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Time stretching the vocals to a slower BPM

From: Remixing Techniques: Time Stretching

Video: Time stretching the vocals to a slower BPM

Now that we have the BPM of the original version, let's import the vocals. I open up the Audio Bin, go to Add Audio File and select my vocal stems for Breakdown Mode, drag the LEAD VOCAL out on to the Arrange window, next will be Verse Bvs, next will be Vox Doubles, and I'll actually drag the Oohs down here, and Logic will create a new track for me. There we go. Let's take a listen to the vocals against the kick drum.

Time stretching the vocals to a slower BPM

Now that we have the BPM of the original version, let's import the vocals. I open up the Audio Bin, go to Add Audio File and select my vocal stems for Breakdown Mode, drag the LEAD VOCAL out on to the Arrange window, next will be Verse Bvs, next will be Vox Doubles, and I'll actually drag the Oohs down here, and Logic will create a new track for me. There we go. Let's take a listen to the vocals against the kick drum.

I'll mute out the original and make sure that everything is sitting nice and tight against the grid. (music playing) Everything sounds nice and tight so far.

Let's scan further up into the song and just to be safe I'll lasso all these tracks and bring the volume down just a little bit so that my kick drum isn't fighting the vocals. This is really about making sure that everything is locked up against 148 BPM kick drum. (music playing) Excellent. Everything sounds nice and tight against the kick drum.

I'll return the playhead to the start of the song, and now it's time to engage Logic's Flex mode. I'll select Polyphonic, and now that we have Logic's Flex mode engaged we can experiment with a couple of different BPMs to see what sounds good. We're at 148. I know that my target BPM is going to be somewhere around 130 to 135, 136. So let's do a drastic time stretch. Let's go down to 130, 18 BPM slower than the original.

I'll scan right to the first chorus where all the vocals are in. (music playing) It feels a little sluggish to me. Let's take it up to 134. I have a feeling that will do the trick, right before the first chorus. (music playing) Nice, that 4 BPM increase really makes a difference, and we're still within that 10% rule that I mentioned earlier in the course.

Let's Solo out each vocal and export them, because there's no reason to leave Logic in Flex mode. You are asking the computer to continuously analyze a WAV file, and as you build your track and engage your software synths, you're just taxing the CPU sources. Just to prove my point, before we export these vocals, let's take a look at the CPU Meter when all 4 vocal tracks are playing with Flex mode engaged. (music playing) As you can see, down here in the CPU Meter it's hitting around 25% or 30%, and we've only got 4 tracks playing over our kick drum.

So I see no need to leave Logic in Flex mode. We'll export our vocals, and then we can turn Flex mode off, because we'll have freshly new exported vocals at 134. Let's' return these Faders to 0 so that the Waveform volume of the exported vocals will be just as loud as the original tracks. I will Solo out LEAD VOCAL, I select Bounce, select the Audio Files folder because I prefer to export audio files to the Audio Files folder and leave the Bounces folder for my mixes, and that's just a personal preference.

Let's call this Lead Vocal_134 so that there's no confusion between this vocal and the original. Now you'll notice that we here that Normalize is set to On. I'm going to turn this Off. Normalize will boost the level of my audio file, and I'm not interested in that right now. I prefer to leave this setting Off at all times. I've selected Add to Audio Bin so that Logic will import the freshly bounced vocal into our session, and I hit Bounce. Logic's offline bouncing will save us quite a bit time during this process.

Next is Verse BVs, select Bounce, and we'll call this file Verse BVs_134, Normalize is Off. Next is Vox Doubles and finally Oohs. Now that we have all four of our vocals exported at the new BPM, we can get rid of the original vocals here and delete these tracks which will then turn off Flex mode.

I'll go up here and create four new stereo tracks, and I'll turn the Open Library off, I don't need to have that one. Open up the Audio Bin and drag my new vocals onto the Arrange window. Close the Audio Bin, and let's take a listen from the first chorus. (music playing) Everything sounds in order.

Again, I will turn these vocals down a little bit. They were little bit loud on top of the kick drum, and scan further into the song just to double check. (music playing) Excellent! We'll turn the playhead to the start of the song. You can see how important it is to have the vocals locked against the grid prior to time stretching them.

You can also see how important it is to use Logic's Flex mode to arrive at your destination BPM then export your vocals and turn it off, saving the computer's resources.

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This video is part of

Image for Remixing Techniques: Time Stretching
Remixing Techniques: Time Stretching

32 video lessons · 6118 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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