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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.
Now what if we didn't record a part but decided that we needed it now, or what if we didn't have time to finish recording all the parts we wanted to record but really had to finish adding certain parts to complete the arrangement? Let's look at how we can use Melodyne to essentially create new parts. Now you have to have something from which to create that part, so in this example we're going to use our Lead Vocal to make harmony parts. Now there are pros and cons to doing this, I guess the upside being, saves you time in that you don't have to record the part again, but the downside is you don't get the full sonic thickness of actually recording multiple tracks at the same time and playing them back with actual different performances.
There's a thinner and more kind of fake quality to using this technique, but it's actually kind of useful for pop if you want that sound. So, knowing the pros and cons by just experimenting with it can really help you decide whether or not this is something you would ever use. But let's go ahead and take a look at this technique. So first thing, let's select our Lead 1a COMP track, and let's make a new track. You can choose File > Insert Empty Track, I'm going to choose to insert a track below the selected track, and we're just going to add 1. I am going to open my editor window making sure that my Lead 1a_COMP is selected.
I am going to choose Command+A or Ctrl+A to select all. And if you want to see it just to make sure we're doing that, you can choose Zoom to > Full Song using that marker we selected earlier. So now you can see that the entire track is selected. We'll copy and then we can switch to our New Track that we created and use our key command to paste that track there. Now, you can see that it's going to paste it wherever your cursor is, and in this case, it pasted it in a different location than where I copied it. So I'm going to want to change that cursor location so that I'm pasting it in the right place.
So I can place my cursor at the same place where I want it to be pasted, which is the same place where I copied from, and now we have got it in the right place. Now that we have a copy of our Lead Vocal track, we can choose to alter that track--making a different melody, essentially--to create a harmony part that will harmonize in perfect rhythm with our Lead Vocal because it is the exact same rhythmic material. So I'm going to zoom in a little bit just to see one of the phrases a little closer, and let's take a look at doing this. (music playing) So perhaps we wanted to take the line let it be known and harmonize it.
We can select the whole thing... (music playing) ...and move it up. Now granted, that may be an in-harmonic move, essentially meaning that removing it by specific relationship of half notes and whole notes in relation to the original which may not fit the keys. So we'll have to listen to it. (music playing) Yeah, it sounds a little funny. So for example, these bottom notes, we would need to move... ...to fit the key, and these notes we probably also need to move as well. Let's listen to that. (music playing) Little bit more tension than we might want, so maybe we want to make the entire part a little higher.
So let's undo a couple steps, try moving the whole thing up a little bit and listening to that. So now we need to address these top notes. (music playing) There we go. (music playing) So we have basically created our own harmony part that didn't exist before, and the downside like I said before, is that this may sound a little bit thinner than actually recording a separate vocal, but the positive side is that you didn't have to spend the time--or if you didn't have the time--you now have a harmony that you didn't have before, and it's perfectly rhythmically in sync, so it's a really good technique for a pop song like this where you really want everything to be perfectly tight with itself.
If you like, go ahead and play around with this technique, and you can even try to recreate the parts that we have already recorded for the song by making them from scratch using one of the Lead vocal tracks. As you can see, Melodyne gives you all the tools that you need to easily reshape a vocal performance.
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