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Subdividing 6/8 time and changing the time signature to 4/4


From:

Remixing Techniques: Time Stretching

with Josh Harris

Video: Subdividing 6/8 time and changing the time signature to 4/4

In addition to working with a vocal that has to be edited to sit tightly against the grid, there is also the challenge of adapting it to a different time signature. The original time signature of the song is in 6/8, or at least that's how I'm perceiving it. The case could be made that it's in 12/8, but there are some gray areas when it comes to time signatures, and some of it is subjective. But at the end of the day, we know that we want our remix to be in 4/4 time. So how do we get there from either a 6/8 or a 12/8 time signature? One way is to listen to the track and find the slow to count.
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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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Watch the Online Video Course Remixing Techniques: Time Stretching
2h 51m Intermediate Jun 28, 2012

Viewers: in countries Watching now:

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.

Topics include:
  • What is time stretching or expanding?
  • Understanding how time stretching fits into the remixing process
  • Working in Pro Tools, Logic Pro, Ableton Live, or Reason
  • Calculating the tempo of the original track
  • Dealing with wet vocal stems
  • Importing vocals with the 10% time-stretch rule
  • Comparing time-stretched vocals at faster tempos
  • Putting a time-stretched vocal in context
  • Setting up a session for double-timing a vocal
  • Creating a 4/4 remix from a song originally in 3/4 or 6/8
  • Tightening up a vocal that drifts from the click track
Subject:
Audio + Music
Software:
Ableton Live Logic Pro Pro Tools Reason
Author:
Josh Harris

Subdividing 6/8 time and changing the time signature to 4/4

In addition to working with a vocal that has to be edited to sit tightly against the grid, there is also the challenge of adapting it to a different time signature. The original time signature of the song is in 6/8, or at least that's how I'm perceiving it. The case could be made that it's in 12/8, but there are some gray areas when it comes to time signatures, and some of it is subjective. But at the end of the day, we know that we want our remix to be in 4/4 time. So how do we get there from either a 6/8 or a 12/8 time signature? One way is to listen to the track and find the slow to count.

I'll play the track from the beginning and count in 6. (music playing) 1-2-3-4-5-6 1-2-3-4-5-6 1-2-3-4-5-6 Or if I was to make the for case that this was 12/8, I'll count in 12. (music playing) 1-2-3-4-5-6-7-8-9-10-11-12 1-2-3-4-5-6-7-8-9-10-11-12 So again, it's subdivisions and more subdivisions.

As we listen to the hi-hat pattern, listen to where the accents are falling, that's giving us our slow to count. (music playing) 1-2, 1-2, 1-2, 1-2. Let's go ahead and put a ride cymbal in. I'll create an instrument track, and I'm going to play the slow to on the ride cymbal.

We'll Option+Drag over Xpand, go into our Drum menu and select Rides. (music playing) Excellent! So now I'll record a ride cymbal and play in slow to count. (music playing) That will work for now. I'll highlight the MIDI region and quantize it.

Quantize it to corner note, put Pro Tools in Grid mode, and take a listen to our 8-bar pattern. (music playing) So the ride cymbal is in there. Let's change our time signature to 4/4. Underneath Window I'll choose Transport, and we'll go from 6/8 to 4/4, close our Transport, zoom in our Ride Cymbal track, cut it, Command+X, paste it at the beginning of the song, and you'll notice that the ride cymbal is falling every third quarter note.

(music playing) And as you can see, our Loop Range was only 5 bars and 2 beats. That's why it sounded funny when it cycled back around. Now I'll zoom in on the hi-hat track and take the first two hi-hat notes and copy and paste them so that the accent is been played every quarter note of our new 4/4 time signature. We'll solo out the hi-hat track.

(music playing) You can hear the accent is falling on every quarter note now. So let's put in a kick drum that lands on every quarter note. I'll just play this in, and before I do that I'll copy and paste my new hi-hat pattern throughout the entire song.

I'll mute out the ride cymbal for the moment, and I'll delete this kick drum from the 6/8 time signature. (music playing) Recording in our new kick drum. (music playing) Highlight the MIDI region, quantize it to quarter note, zoom in on the kick drum and cut it, move it so it starts at measure 1.

Let's also copy and paste this all the way through the song. So now our drum pattern is a kick and a hi-hat pattern in the new 4/4 time signature. (music playing) I want to go one step further and add a snare drum so I can accentuate beats 2 and 4 in each measure. Create a new instrument track, copy over Xpand, and I'll re-title this kick because it's just the kick drum now.

New track will be snare, and we're already set up in the Snare menu. (music playing) I'll now record the snare drum. (music playing) Highlight the MIDI region, quantize it to quarter note, let's expand it, roll back to measure 2. (music playing) I'll just take the first bar. There are some velocity issues in the second measure, paste this, paste it for the entire song now, shrink it down.

Now we have a better groove, kick, snare, and hat from the beginning. (music playing) So before I even unmute the vocal, let's quickly recap what we did here. We had a song that was in 6/8 time, or some could argue 12/8 time. We took a moment to feel where the accents were in the 12/8 or 6/8 time. Then we adapted that slow to count and thought about it in terms of 4/4, and that's how we arrived in this time signature.

Remember, we haven't changed the Tempo. The BPM is still 128, we started at 128 in 6/8 time, and we're still at 128 but we're in 4/4 time. In the next movie we'll listen to the vocal, and you'll notice that there are phrasing issues that we'll need to deal with, because now we are in 4/4 time.

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