IntroductionWelcome| 00:03 | Hi, I am Skye Lewin, and welcome
to Melodyne Advanced Techniques.
| | 00:08 | The beauty of Melodyne is that its range of
applications and tools can help you make an
| | 00:12 | unusable performance usable, and it can help you
take a solid performance and make it pop perfect.
| | 00:18 | In this course we will start off by looking
at some of the different ways that you can
| | 00:22 | use Melodyne to edit multiple tracks or vocals...
(music playing)
| | 00:27 | ...and then we'll actually delve into
preparing the elements and importing them into
| | 00:31 | Melodyne Studio to work in a stand-alone workflow.
| | 00:34 | Once we are ready to get to work, we'll
look at various techniques for altering the
| | 00:37 | pitch and rhythm of the lead vocal--or
vocals, as is the case in this course.
| | 00:42 | (music playing)
| | 00:46 | And then we will polish the
background and harmony vocal parts.
| | 00:49 | (music playing)
| | 00:54 | When we are happy with the result of our work,
we'll export our finished tracks for
| | 00:58 | Melodyne Studio and import them back into our DAW,
| | 01:01 | then we'll explore how we can
revise and update our vocal tracks.
| | 01:03 | We will also look at a few examples of how we
can use Direct Note Access, or DNA, in Melodyne Editor,
| | 01:09 | also known as Melodyne Single Track.
| | 01:11 | We will learn how to change the tempo of
our recordings, and we'll play with MIDI and
| | 01:15 | instruments in Melodyne.
Let's get to it.
| | 01:18 | (music playing)
| | 01:23 |
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| Using the exercise files| 00:00 | If you are a Premium Member of the lynda.com
online training library, you have access to
| | 00:04 | the exercise files used throughout this course.
| | 00:07 | In our Exercise Files folder,
we have three subfolders.
| | 00:10 | In our DNA Examples folder, we have two
examples that we'll use when we examine Melodyne's
| | 00:15 | Direct Note Access technology.
| | 00:17 | In the Girl Got Attitude folder, we have our
Pro Tools session for the Girl Got Attitude
| | 00:21 | song, and in the Audio Files folder, we have
each of the audio tracks that we're using
| | 00:25 | in that session and with each of the audio
tracks, we have the MDD file for each of those
| | 00:30 | audio tracks that Melodyne will reference
when we open the Melodyne session and in our
| | 00:34 | Melodyne folder, we have a Melodyne project
file for each video, so that if you want to
| | 00:39 | jump in at any point in our course you can
just open the project file that corresponds
| | 00:43 | with the video you're watching.
| | 00:45 | If you are a monthly, or annual member, you
won't have access to the exercise files but
| | 00:49 | you can certainly follow along
using your own example material.
| | 00:52 | Now let's get started with
Melodyne Advanced Techniques.
| | 00:57 |
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| What you should know before watching this course| 00:00 | There's a few things you should
know before we dive into this course.
| | 00:03 | This course assumes you have a basic understanding
of digital audio principles and that you're
| | 00:08 | familiar with your DAW. We're going to use
Pro Tools in this course, but you are welcome
| | 00:11 | to use any DAW that you like as we go along.
| | 00:14 | This course also assumes you have a basic
understanding of Melodyne Studio and Melodyne Editor,
| | 00:18 | so you may want to watch the Melodyne
Studio Essential Training Course right here
| | 00:22 | on lynda.com before proceeding.
| | 00:25 |
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1. Preparing to Work in MelodyneSetting Melodyne preferences and keyboard shortcuts| 00:00 | Before we get started, let's set some shortcut
keys to make working in Melodyne more efficient.
| | 00:05 | You may already have your own shortcuts set,
but if not, feel free to assign any shortcut
| | 00:08 | keys that work for you.
| | 00:10 | The beautiful thing about Melodyne Studio is that
you can assign shortcut keys for nearly every function.
| | 00:15 | So if you find down the road that you're
missing a shortcut that might make your workflow more
| | 00:18 | efficient, you can always
go back and add it later.
| | 00:21 | So for now, let's open Melodyne Studio.
| | 00:23 | You can either create a new session or open
the Girl Got Attitute_01_01 session file in
| | 00:30 | the Melodyne folder of the Exercise Files folder.
