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In this course, producer and engineer Skye Lewin reveals the techniques that professional musicians and producers use to get the best-sounding results from Melodyne. The course covers digital audio workstation (DAW) and session preparation, and shows how to perform rhythm and pitch corrections on both lead and background vocals. It includes lessons on importing and exporting tracks between the DAW and the standalone version of Melodyne, as well as utilizing Melodyne as a plug-in, through ReWire, and through Melodyne Bridge. Skye also shows how to use a MIDI keyboard to edit the pitch of a recorded performance in Melodyne and how to trigger a MIDI instrument using an audio recording.
In this video let's look at using the pitch modulation tool to create an effect in Melodyne. So for example, we can get that familiar auto-tune effect, and we can also use the Formant tool as we looked at earlier to create another effect. So let's look at how we can apply these to the song. I am going to open my Editor window, Shift+Command+E, Shift+Ctrl+E, and I am going to view the full song, Zoom to > Full Song, and let's start with our Lead 1a_COMP track. Now I am going to keep it set to Play visible so that I am not hearing all the tracks at once, and we are going to have to apply this to multiple tracks to actually hear it in context.
So let's listen through and find some places where we might want to add this. I am just going to take a quick listen starting at the beginning of this verse. (music playing) So already, I am getting an idea of what I might want to do with this song as far as effects. And because it's gotten A and a B part in the verses, a good approach might be to use that effect on one or the other.
So in this case, my thought is to make the B line use the effect and let the A line be more natural. The A line is what we are hearing in the Lead 1 part, and the B line is what we would hear in the Lead 2 part. So let's have a look at this Lead 2 part here. (music playing) So a cool use of an effect might be to make those B lines have that auto-tuned effect, especially in a pop song like this. So let's take a look at doing that. Quick and easy way to do it is just to select everything that you want to effect, switch to your pitch modulation tool, and double-click the notes, and you can see that the line for the pitch modulation becomes perfectly flat, which is essentially centering that pitch on the pitch center for the duration of each note.
So let's have a listen to that effect. (music playing) So it has that robotic auto-tune effect. So if we decide we want to apply that to this part of the song, we will need to apply it to each of the other Lead 2 tracks. Lead 2 B, C, and D before we will actually be able to hear it in context. But before we do that, let's move on and look at other places in the other B lines that we might want to use that effect, and then we can do all of them at the same time. (music playing) So we might want to use this B line as well--except I like the vibrato.
So I would leave the vibrato where it is and tighten up everything else. Now here in this example, you can see that the pitch did not snap straight to the center, and that's probably because I have already edited the pitch modulation. So the way we can work around this is to reselect this whole section--basically, the whole phrase-- and use our reset pitch option, except this time we want to reset all pitch related changes to original. So now that we have done that, we can retune our stuff. Let's make sure that the S hasn't been tuned, and then we can select the sections that we want to affect, switch to our pitch modulation tool, and try again, and now you can see we are getting what we are looking for.
So let's have a listen to that. (music playing) And I actually like the closeness of having the auto-tune right before the vibrato. So that might be a good way to go. Let's look at the rest of the song and see where else we might want to use this. (music playing) So probably do the same thing here. Let's see if this will work or if we are going to have to reset it as well. Yeah, so let's reset it. So I am going to select the whole phrase. I haven't set a key command for Reset All Pitch Related Changes to Original, but if I was going to be doing this a lot, I definitely would.
So I am going to retune and again exclude any parts that I don't want to be tuned, recreate my selection and try it again. (music playing) Now we have got to fix a few things that didn't get fixed. In fact, I want to make the vibrato start later. So I am going to separate that here and fix this note. Actually, it's this note. (music playing) Cool! So I am actually happy with that idea, and I think the rest of this may or may not needed, but let's listen. (music playing) So we could actually use the effect on here as well.
Looks like we didn't do anything to that before, so we are safe. (music playing) We'll check the next section. (music playing) Cool! So I am going to go ahead and add the effect here as well. (music playing) And we can either copy and paste these, or we can just quickly apply the effect again to the repeated section of the chorus, and you will notice there that double-clicking essentially does the same thing as resetting a pitch modulation, and then double-clicking again like I just did flattened it all the way down to as close to the center as possible.
(music playing) So we have basically kind of set our template for what we are going to do with the rest of the lead vocal 2 tracks, since they're all singing the same part. So in going back here, I am looking at the beginning here at bar 12. (music playing) Actually thinking that might be a good place to try our tuning effect as well. And since we didn't do that the first time, let's try it now. So first, I am going to center everything. Then I am going to tune everything, but we are going to reset that. So we can try resetting it by double-clicking. That's not working, so we will have to do a reset.
In fact, we probably should select the whole phrase just to make sure, and we'll choose Edit, reset all pitch related changes to original, and we will basically re-create those steps, and there we go. (music playing) So I actually kind of like adding that affect there too. So we will go back and do the same thing on the first track. Lead vocal 2a. (music playing) And back to B and moving on to the rest of these parts. (music playing) So we will get the same auto-tune effect on here.
