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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.
Let's spend a few minutes putting these vocals in a bit more context. I'll create a Dr. Octo Rex Loop Player, and I'll select under Drums > Electronic Drums > Electro House, and let's take a listen to what this sounds like. (music playing) We have our kick drum. (music playing) Just a basic kick snare hat. (music playing) I'll go with Slot 2. So that'll be our beat.
We can mute out Redrum. Let's also pull up a piano, and I don't have to go up here to create. I can also quickly right-click and create, and I'll just do a basic NN-XT Sampler, I'll select Piano, we've got a bright piano sound. (music playing) There we go. I'll choose a basic NN19 Sampler for my piano sound. I'll take a look at to SubTractor's patch library, go to Bass, and I happen to know this sound and like this sound, Backlash Bass.
(music playing) It's coming a little bit hot, turn this down. (music playing) Excellent. So let's select the NN19 and go back to our QuickTime Player and take a listen to the song, and get a handle on what some of the chord changes are. (music playing) I'll move up into where the song kicks in. (music playing) Okay, that gives me a little bit of an overview of what the chord changes are, and obviously, I'm not looking to do an R&B remix per se.
But for now, I can use some of the same bass notes that are found in the chords in the original version. Let's move our song pointer all the way up to where the first chorus starts, and I'll move myself over to the SubTractor Synth. (music playing) Let's turn off the click track. We'll take a listen to the first chorus. (music playing) I'll turn the vocals down just a little bit just. They still feel a little bit loud.
Since I already know what the chord changes are in the original, and I know what the bass notes are I'll play in a bass pattern that mirrors those chord changes. Ultimately, I will choose a different bass pattern. But again, we're looking to just put the vocals in some sort of context at this stage to go through the song and then see if we need to do any further editing. (music playing) Excellent. I'll double-click on my bass notes here in my MIDI region.
I'll right-click up here and select Quantize Notes. Let's scroll back and see if they do sound beat now. (music playing) Sounds like they're a little tighter to me than the way I play them.
Arrow back, I'll put some basic piano chords in over my bass line. Again, these are just placeholders. This is not going to be a final part. (music playing) I'll give myself a couple of bars pre-roll. (music playing) I made a mistake there. Let's zoom in and fix that.
I can just erase that right there. (music playing) Excellent. So I opted to go with more or less the same chord changes as the original.
But again, these are just placeholders. I'll double-click on my MIDI notes here, Quantize, and you can see the slight shift in the notes that the quantization did work. We'll back it up and take a listen. (music playing) Excellent. So now we have our vocal sitting in a bit more context.
And what I would do from here is simply copy and paste these MIDI regions throughout the song and give myself a sketch arrangement of sorts to listen to the vocals, go through, see if there's any tightening up, moving of phrases, anything with the feel of the vocals that I'd like to change now that we have the vocals on a four-on-the-floor remix context.
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