Either way, you'll end up with a blank session.
| | 00:34 | We haven't modified anything yet.
| | 00:37 | The first thing we're going to do is go to
the Melodyne menu and open the Preferences
| | 00:41 | Command or Ctrl+Comma, and we're going
to choose Short Cuts from the menu.
| | 00:46 | And under this menu we can edit the shortcuts for
nearly everything that we're going to do in Melodyne.
| | 00:52 | So here you can see Short Cuts for which
window we want to open, and most of these we can
| | 00:56 | leave just as they are.
| | 00:58 | Shift+Command+E will open the Editor, Shift+Command+M
for the Mixer, Shift+Command+T for the Transport
| | 01:03 | Bar, these are all the main
windows that we will be working with.
| | 01:07 | Under our File Commands we have the normal
New, Open, Import, Create New Tracks--or as
| | 01:12 | they call it, Insert Empty
Tracks, that sort of thing.
| | 01:15 | And again, we can probably
leave all of these as they are.
| | 01:18 | Let's skip down to our Edit Commands
and here you may choose to modify them.
| | 01:22 | I personally like to change my Undo and Redo
to mirror the Command Focus mode in Pro Tools
| | 01:27 | so I change Undo from Command, or Ctrl+Z, to
simply Z, and I change Redo from Shift+Command,
| | 01:33 | or Shift+Ctrl+Z, to simply Shift+Z.
| | 01:36 | Likewise, I'll change Cut from Command, or Ctrl+X,
to X, and copy from Command, or Ctrl+C, to C,
| | 01:45 | and paste from Command, or Ctrl+V, to V.
| | 01:49 | And again, this mirrors the Command Focus
mode in Pro Tools where you can make all these
| | 01:52 | simple editing commands with a single key
rather than modifying it with Command or Ctrl,
| | 01:57 | and it saves a tiny little
bit of time, but it adds up.
| | 02:00 | Now there are a lot more under the Edit Commands,
most of which we don't need to get into, but
| | 02:04 | this is the kind of thing where if you find
a certain function that you keep using, you
| | 02:08 | may want to come back here and add a shortcut.
| | 02:10 | One that I know I am going
to use a lot is Edit Pitch.
| | 02:12 | So I always like to go in and set a key
command for Reset Pitch Center to Original, since
| | 02:16 | I use that very, very frequently.
| | 02:18 | So I am going to set Shift+Command+P, you
can set Shift+Ctrl+P, you can set any key
| | 02:22 | command that is convenient for you and
doesn't conflict with something else already in use.
| | 02:27 | And then let's go and look at
our Tools commands just below that.
| | 02:30 | This allows us to select all the
different tools that are available in Melodyne.
| | 02:35 | Again you can set any key command
that you like for any of these tools.
| | 02:39 | I'd like to use the numbers 1
through 9 just below the Function Keys.
| | 02:42 | So I'll set my Main tool to 1, Pitch tool
to 2, Pitch Modulation to 3, Pitch Drift to 4,
| | 02:49 | Formant to 5, Amplitude to 6, and so on
| | 02:53 | so that my Note Separation tool ends up at 9,
and my Segment Separation tool ends up at 0.
| | 02:59 | And I can leave this Select Previous tool,
and we can look at the rest of our Transport
| | 03:03 | Navigation Options. Most of these you'll
probably want to leave alone, but you can always come
| | 03:07 | back in and modify them if it'll
make your workflow more convenient.
| | 03:10 | Same thing for Real-Time Play Offsets,
which we may or may not use in our workflow, and
| | 03:14 | the various options as well.
| | 03:16 | So again, just knowing that this option is
here is a really, really powerful thing because
| | 03:20 | you can customize exactly how
Melodyne Studio will work for you.
| | 03:24 | One other Preference we should look at
before we get started is under the Recording tab.
| | 03:28 | Here let's set a location for the
audio folder for unsaved arrangements.
| | 03:33 | In the workflow that we'll use primarily in
this course we won't need this, but if you
| | 03:36 | were to use Melodyne Studio on your
specific workflows this is where the audio that you
| | 03:40 | import would be saved.
| | 03:42 | So let's click the Set button. For the purposes
of this course, I am going to select the Melodyne
| | 03:46 | folder and create a new
folder and call it Audio Files.
| | 03:50 | You can call it anything you want.
| | 03:52 | But this is basically where
Melodyne will save any new audio recorded.
| | 03:55 | You can also change the setting with each
project if you want the audio to be saved
| | 03:59 | in the same folder with the rest of your
project, or you can set a universal folder, perhaps
| | 04:03 | in your shared folders or your documents
where Melodyne will save audio for every single
| | 04:08 | project regardless of where
the rest of the project is saved.
| | 04:11 | So if your audio files are, perhaps, on an
external hard drive, you can still have Melodyne save
| | 04:15 | the audio files into the audio folder specified on
your computer and not on that external hard drive.