It looks like it might be time for me to assign a shortcut for this. (music playing) I am actually not so worried right now about moving the esses, but if you want to you can select them and exclude them from the pitch changes. (music playing) So before we move on, I am just going to set that our shortcut since I keep using this. So I will go back into my Preferences, Switch to my shortcuts, and it will be under Edit commands, and under Edit Pitch we can choose some sort of shortcut key for reset all pitch related changes to original.
So maybe we will try Shift+Ctrl+P, or F80, as the computer seems to be calling it. So let's try that and retune the part and deselect the vibrato, since we don't want to affect that. (music playing) And that's right. We have pulled this note up here before. (music playing) So let's try it again. (music playing) Cool! And just grab these last ones as well.
It looks like we can probably just get ahold of them in one pass now. (music playing) So now you can hear a little bit of the phasing between Lead vocal 2a and Lead vocal 2b once they're so perfectly tuned to that center pitch. And that's actually kind of part of that effect that we are going for. It just helps strengthen it. So we can move on and do the same thing with C and D now that we know exactly what we're doing. We can just select the entire chorus all in one go.
So it's not selecting. So I am going to have to switch tools here. I am using the Edit Pitch tool and then I can switch tools back to remove any note modulation and then to reenable it. But in this case it looks like I may have edited the modulation on this track. So I am going to have to reset it, and now that I have reset it, and now that I have reset it, there's a couple of notes that looks like I had changed. I need to correct those again, and then we can try this one more time. Let's have a listen. (music playing) Cool! I actually want to leave the vibrato on too.
So I am not going to mess with that. I am going to grab the first part here as well. (music playing) So first I will reset the whole phrase... (music playing) ...and grab the next one as well, and I am just trying it first just in case for some reason I hadn't made those changes, because if I hadn't, I wouldn't have to do the full reset every time. But since I did, we have to do the full reset. (music playing) [00:08:57:56] I am hearing a little snippet of something.
I am not sure if that's the S or-- (music playing) There we go, it's this. (music playing) There we go. Just the beginning of love. I thought I was editing 2c, but it looks like I jumped over to 2b when I was looking for that little part that was jumping out at me. So now I am going switch back to 2c and just make sure everything is right here. (music playing) Then we'll move onto 2d. (music playing) And essentially, we would do the same thing here. (music playing) Okay, so now I am noticing... (music playing) ...it's actually not too bad, but it may just be a little bit too much of that auto-tune effect.
So what maybe we would do instead is tighten up this section rather than making all four perfectly auto-tuned. So another alternate would be to undo what we'd just done, get back to where we just started, and instead of completely tuning these to that auto-tune effect, we can just tighten these up so that they're closer to the pitch center than natural. (music playing) And to me, that actually enhances the effect, because it makes it not overdone, and it kind of brings out a little bit of the vocal itself in a different way than just making it sound completely robotic.
(music playing) So let's test this theory by going back here and undoing the auto-tune effect and splitting the difference, essentially. (music playing) Now to me, that's better. Obviously, this may be a different choice for you. So feel free to go ahead and fully center the pitch modulation if you want to. (music playing) Now what I am going to do is actually apply that same technique to the rest of the song here, so I am going to just select basically the rest of the song, the end of this chorus.
I am just going to tighten this down, instead of actually making it perfect. I am going to make it really close to perfect but not perfect and then do the same thing on my lead vocal to 2b track. So I could then get that piece selected. No, I did have it selected. And let's do the same thing here. (music playing) It still sounds auto-tuned, but it has little bit more life to it. So again, just a personal choice. So now let's move on, select our background 1a track, and take a listen to the first section here.
Now since this is a harmony to something that we have already altered-- (music playing) Actually, we didn't alter that one, but that one sounds pretty good as it is. (music playing) Here we go. These are the parts that we altered. (music playing) We'd probably want to do the same thing here to keep the effect consistent against all the different vocal parts. (music playing) Again, letting that vibrato happen naturally. (music playing) So one other thing we can do here is on top of actually making this auto-tune effect, we can actually choose to alter the melody in such a way that we are creating another layer of the effect.
So for example, here.... (music playing) ...we could make that actually a climbing line. (music playing) See if this works, we are kind of climbing up and then climbing back down just staying within the scale. So you would probably want to change that to actually make it work. (music playing) Something like this, maybe. (music playing) I am not sure if I like that or not, but we can play around with the idea.
One other place we can look at doing something like this where we might actually have more room to actually get away with it is on the B line. So it could be in a different part. I believe that would be 3a on this section. (music playing) So if we were going to do the same effect here that we did on the leads, we would essentially apply our tuning and then just make that change the melody. (music playing) So we are basically kind of rewriting that melodic line.
(music playing) We can actually go a little crazier with it if we wanted. (music playing) So I am not going to keep that in the song, but that's just an example of how you can alter the melody and use an effect the same time to create another layer. I am going to go back to where we started with it. And now go ahead and go through on your own and finish tuning out the rest of these background parts, following the same format, or even doing something completely new on your own.
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