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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 our vocal in a little bit of context. We've got a kick drum from the EXS 909 kit. I'll quickly add a hat and a snare just to give us a little bit more on the drums. I'll use my Track Duplicate Feature. (audio playing) And I'll add the hi-hat next. (music playing) Quickly quantize that. I only need two bars.
(audio playing) We'll loop this. Use our Track Duplicate Feature (audio playing) And add a snare drum. (music playing) Quantize to Quarter Notes and Loop. (music playing) Excellent. Now let's take a listen to the original so I can get a handle on what the chord changes are.
I'll create a software instrument track right below the original, double-click on the EXS, and I'll choose Piano from the EXS24. (music playing) That was working. So let's Solo out the original, and I will plunk around the piano till I get a handle on what the chord changes are, and then I'll drop in a Reference or what I call a mock bass line.
(music playing) So the chord changes to me sound like they are floating between B-flat miner, G-flat major moving down to an F Major chord and then the chorus sort of reverses that pattern a little bit. So that gives me enough of a reference point.
So I can mute the original, I'll move my Piano sound down here to the bottom. But I'll actually change it to a bass now, double-click on the EXS and choose Bass. I'll just is put a Fretless Bass up just for now, and I've already set a loop point from the first verse to all the end of the first chorus, so we'll use that. (music playing) That's essentially what the chord changes at the original are, and I'll use those chord changes for now, because again remember, the point of putting this in context is to listen to our time-stretched vocal in a little bit more of a remix setting.
I know I'll go through and do some more editing on the vocal. But it's more exciting to edit to at least a mock bass line and a drumbeat rather than just a kick drum or a click track. So let's put the bass in, I'll play this from the first verse to the first chorus. (music playing) I made a little bit of a mistake there at the end but let's quantize that, and I'll quickly fix my mistake.
(music playing) Let's go back to where the chorus starts. (music playing) Right there at merry-go- round. I'll delete that. Let's loop the chorus and get a better handle on what the chord should be. (music playing) Okay that should work.
Let's expand our loop region here and record in the chorus bass. (music playing) Okay, let's quantize that.
I threw an extra note in the first eight bars of the chorus, and it's not really bothering me. Again, this is just a mock bass line to give me some sort of inspiration as I edit these vocals. Let's take a listen from the first verse. (music playing) I decided that that extra note I threw in is bothering me a little bit, so I am going to just take the last 8 bars of my bass line from my chorus, because the first eight had that extra note in there, that I'm not that crazy about now that I listen back. So I made my edit point.
Let's delete this, Option+Drag over the back eight bars and our chorus should sound a little bit better now. We'll play it right from the chorus. (music playing) So that gives us a little bit of a reference.
I can still hear my edit point on the word control, but I'll fix that as I get deeper into the editing process. But this gives you a little bit of an overview of how I go about negotiating a situation like this where I am editing between the original vocals and the time-stretched vocals, and then I am putting things in context which will then help me further edit the original vocals and the lead vocals in those specific spots.
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