| | 04:21 | So let's choose this Audio Files folder, or whatever
you named yours, and we can close the Preferences.
| | 04:26 | Now let's get ready to do some editing.
| | 04:31 |
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| Utilizing Melodyne with your digital audio workstation (DAW) through Melodyne Bridge| 00:00 | Now that we're ready to get to work, let's
choose a workflow that's best for our needs.
| | 00:04 | One of these options is using the
MelodyneBridge, and this is a great way to use Melodyne.
| | 00:08 | Just make sure that your system has enough
power to handle running your DAW and Melodyne
| | 00:12 | concurrently, and most systems these
days will have enough juice to do that.
| | 00:15 | One of the best parts about using
MelodyneBridge is that you don't have to first export the
| | 00:20 | audio from your DAW and then import it into
Melodyne in order to work, because you can
| | 00:24 | simply transfer the audio through
the MelodyneBridge into Melodyne.
| | 00:28 | So let's look at how we can set this up.
| | 00:30 | We're going to open our Girl
Got Attitude Pro Tools session.
| | 00:33 | If you get a pop-up warning that some
paths were made inactive because they could not
| | 00:36 | be assigned to existing path definitions,
you don't have to check it out, but if you
| | 00:40 | want to, go ahead and click Yes. I'm going
to click No, and I'll show you why we don't
| | 00:43 | need to worry about it in this session.
| | 00:44 | We're going to go to our Mixer with Command+Tilde
or Ctrl+Tilde, and you can see here that the Inputs,
| | 00:49 | A 1 and 2, A 1, all across on all the tracks are
deactivated, and that was what that warning is about.
| | 00:56 | And since there are all Inputs, and we're
not actually going to be recording anything
| | 00:59 | onto these tracks, we don't
have to worry about that right now.
| | 01:01 | So you can safely ignore that.
| | 01:03 | Now, if you want that message to go away,
you could assign a different Input that is
| | 01:06 | part of your I/O Setup, and that would no
longer prompt you every time you open the section.
| | 01:11 | So let's Command+Tilde or Ctrl+Tilde back to our
Edit Window, and we can now see in our session
| | 01:15 | we have got our Instrumental track on top,
we have got eight different Lead vocals, we have got
| | 01:20 | an Adlibs track, and we have got 24
different background Vocal tracks beneath that.
| | 01:25 | So if we wanted to put MelodyneBridge on our
eight Lead Vocal tracks, we'd go back to the
| | 01:29 | Mixer, and on the track that you want to pipe into
Melodyne, you're going to choose plug-in > Other > MelodyneBridge.
| | 01:36 | This will open the MelodyneBridge plug-in,
and it will also launch Melodyne.
| | 01:40 | Now, you can see it opened in untitled
arrangement. If you already have a session saved that you
| | 01:45 | want to work with, you can simple close
Melodyne and open the session that you want to use.
| | 01:50 | And so now it's going to
communicate with this Melodyne session.
| | 01:53 | And going back to our plug-in,
you can see Connect to Track 1.
| | 01:58 | So I want to select Connect
to Track 1 from the Connect to.
| | 02:02 | Now, one thing that I should point out is
that if Melodyne is already open when you
| | 02:06 | launch this, it may not actually find Melodyne
in the background, so the best way to do this
| | 02:11 | and make sure you get a consistent result
is to make sure that your DAW--in this case
| | 02:15 | Pro Tools--and Melodyne Studio
are both quit before you start this.
| | 02:19 | So open Pro Tools, then insert your
MelodyneBridge plug-in and let that open Melodyne, and that
| | 02:24 | way you'll make sure you
get a connection every time.
| | 02:26 | Now we have got the plug-in inserted on the
Lead 1a track, and it's connected to Track 1.
| | 02:31 | Let's also set up
MelodyneBridge on Lead 1b, C, and D.
| | 02:35 | So another quick way to do that in Pro Tools,
first let's turn off the Groups, which is
| | 02:39 | Shift+Command or Shift+Ctrl+G.
| | 02:41 | I'm going to select just the
three tracks that I want to use.
| | 02:44 | I'm going to hold Shift+Option or Shift+Alt, and I'm
going to again select plug-in > Other > MelodyneBridge,
| | 02:50 | and it's going to activate
three new MelodyneBridge plug-ins.
| | 02:53 | Right now, I have my Lead 1b track connected, so
I'm going to connect it to Track 2 in Melodyne.
| | 02:57 | I'm going to go to my Lead 1c track, I'm
going to connect it to Track 3 in Melodyne Studio.
