Finishing up the lead vocals
Video: Finishing up the lead vocalsIn this song, like a lot of pop songs, we have quite a lot of lead vocal tracks, but really there's not a lot of lead vocal tracks, there's just two parts and each part has been quadded. So what we're going to do now is take a look at the second part, and using the techniques that we went over in the previous videos, we're going to edit the first of those two parts, Lead 2a and Lead 2b. So let's first unmute 2a and open that up in our Editor Window. I'm going to choose Play arrangement so we can hear the track playing behind this, as well as the other vocals that are unmuted. In this case I'm just leaving Lead 1a and 1b unmuted, since we never finished 1c or 1d, and let's have a listen.
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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.
- Preparing for a standalone Melodyne workflow
- Setting up a session
- Using a live editing approach for vocal correction
- Batch correcting vocals
- Correcting the pitch and rhythm of vocals
- Creating new background parts
- Adding special effects
- Revising an edit in Melodyne Studio
- Changing the tempo of your audio
Finishing up the lead vocals
In this song, like a lot of pop songs, we have quite a lot of lead vocal tracks, but really there's not a lot of lead vocal tracks, there's just two parts and each part has been quadded. So what we're going to do now is take a look at the second part, and using the techniques that we went over in the previous videos, we're going to edit the first of those two parts, Lead 2a and Lead 2b. So let's first unmute 2a and open that up in our Editor Window. I'm going to choose Play arrangement so we can hear the track playing behind this, as well as the other vocals that are unmuted. In this case I'm just leaving Lead 1a and 1b unmuted, since we never finished 1c or 1d, and let's have a listen.
(music playing) Cool. So we're just going to go through this and do a quick pass. I'm not going to spend a ton of time on this, because it's already pretty close to what I want. So I'm going to use our Automatic Pitch Correction approach that we looked at earlier for our first pass, but I'm only going to correct the first section of the song, I'm not going to do the whole thing yet. So maybe I'll make it a little tighter than we did before. I'm going to go back and listen to the effect of that. (music playing) And I'm going to separate a few notes out that I didn't separate before, because I actually want to keep those as separate notes, and we can go and re-center those, or in the case of notes that may be a little sharper than the center, we can just drag them down as we did before, one at a time.
(music playing) Actually I want to put that got back where it was, so I'll use the key command that I set up earlier for resetting the pitch center to original. (music playing) And all that's fine, I just want to take the breaths and S's out of there. So I'm going to go through and separate the stuff that I did not separate before. And this is why I like to do it in advance just because it's that much easier, and we can just select each one now, reset it to original with whatever key command you have set.
This will just help keep the audio a little cleaner, because we're not introducing any unnecessary changes. (music playing) Okay, I want to make that but... (music playing) ...land on the same note. (music playing) For some reason the pitch isn't detected, which happens once in a while. (music playing) You just have to move it until it sounds right.
(music playing) And get the S's and those sort of things separated out. (music playing) Tighten up pay. (music playing) Fix that. (music playing) And get this S out of there. (music playing) Cool. And now we're going to jump ahead and look at the part in the chorus.
This is the chorus B line. (music playing) I'm going to want to tighten that up a bit. So this time I'm going to go and make my separations first, I have got a ton of them. Excluding the breath that I separated, let me go ahead and just use this double-clicking technique and grab the notes that I know I want to change. (music playing) Keep that a little tighter. Grab that S that I missed, reset its pitch center.
(music playing) And maybe I'll tighten up the Pitch Modulation a little bit to make it a little bit tighter. (music playing) Cool! Now let's look at the second half of that. (music playing) And do the same thing there. Make our separations, take the T out of it, deselect. (music playing) There's a couple of melodic changes I'm going to make here actually.
I'm going to switch these notes around, and I'm going to drop this note. (music playing) See what that sounds like. (music playing) So that's actually the melody that I'm going to use there in the song. And we're going to use one of the techniques we looked at earlier, which is making this note a little bit louder with the Edit Amplitude tool. And I'm probably going to tighten up the Pitch Modulation a little bit. (music playing) And I want this a little bit tighter. (music playing) Cool. And again, since this is the chorus, and it repeats, I can just get that section that I have finished, select it, in this case I haven't separated the breath yet, so I'm going to include the breath.
I'm going to go and make a selection of what I'm pasting and paste that in there, and you can see that this section has been replaced with the corrected version. (music playing) Now let's go and make Lead 2b match what we have just done here. Well, first let's unmute 2b, and just do a quick pass again, using our Automatic Pitch Correction tool. Now that I know which separations I want to include and which things I don't want to include, it's going to be a lot faster, because I have already done this process once, so I can literally just mirror what I did the first time.
(music playing) As irritating as that sound can be, it can really help you find the center of the pitch. (music playing) So again just make my separations, the breaths out of there, and reset the pitch center on all of those. And again, if we want to tighten it up a little bit, we can make the Modulation a little bit less noticeable.
(music playing) Couple of notes I might do a little bit more on. (music playing) Cool. Moving on. (music playing) Again, I want to move that but up to the right note. (music playing) Make that can't on the right pitch as well. (music playing) And tighten up a few more things, but we're more or less there. (music playing) So there's some stuff in here we have got to correct, and just start by doing a Manual Batch Correct, by double-clicking, fix the note that I know needs to be fixed, make a few separations.
(music playing) And then just tighten it up a hair, pretty much there with this one. (music playing) And then we'll get to the chorus and do the same thing on the B line in the chorus. (music playing) I'm just going to tighten up the Modulation on these as well just like we did on the other one. (music playing) And we'll grab the second half of the chorus, and double-clicking is really the same thing as using our Correct Pitch, it's just that you have a little more control over how close to center you can get when using the Correct Pitch feature.
Let's tighten up the modulation a bit. (music playing) And we have got to change those same notes that we changed in the other part. (music playing) And I'm going to make this a little bit louder like I did before. I may actually want to use a little bit of format change on both of these notes just to change the naturalness of that sound, but it doesn't sound too altered. (music playing) Make the throat sound a little bigger since she's singing a lower note basically.
And then again, I'm going to select and copy and paste. This time I don't have to grab the breath since the breath is already separated on the second half of the repeated chorus, and we're going to copy and paste it like we did on Track 2a, so that they match, since this is literally a double of what's on 2a, and we can just double check it by listening to a snip. (music playing) Cool! So you know it's in the right place, because the timing sounds right. So now that we have gone through a couple of each of the lead vocal parts, both the A line and the B line, or Lead Vocal 1 and Lead Vocal 2. Let's take a moment to go through the rest of the lead vocal parts on your own.
So that would be finishing Lead 1c and 1d and Lead 2c and 2d, and then go through and polish the Adlibs track on your own, using the techniques that we have looked at in this chapter.
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