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Exploring different time-stretching scenarios in remixing

From: Remixing Techniques: Time Stretching

Video: Exploring different time-stretching scenarios in remixing

Remixers are frequently faced with different time-stretching scenarios, some of which are easy to handle, and others which are much more challenging. Common scenarios and challenges faced by most remixers are: speeding up the vocals. For example, if I have a vocal that has an original BPM of 120, and I speed it up to 128 beats per minute. Slowing down the vocals, if I have a vocal that's at 140 beats per minute, and I slow it down to 130 beats per minute.

Exploring different time-stretching scenarios in remixing

Remixers are frequently faced with different time-stretching scenarios, some of which are easy to handle, and others which are much more challenging. Common scenarios and challenges faced by most remixers are: speeding up the vocals. For example, if I have a vocal that has an original BPM of 120, and I speed it up to 128 beats per minute. Slowing down the vocals, if I have a vocal that's at 140 beats per minute, and I slow it down to 130 beats per minute.

Leaving the vocals at their source or original tempo, in other words, if I receive a vocal that's at 132 beats per minute, and I like the way it sounds then I leave it at that tempo, and I don't need to perform a time stretch on it. Dry vocals versus wet vocals, keep in mind that the quality of the time stretch will be affected by whether or not vocals are dry or wet, meaning that dry vocals have no effects on then and wet vocals might have reverb or delay.

Dry vocals generally yield a better quality time stretch than wet ones, but there is a bit of trial and error here. DAW differences, you'll find as you work from one DAW to another that the time-stretching algorithms are different thereby yielding different results. One DAW may do a better job at slowing down a set of vocals and another DAW may do a better job at speeding them up, one DAW may handle wet vocals better than another. So as with the dry vocals and wet vocals scenario, the same applies for the DAW differences.

The bottom line when exploring the sonic differences between time stretching in different DAWs is that it will take a bit of trial and error. Get to know the tools that you have at your disposal, and if you have the opportunity, spend some time getting to know DAWs other than the one that you spend the most time working at.

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Remixing Techniques: Time Stretching

32 video lessons · 5928 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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