| | 03:04 | And I'm going to set 1d to Track 4.
| | 03:07 | Now, you'll see that all of these are set
to Playback. What we want to do before we
| | 03:11 | actually can do any work in Melodyne is transfer the audio
from Pro Tools--or whatever DAW you're using--into Melodyne.
| | 03:18 | So we're going to click Transfer on all of
the tracks that you're using in MelodyneBridge,
| | 03:23 | and then you're going to locate your
cursor to right before where the audio starts so
| | 03:26 | that you don't have to
record a bunch of blank space.
| | 03:28 | And we're going to hit Play in Pro Tools.
| | 03:31 | (music playing)
| | 04:00 | And so as soon as I hit Stop, you can see
that MelodyneBridge plug-in automatically
| | 04:04 | switches from Transfer to Playback, and when
I tab back over to Melodyne, you can see that
| | 04:09 | the information that we just
recorded into Melodyne is all visible.
| | 04:13 | So now I can work right within Melodyne, and
it's just like using Melodyne in stand-alone mode.
| | 04:20 | But I can also choose to play back from
within Pro Tools, and instead of hearing the track
| | 04:25 | that's playing in Pro Tools--and we can
show this by muting that track, so now there is
| | 04:30 | nothing playing on this track in Pro Tools--
| | 04:32 | if I play from that same location in Pro Tools,
I'll hear the output of Melodyne coming through
| | 04:36 | that track through the MelodyneBridge plug-in.
(music playing)
| | 04:43 | So now any changes we make in Melodyne, and
just as a quick example let's make an obvious
| | 04:47 | change, I'm just going to shift this all
into a different key so it's really obvious.
| | 04:52 | So now that we have moved this into a
different key, we can listen again in Pro Tools, and
| | 04:56 | we should hear, and this won't sound good,
because it's in the wrong key according to the music.
| | 05:00 | (music playing)
| | 05:03 | So we can tell that we're listening to the
output of Melodyne through the Bridge plug-in.
| | 05:07 | I'm going to undo what I just did in Melodyne.
| | 05:09 | And basically, we can use this as either a
way to patch audio, so if we just wanted to
| | 05:14 | fix certain little sections, this is a really
good way to patch that section of audio without
| | 05:20 | having to export the entire track.
| | 05:22 | And it's also a really good way to work
with the entire session, if you wanted to just
| | 05:25 | use Melodyne essentially in stand-alone mode
but have Pro Tools be able to control playback
| | 05:30 | as well, MelodyneBridge
is a great option for that.
| | 05:33 | One of the downsides, though, is that you
only have eight tracks that you can use.
| | 05:36 | So in a session like this, we'd
have to do it in separate chunks.
| | 05:39 | So you'd have to have a session for your
lead vocals, and you'd have to have a separate
| | 05:43 | session for each section of eight of your
background vocals, which is usually fine.
| | 05:48 | However, if you want to be able to ensure
that all the audio is perfectly in sync with
| | 05:51 | itself, or you want to work on timing things between
multiple tracks, you may choose a different workflow instead.
| | 05:57 | If you do use MelodyneBridge for your workflow,
when you're done, you can either export the
| | 06:01 | audio from Melodyne, which we'll look at
later in the course, or you can route it back into
| | 06:06 | Pro Tools and record it to
a new track in Pro Tools.
| | 06:09 | And for a quick recap of that, check out the
Melodyne Studio Essential Training course.
| | 06:14 | One other thing that I should point out is
that when you're using MelodyneBridge, and
| | 06:17 | when you import audio or transfer audio
through MelodyneBridge into Melodyne, the audio is
| | 06:21 | going to be stored in a new folder and not the
folder that you already set in your Preferences.
| | 06:25 | So let's take a quick look.
| | 06:26 | In our Exercise File Folder, and you can see
that a new folder was created, and here are
| | 06:30 | the Track 1, Track 2, all the files
that were created from that transfer.
| | 06:34 | In addition to using MelodyneBridge, we can
also use ReWire to allow our DAW to work in
| | 06:38 | conjunction with Melodyne.
