet and dry vocals side by side lined up against a kick drum, and it's very important to experiment with different BPMs.

I always begin with this part of the process, a basic kick drum and the vocals, and I spend a few minutes experimenting with different BPMs. If you don't spend a few minutes at this stage, you may commit to a tempo too early, and as you begin to listen to the vocals further into the song, realize that oh, there's a bridge section, and that doesn't sound very good at this tempo but I want to keep the bridge section in because I have been hired to do a full vocal remix. So this should give you some ideas of how to begin the time stretching process and again we chose Ableton for this movie but you can apply the same philosophies no matter what DAW you're working in.

Show transcript

This video is part of

Image for Remixing Techniques: Time Stretching
Remixing Techniques: Time Stretching

32 video lessons · 5819 viewers

Josh Harris
Author

 
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  1. 5m 36s
    1. Welcome
      1m 41s
    2. What you should know before watching this course
      46s
    3. Why did we record this course in four different digital audio workstations (DAWs)?
      45s
    4. Using the exercise files
      2m 24s
  2. 3m 4s
    1. What is time stretching/expanding?
      1m 4s
    2. Exploring different time-stretching scenarios in remixing
      2m 0s
  3. 31m 17s
    1. Understanding where to get a capella vocal tracks
      2m 30s
    2. Time stretching in Pro Tools
      6m 44s
    3. Time stretching in Logic Pro
      4m 51s
    4. Time stretching in Reason
      5m 17s
    5. Time stretching in Ableton Live
      5m 16s
    6. Understanding the roles of multiple DAWs in a time-stretching workflow
      1m 2s
    7. Dealing with wet vocal stems
      4m 2s
    8. Choosing the tempo for different styles or genres
      1m 35s
  4. 21m 6s
    1. Importing vocals and using the 10% time-stretch rule
      7m 42s
    2. Comparing several vocal time stretches at faster BPMs
      6m 20s
    3. Putting the time-stretched vocal in context
      7m 4s
  5. 26m 43s
    1. Setting up your session for double timing a vocal
      7m 27s
    2. Double timing the music and then time stretching the vocals to a slower BPM
      8m 54s
    3. Putting the time-stretched vocal in context
      10m 22s
  6. 28m 53s
    1. Setting up your session to slow down a vocal track
      2m 34s
    2. Calculating the BPM and tempo of the original track
      4m 18s
    3. Time stretching the vocals to a slower BPM
      6m 46s
    4. Comping the time-stretched vocal and the original vocal
      6m 49s
    5. Putting the time-stretched vocal in context
      8m 26s
  7. 54m 12s
    1. Starting from a pre-existing Pro Tools multitrack session
      13m 34s
    2. Tightening up a vocal that drifts from the click track, part one
      9m 55s
    3. Tightening up a vocal that drifts from the click track, part two
      7m 37s
    4. Subdividing 6/8 time and changing the time signature to 4/4
      7m 5s
    5. Editing vocal phrasing to work with 4/4 time
      7m 0s
    6. Time stretching the vocals to a faster BPM
      9m 1s
  8. 38s
    1. Goodbye
      38s

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