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In this video let's use the tools that we've learned in a real-world example. In your exercise files folder, find your Sessions folder and open the Melodyne project called Melodyne Studio_Exercise.mar. If you've already been working with this file and it's already open, you probably won't run into this. But if you're opening it for the first time, you may notice that it needs to re-link a certain audio file. If that's the case just point Melodyne towards that file in your exercise files folder and Melodyne will re-link the file and move forward normally from there. It may also need to regenerate the .mdd files for each of the audio files, so it may take a moment on the first open to do that.
So I'm going to go ahead and open this file, launching Melodyne, and Melodyne is going to recreate the MDD file for each of these audio files since they're not in my exercise files folders right now. This is very much like what you may see if you're opening the file for the first time. If you see a pop-up window that says Missing MDD Files, and it says that they could not be found and were recreated, that's fine if it's the first time you're opening the session. Now, if you've deleted the MDD files, you may run into this again. In that case, you probably should check everything to make sure it sounds right.
Here we are in our Arrangement window, and before we get started, I'd like to thank Eoka, an Underground Sun Recording Artist, for letting us use her song. And I'd also like to point out that the lead vocal that we're going to be manipulating in this course has already been tweaked in the sense that I took a perfectly great performance and made it sound bad so that we had something to work with in this course. So if you'd like to hear the original song, the vocal on that song is actually Eoka's natural performance, and she did not need any of this tuning. The tuning that we're doing here is all just for the sake of education.
Let's open up the Editor window, Shift+Command+E or Shift+Ctrl+E, and I'm going to use the marker I created previously called Full Song to Zoom to the entire song. Now I'm going to go up to the top right-hand corner of the Editor window and select my Lead Vocal_Example track. I'm also going to select my Instrumental so that I can hear the instrumental while I'm working and switch back to my Lead Vocal_Example and make sure that Play visible is selected so that I'm going to hear both the lead vocal and instrumental track. Before I proceed, I'm going to go to the Mixer, with Shift+Command+M or Shift+Ctrl+M, and I'm just going to drop the level of our Instrumental track so that it's not so loud that it competes with the Lead Vocal.
So the reason I'm lowering my Instrumental Fader rather than raising the Fader on my Lead Vocal track is because when I export later, Melodyne is going to export through the level of my Fader. And if I'm going to be mixing in my DAW, I'm probably going to want my finished and corrected Lead Vocal to be at the same level that it was originally in my DAW. But if I raise the level of my Fader in Melodyne and then export, the new level of my exported audio file will be louder than what was in my DAW, which will affect my mix. So I'm going to close my Mixer window, return to my Editor window, and I'll zoom in using the 9 key on the numeric keypad, and locate the first section of vocal on this track, and I'm just going to have a quick listen.
(music playing) And again, this vocal that we just heard is the version that I edited for the course. So what we're going to be doing is treating this as if it were a bad performance that we need to correct. So let's begin by correcting this lead vocal. The first technique that I want to show you is one that I learned from a good friend, and what we do in this technique is we first select our Note Separation tool, and we go through and separate any sibilances, esses, plosives, or note changes within our blobs.
And so for this example let's just go through the first few bars using this technique, and we'll go through and just do a passive separation. So I'm going to zoom in a little bit. (music playing) So I've got a sibilance here, I've got a note slide there, I'll probably leave that, separate this note here. Looks like that sibilance didn't get separated, let me try that again. There we go! (music playing) And just a reminder, I'm separating by just double-clicking with this tool.
(music playing) More of a slide than I might want. Same here at the end. (music playing) Separate the S. And basically, I'm just going through and separating anything that could be a separate note or anything that's a breath or an S. So I'm going to go through a few more bars like this. (video playing) So one thing to point out about separating notes--and what we're going to do is Zoom in so we can see this one note really clearly--is that when we click with the Note Separation tool and separate, it's usually going to separate right where we put the cursor.
But sometimes Melodyne will move the separation just slightly to one side or the other, where it thinks you meant to click. I'm going to undo this edit, Command+Z or Ctrl+Z, and I'm going to put my cursor slightly to the right of that crossing and double-click again. And this time we can see that Melodyne has automatically shifted the placement of my note separation just slightly to the left of my cursor. It has a fairly smart algorithm that detects where the note separation should be. So if you're not exactly on the spot, if needed, Melodyne will make that adjustment for you. I'm going to Zoom back out and continue on. We'll go through maybe bar 12.
So separate a few more of these esses and note changes. (music playing) Sometimes I like to play while I do this so that I can kind of hear what I'm doing. After you've done it for a while, you'll probably also get familiar with just what it looks like. (music playing) So in these two cases, I'm selecting the bottom note, which is really not a different pitch, but it's more of a pitch slide that maybe I want to change a little bit.
So now we're essentially just editing through the beginning of bar 12. So let's scroll our selection back to the first bar, I'm going to Zoom back out just a hair so I can see more of our waveform. And what we can do now is make a selection of all of the notes that we just separated and then use our Correct Pitch tool, Command+Option+P or Ctrl+Option+P, set our Pitch Center. Depending on the type of project you're doing, you'll want to play around with the right setting. I usually like to keep it fairly natural, as with the Pitch Drift, and it automatically will move all of those notes that we just separated to the note that Melodyne thinks that, that note should be on.