We'll look at that in the next video.
| | 06:42 |
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| Utilizing Melodyne with your DAW through ReWire| 00:00 | Now let's look at another way that we can
use Melodyne in conjunction with our DAW.
| | 00:04 | Let's look at how to set up ReWire.
| | 00:06 | So first make sure that Pro Tools and
Melodyne are both quit, because we're going to use
| | 00:10 | a different method of connecting the two, and
if they're not quit it may not function properly.
| | 00:14 | So let's first open Pro Tools, we're going to
open our Girl Got Attitude Pro Tools session.
| | 00:19 | And once the session is open, we're going
to go to our Mixer, and on our Lead 1a track,
| | 00:24 | we're going to choose plug-in > Instrument >
Melodyne, and this is going to launch Melodyne, and
| | 00:30 | we're going to choose ReWire from the pop-up
that says, How would you like to connect Melodyne
| | 00:34 | to the running host application. So we're
choosing to connect Melodyne via ReWire with
| | 00:39 | Pro Tools, in this case--or our DAW as the host.
and once Melodyne finishes loading we can
| | 00:44 | then open our Melodyne session file, I'm
going to switch to the Finder, go to our Melodyne
| | 00:49 | folder and open our Girl Got Attitude_01_01
Melodyne project file, I'm going to switch
| | 00:54 | back to Pro Tools, and in the ReWire plug-in
I'm going to choose the output for Channel 1
| | 01:00 | on Lead vocal 1a.
| | 01:02 | Now if this is connected properly, when I
press Play in Pro Tools, Melodyne will also play,
| | 01:06 | so let's take a look at that.
(music playing)
| | 01:12 | Now we can see it works.
| | 01:13 | Now likewise, I should be able to stop it
like I just did for Melodyne or also press Play
| | 01:17 | in Melodyne and Pro Tools is also playing,
and we can check out how this works by going
| | 01:24 | to our Transport window in Melodyne with Shift+Command+T
on a Mac or Shift+Ctrl+T on Windows, and in
| | 01:30 | the bottom left-hand corner where we find
the Sync option, you should see Link Transport
| | 01:35 | to ReWire Host checked, and this means that
the transport from both Melodyne and the ReWire
| | 01:40 | host, or Pro Tools in this example, are linked so
that I can control play back from either application.
| | 01:45 | I am going to go back to Pro Tools Mixer,
and I'm going to assign ReWire outputs to
| | 01:50 | the other Lead vocal 1 tracks.
| | 01:52 | So again I'm going to ungroup
Shift+Command+G or Shift+Ctrl+G.
| | 01:56 | Another option is just to disable the one
group that you need out of the way so that
| | 01:59 | you can simply select the three
tracks that you want to work with.
| | 02:02 | In this case Lead Vocal 1b, C, and D, we're
going to hold Shift+Option or Shift+Alt, and
| | 02:08 | assign plug-in > Instrument > Melodyne to those
other four tracks, it's going to pop-up our
| | 02:14 | Melodyne session again real quick.
| | 02:15 | We're going to switch back to Pro Tools and
on our 1b track we're going to assign Channel
| | 02:20 | 2, 1c we'll assign to Channel 3,
and 1d we'll assign to Channel 4.
| | 02:26 | So now we have Lead Vocal 1a, B, C, and D all
communicating with tracks 1, 2, 3, and 4 in Melodyne.
| | 02:34 | Now let's get our audio into Melodyne.
| | 02:36 | So the first thing you'll need to do is in
your DAW finish your comp and have a single
| | 02:40 | audio file that represents the entire COMP
to vocal, which in this case we have already
| | 02:45 | done, so these four files are what
we're going to import into Melodyne.
| | 02:49 | Now you can either choose those four files
directly from your Audio Files folder, which
| | 02:54 | in this case, will be in our Girl Got
Attitude Pro Tools session file, Audio Files at the
| | 02:59 | bottom of the list we'll see Lead 1a COMP,
Lead 1b COMP, et cetera, and we could import
| | 03:05 | those audio files into Melodyne.
| | 03:07 | Now if you don't want to use the files in
your Pro Tools folder for some reason or if
| | 03:11 | you want work off of a different driver, for
whatever reason you want to separate the two,
| | 03:15 | you could instead choose to export the audio
from Pro Tools. You can export from Pro Tools
| | 03:19 | using Shift+Command+K or Shift+Ctrl+K, and
select the File Type, the Format, the Bit
| | 03:24 | Depth et cetera, choose where you want to
save the files and export those files, and
| | 03:29 | then you can import those files into Melodyne.
| | 03:31 | But for the purposes of this course I'm just
going to use the ones that are in the Audio
| | 03:34 | File folder that we don't to have two
copies and use twice as much disk space.
| | 03:39 | So let's go back to Melodyne, and I'm going
to use the key command for Import Audio File,
| | 03:45 | which is by default Shift+Command+O or Shift+Ctrl+O,
I'm going to go into my Pro Tools session
| | 03:50 | folder for Girl Got Attitude into the
Audio Files folder, and I'm going to select the
| | 03:54 | four tracks that we found earlier Lead 1a COMP
through Lead 1d COMP, and I'm going to choose Open.
