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In this course, author Josh Harris demonstrates time-stretching techniques in four of the major digital audio workstations: Pro Tools, Logic Pro, Reason, and Ableton Live. Josh covers the basic time-stretching treatments, where minimal tempo adjustment is needed, and then moves into more difficult territory—remixing at a much slower or faster tempo than what the original tracks were recorded at—where time stretching is pushed to the extreme. Another technique shows how to create a composite vocal from multiple time-stretched tracks. Each lesson employs real-world musical examples to clearly show where each time-stretching technique is useful and how the results of time stretching affect the sound of a song.
Now it's time to dive in and edit our vocal in our new time signature of 4/4. Before we play the vocal, I will mute the snare drum, but I will unmute it later on once you've done more vocal editing. I'll unmute the vocal track and take a listen to where the first note of the first verse starts. (music playing) Right off the bat I can hear that the 6/8 phrasing doesn't just work against the 4/4 time signature.
So what we're going to need to do is go in and cut up each phrase and shove it over a little bit later, because we've essentially added a quarter note to our time signature. So before I even make my first edit point, I'm going to mute the vocal and sing where I feel the vocal should start. (music playing) Sorry to subject you all to my singing.
But it's more for a reference point of where the beat should fall. Let's play the vocal muted, and I'll keep my start point in my head of where I believe the vocal should land. (music playing) Right on 16/3. I zoom in on my clip and use my Command+E to make a slice, expand out, I want to make sure that I don't shift regions without grabbing all the regions. In other words, if I bring this over to the right, I need to make sure that I'm preserving my clip edits from pervious movies.
I'll Command+Z to restore everything back to normal. I'm highlighting everything from the start of the vocal to the end of the song. And I prefer to use this technique to move vocals around. Option+H brings up the Shift menu, and we know that we're going to move things for the most part 1 measure later. We'll start with a 1-bar denomination, and I just moved everything by 1 bar. So let's go back to 15, unmute the vocal, and take a listen.
(music playing) It still feels a little bit late. I'll highlight all of my clips, go up to Earlier and move it by 1 quarter note, go back to 15 and play it and take a listen. (music playing) So every phrase will most likely need to be shifted over at least 1 full measure.
But we're not going to just do that and not listen. Because some phrases may need two beats, three beats. We have to just figure out some sort of framework and then begin to shift the vocals over and then go in and fine-tune them if they're not accurate. I'll start by moving this over 1 measure, go back to 15. (music playing) I'll zoom in on my clip, we're at 22/4, zoom out.
So as you can see, there is a lot of zooming in and zooming out, grabbing all of your clips, moving things over by 1 measure, and starting there as a reference point, going back to 15. (music playing) Now this is an arbitrary decision. Just like the first line of the first verse, I could shift this over to the left, so it comes earlier by 1 quarter note.
Go back to measure 15 and see how this feels. (music playing) That feels a little too early to me. Let's go back to the way we had it, Command+Z, go back to 15. (music playing) We'll go with that.
Moving on to the next phrase, highlighting all of my clips, shifting over 1 full measure later, and we don't have to go back to 15, we'll start at measure 19. (music playing) Moving on to the next phrase. The reason that I'm bringing the playhead back several measures is that when you're doing something like this, you have to pre-roll the section far enough in advance so that you have an anchor of where you are.
If I just start the playhead 1 bar before my edit point, I'm not really going to feel where I am in the phrase. We think of these as 4-bar phrases. And if I don't give myself at least 4 to 8 bars of pre-roll to listen to the edit point that I just made, I might feel a little bit confused and actually not properly place the vocals. Now we made that edit. Now I'll start at measure 29. (music playing) That particular phrase could go either way. It could probably be shifted by a quarter note one way or the other.
But again, these are decisions that you might make further on down the road when you've actually got more of a track together. The goal with this movie is to simply show you how to go about editing a vocal that wasn't 6/8 time in 4/4 time and where you need to insert space into the phrase. Some of the final decisions of vocal placement won't occur until the track is substantially further along.
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