Now let's take a listen and see what this sounds like. (music playing) So already we can hear that there are some issues with this. What we would do using this technique is move forward, fix those issues, and also fix the esses and the other pitches that may have been changed that we didn't want changed or that may have been changed to a note that we didn't want them changed to.
I'm going to Zoom in a little, using the 9 key on the numeric keypad, Zoom in a little bit vertically using the 3 key on the numeric keypad, and holding Command or Ctrl, I'm going to scroll to the left so I get back to the beginning of our selection here, and we'll just go through this phrase by phrase. So now I'm going to select my Pitch tool. (music playing) I'm going to slide this note up to the right pitch. (music playing) It's a little bit sharp, so I can pull it down, or I can use my Pitch Modulation to kind of flatten it out a little bit.
(music playing) I'm also going to flatten this one out because it's just a hair sharp at the beginning. (music playing) My next note is sharp, so I'm going to drag it down. (music playing) This note gets a little bit sharp, so I can flatten it out with my Pitch Modulation, or I can also use my Pitch Drift to kind of rotate it a little bit. (music playing) Now, here at the end of the word won't, the note gets a little sharp, and the reason I separated it was so that I could bring it back down and make it a little less noticeable. (music playing) I'm going to scroll back on the word come before down.
What I want to do is flatten this a little bit. And I also want to use my Pitch Drift tool to tilt the curve so that it stays a little more close to center. (music playing) And then at the end of the word down, I'm going to bring the last bit up so that it doesn't go flat. (music playing) I scroll back here, we've got an S. It may or may not have been changed by our pitch change, so what I would do is go to my Edit Pitch and Reset Pitch Center to Original.
And you can see that, that actually did reset the pitch. It may not be even audible, but sometimes it can be a little bit phasey when an S or a breath gets changed in pitch. So I like to reset them just to keep it as natural as possible. (music playing) Okay. So we've got a little work to do in this section. (music playing) Sounds like this is sharp. (music playing) It's a little better.
I'll double-click that to center it a little more, same here. I might try and make this a little bit smoother transition between the two notes. (music playing) And I might flatten out the curve of this next note since it starts just a hair sharp. (music playing) I could do the same thing with the first syllable in tomorrow. (music playing) I'm going to select the S in say again and reset this, and again, when you use something a lot, you're probably going to want to set a shortcut that lets you invoke it without having to go into the menu every time.
And again, we'll look at that in a later video. For now, I'm going to reset to Center, keep listening. (music playing) Just a hair sharp here, so I'll center it and probably flatten it just a bit. (music playing) Flatten this maybe a touch. (music playing) Well, we've got a little pitchiness in here. (music playing) And I went the wrong direction, so let's fix that.
(music playing) All right! What I'm going to do now is use the Pitch Drift tool to kind of flatten this out so that the pitch stays, again, around the center of the pitch throughout the duration of the note. (music playing) But now we hear a little bit of a jumpiness on the transition. So we can use our Transition tool to smooth that out a little bit. And in this case, it's still a bit jumpy, so maybe I'm going to undo this using our nondestructive editing and try a different approach.
Maybe I will separate the note and give it a little bit more natural transition by actually building a bit of a pitch transition in between, and then perhaps taking the top note and flattening the curve instead. (music playing) And again, we still have a little bit of a jumpiness to it, so what we would do is just keep trying different things until we get rid of it. So perhaps what I need to do in this case is make another separation, maybe earlier on, drag that note down. And it's also possible that it's in the actual file itself, and so if that's the case, we can always check that by resetting the entire thing to the default state and listening. Let's see if this fixed it.
So it is still a bit jumpy, so in this case what I'm going to do is Reset all of our Pitch Changes to Original, I'm also going to Reset my Pitch Modulation to Original, and I'm going to Reset the Pitch Drift to Original. A faster way to do this is just to choose Reset All Pitch Related Changes to Original. And now, if we solo this track and go into the Mixer and mute the instrumental, we can hear if this is actually part of the vocal or something that we're doing with the tuning. (music playing) So I do hear a little bumpiness in there.
One other thing I can do to check this is make sure that my note separations aren't causing it. So I can select the Note Separation tool and remove each one by double-clicking on each note separation line to remove it, or I can also just undo several times until I've reverted. And now that we've removed the note separations, I'm just going to listen and see if that jumpiness is still there. (music playing) So I do still hear a little bumpiness in the vocal, which means it could just be something natural in her voice or something that we have no control over changing in Melodyne.
You perhaps could draw that out in Pro Tools or in another application, but for now, we'll just focus on changing the pitch. But this is something that you'll run into from time to time. So moving on, we'll redo our edit here. (music playing) And I want my instrumental track back in. So I'll go back to my Mixer, Shift+Command+M or Shift+Ctrl+M, unmute my instrumental. (music playing) That note should be a little bit higher, so I'm holding Option and dragging it up. (music playing) Maybe not as much as I did. (music playing) So I'll hold Option and go the other direction.
(music playing) These two notes should be lower. (music playing) As should this one. (music playing) And it looks like this transition might be a little longer than I might want, so I'll smooth it a little bit less. (music playing) And last bar here. (music playing) Okay. And that note looks like it was detected on the wrong pitch.
So first, I'm going to separate the breath off of the end. Then I'm going to select both parts of the note. (music playing) Move it to the correct pitch and center it by double-clicking. (music playing) And now we've corrected these first 12 bars using this technique.
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