| | 04:00 | I can leave the default of Open region
selected, which will include any user timestamps, you
| | 04:06 | can also choose Open entire file, but it
won't read the user timestamp. In this case it's
| | 04:10 | not really necessary, and I'm going to
choose OK and Melodyne is going to import each of
| | 04:15 | those four files one at a time, and it's
going to detect the pitch on each file as it does
| | 04:20 | it, so it can take a minute.
| | 04:21 | If you have a lot of files that you're
importing this way, it'll take a little bit more time.
| | 04:25 | One thing to note is that if you're using
the exercise files instead of creating your
| | 04:28 | own session from scratch, Melodyne won't detect
the audio as it imports, because the MDD files
| | 04:33 | already exist in the exercise files.
| | 04:35 | You will notice in this case, Melodyne is
warning us that the session file has a different tempo
| | 04:40 | than the audio that we're working with.
| | 04:42 | So in this case, our Pro Tools session and
our song is at 122 beats per minute, but our
| | 04:48 | Melodyne session file is still set to 120
beats per minute, so we don't want to stretch
| | 04:52 | the audio in this case, but in another
instance you might, but for now let's click Keep.
| | 04:57 | After we finish importing the rest of this
audio, we should change the tempo in Melodyne
| | 05:01 | to match the tempo in Pro Tools.
| | 05:03 | So we'll click OK on each of the files,
let them detect the pitch and finish opening.
| | 05:09 | So now that we have imported all four of
those tracks, let's correct our tempo so that it
| | 05:12 | matches our Pro Tools session.
| | 05:13 | So we're going to open the Transport Bar,
we'll Shift+Command+T or Shift+Ctrl+T.
| | 05:17 | Now we're going to change our tempo to the
correct setting of 122 beats per minute, then
| | 05:23 | you can hit Return to set that, and now any
further audio that we import will not warn
| | 05:28 | us to keep the tempo or
stretch the tempo to match.
| | 05:31 | So now we have audio in our
Melodyne session, and we can begin working.
| | 05:35 | One of the benefits to using this method, as
well as the MelodyneBridge method, is that
| | 05:38 | you can listen to your mix through your DAW's
mixer, in other words, if you have any plug-ins
| | 05:43 | or any level settings in your Pro Tools
session or your logic session or whatever your DAW
| | 05:47 | is you'll listen to that instead of what
you hear only through Melodyne's mixer.
| | 05:52 | One of the downsides, again, is that you only
have eight channels that you can use to communicate
| | 05:56 | with your DAW. And in this case, we're going
to use a different workflow for the rest of
| | 06:00 | this course, because we're going to be working
with a lot more than eight channels at a time
| | 06:04 | that we want to be able to manipulate
in the same session at the same time.
| | 06:09 |
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| Using Melodyne in a standalone workflow| 00:00 | Through the rest of this course we will be
working with Melodyne in a stand-alone workflow.
| | 00:04 | You can follow along working the same way
or if you want you can follow along using
| | 00:08 | MelodyneBridge or ReWire, if you prefer.
| | 00:11 | But first, let's look at
preparing the rest of our elements.
| | 00:13 | I am going to go back into our Girl Got
Attitude Pro Tools session. And I just want to point
| | 00:18 | out a few things about the way the session
is set up so that it will work quickly and
| | 00:22 | easily with Melodyne.
| | 00:24 | So the first thing I have got is I have
already created a stereo balance of the instrumental
| | 00:28 | track, and what that is let's just take a
quick listen is it's basically the instrumental
| | 00:32 | track which I am sure you know,
means there are no vocals in the track.
| | 00:35 | So at any point in the song...
(music playing)
| | 00:42 | ...it's just the instrumental elements in the song
and all the vocals are on their own separate tracks.
| | 00:47 | So now below that we have got all the tracks,
and in this example, I have already COMPed
| | 00:51 | them all, which means that essentially I
have already made all of my edits and gotten the
| | 00:54 | vocal where I want each performance on each
track, and I have already combined, or consolidated,
| | 01:00 | all of those edits down into one file.
| | 01:02 | And one thing I want to point out is that all of
those files start at the exact same moment in time.
| | 01:07 | At this point, they start at -1 bars,
however you do it can be different, but I like to
| | 01:12 | start it so that the music starts at bar 1, and I
have two bars of pre-roll before the music starts.
| | 01:17 | So in this case, we have all the files starting with
that exact same two bars of pre-roll on every track.
| | 01:23 | So what that means is that we can import
those files right into Melodyne and line up the
| | 01:27 | starts of all the files right in the same
place and everything will play perfectly in
| | 01:30 | sync, and we don't have to do any
movement or adjustment of files later.
| | 01:33 | What you can do, and sometimes there is a
benefit to that, because if you have a track,
| | 01:38 | for example, that only has a little bit of
audio at the very end, like our Adlibs_COMP
| | 01:42 | in this example, I am just
going to take a look at that file.
| | 01:45 | At the end of the track you can see the Adlibs
come in, but they are not playing at the beginning.
| | 01:49 | So it might make sense to start the file here
and just import that little clip into Melodyne.
| | 01:55 | However, that would mean we would then have
to move that clip later in the timeline so
| | 01:59 | that it plays in the right
place along with everything else.
| | 02:02 | But we are not going to worry about that now.
| | 02:03 | We are going to make everything
start right at the same point in time.
| | 02:07 | Once that's all done, you can either
choose to import those audio files directly from
| | 02:11 | the Audio Files folder where Pro Tools
references those files, or you can export the files from
| | 02:16 | Pro Tools into another location, and either
way has its benefits or its downsides, it's
| | 02:20 | really your choice what you are going to do.
| | 02:22 | For the rest of this course we are going to
use the same audio files that are in our
| | 02:26 | Pro Tools' Audio Files folder.
| | 02:27 | So let's quickly tap back to the Finder,
and in the Finder, in our Audio Files folder,
| | 02:32 | you'll see all those tracks are already
there, already COMPed, and ready to go.
| | 02:37 | And you can see, for the four files that we
already imported, Melodyne has already written
| | 02:41 | an MDD file for each of those audio files.
And Pro Tools will just ignore that file,
| | 02:46 | so it's not really going to interfere, other than
that there are more files in your Audio Files folder.
| | 02:50 | We can quit Pro Tools now and go back to
Melodyne and open Girl Got Attitude_01_04, which will
| | 02:58 | pick us up where we left
off after the last video.
| | 03:00 | We already have the first four tracks imported.
| | 03:02 | So again, let's import the rest of these tracks,
Shift+Command+O or Shift+Ctrl+O, is the default
| | 03:08 | key command--you can change that if you like--
and I am going to pick up where we left off
| | 03:12 | by importing the rest of the lead vocals.
| | 03:15 | So I will go ahead and select the rest of those
and click Open, and we will import the Region.
| | 03:21 | One thing to note is that if you're using
the exercise files, instead of creating your
| | 03:24 | own session from scratch, Melodyne won't detect
the audio as it imports, because the MDD files
| | 03:30 | already exist in the exercise files.
| | 03:32 | So now that we have got all four of our lead vocal
tracks imported, let's import the rest of our tracks.
| | 03:37 | I am going to import the instrumental
track next, so let's find it in our Audio Files
| | 03:41 | folder here, and that's Girl Got Attitude_
Abridged Instrumental_122 bpm.wav, I am going to Open
| | 03:47 | that, and you can lay this out however you like.
| | 03:50 | I personally like to have the instrumental
at the very top, so I am going to click and
| | 03:53 | drag it up and move it so
that it's the first track.
| | 03:56 | From here, let's finish importing the rest
of our Audio Files, I am going to import the
| | 03:59 | Adlibs and all 24 background vocal tracks.
I am going to select those and click Open.
| | 04:06 | So as Melodyne imports the audio for each
of these tracks, it's going to detect the
| | 04:10 | pitch, and so it takes a little bit
of time for each track to be imported.
| | 04:13 | So as you do this, don't be alarmed if it
takes a lot longer than it did for us in the
| | 04:17 | video, we just cut ahead to make it
quicker for the sake of the video.
| | 04:21 | So now I have got my session
more or less laid out how I like it.
| | 04:23 | I have got my instrumental on top and my lead
vocals, and just below my lead vocals I have
| | 04:28 | got my Adlibs, and then
all of my background tracks.
| | 04:31 | For this course I have combined my backgrounds
into as few tracks as possible, but oftentimes
| | 04:35 | what you may want to do in a real world
example is have all the backgrounds for the chorus
| | 04:40 | on one set of tracks, and perhaps the pre-chorus
and the bridge on different sets of tracks,
| | 04:44 | so that you have a little
more control over mixing.
| | 04:46 | Now, you can still do that later, but sometimes
it's faster to condense them so that you actually
| | 04:51 | have fewer tracks in your Melodyne session.
| | 04:54 | So now that I have got all of my tracks in
here, there is another key command I remembered
| | 04:57 | that I want to set up that will help
make navigating the session a lot easier.
| | 05:00 | So I am going to go back into my Preferences,
I am going to go back to Short Cuts, and go
| | 05:04 | to Transport and Navigation, and we will
scroll down to Zoom, and there's a couple of Zoom
| | 05:09 | settings that I like to set.
| | 05:11 | And again, these kind of mirror what I am
used to in Pro Tools, with Command Focus enabled,
| | 05:15 | so I will make my Zoom In, Shift+T, which is
zooming in both vertically and horizontally,
| | 05:20 | I will make my Zoom Out, Shift+R.
| | 05:22 | You can leave these if you like, the defaults,
they are actually not bad having 1, 3, 9,
| | 05:27 | and 7, but I like to have Zoom In (horizontally)
match Pro Tools' T, and I like to have Zoom
| | 05:32 | Out (horizontally) match Pro Tools' R.
| | 05:34 | And the one that I really want to set right
now is No Zoom or Show All, I set to Option+A,
| | 05:39 | or Alt+A on Windows.
| | 05:40 | So I have set these to key commands that are
comfortable for me, but feel free to use any
| | 05:44 | key command that works for you.
| | 05:45 | I am going to close our Preferences,
and we can try these new key commands out.
| | 05:49 | So we can zoom in and zoom out, we can zoom
in horizontally and zoom out horizontally,
| | 05:55 | and we can zoom in vertically
and horizontally at the same time.
| | 05:59 | And so one other thing I wanted to show you
before we move on is if you want to have a
| | 06:02 | quick way to zoom to the whole
session all at once, we can use a Marker.
| | 06:05 | So first, let's zoom all the way out, you
can use the key command you just set, or you
| | 06:09 | can hold Command+Option or Ctrl+Alt, to bring
up the magnifying glass and zoom all the way
| | 06:15 | to the full session by dragging left and right.
So dragging left will zoom us all the way out.
| | 06:19 | Here we can see the left, which is our in point,
and the right Marker, which is our out point.
| | 06:25 | So if we drag the right Marker to the end of
our session here, we can then go to Navigation
| | 06:30 | and Create Marker, or use the key command
Option+C or Alt+C, and let's call this Full Song.
| | 06:37 | Once we hit Return, we now have a navigation
point under the Zoom to menu that we can recall,
| | 06:42 | and it will bring us to that point.
| | 06:44 | So at any point if you're working, and you
want to go back to the Full Song, you can
| | 06:47 | simply choose Zoom to > Full Song, and now
you can see the whole song in one screen.
| | 06:53 | We already set our tempo, but if we hadn't, we
would go now to our Transport Bar, Shift+Command+T
| | 06:58 | or Shift+Ctrl+T, and enter our tempo, in
this case, it's 122.0 beats per minute.
| | 07:03 | And if we wanted to change the sound, we can
go to our Mixer, Shift+Command+M or Shift+Ctrl+M,
| | 07:09 | and change the levels on
anything that we want, louder or softer.
| | 07:12 | And one thing that you should keep in mind
is that when we are done, and we go to export,
| | 07:16 | any settings that you make on this Mixer
will actually print to the final audio.
| | 07:20 | So if you make your lead vocal louder or
softer and then export, it's going to be louder or
| | 07:24 | softer in the exported file, as well
as what you hear working in Melodyne.
| | 07:29 | So sometimes I will sacrifice the sound
quality, or the mix quality, just to make it quick and
| | 07:34 | easy, but if I am going to be working in
Melodyne for a long period of time, I may actually
| | 07:38 | get the mix a little more dialed in, pan things
where I want them, get the faders where I want them.
| | 07:42 | I just have to remember to set them back
to 0 before I export, or if I do export with
| | 07:47 | the fader levels differently, I just have to
know that that's going to affect my exported audio.
| | 07:51 | So for now, I am just going to drop the
level on our instrumental a little bit just so it
| | 07:55 | doesn't play too loudly
against the vocal tracks.
| | 07:58 | I am going to close the Mixer and
feel free to play around with that.
| | 08:01 | You can make the mix sound however you like.
| | 08:03 | One other thing that I like to do is to make
bar 1 of our ruler match bar 1 of our music.
| | 08:08 | So I am going to zoom in, and I am going to
take this number 1 to the left of bar 1, and
| | 08:13 | drag it to the right until it
corresponds with the first beat of our music.
| | 08:17 | So now bar 1 on our timeline
matches bar 1 of our music.
| | 08:22 | (music playing)
| | 08:25 | And I may want to adjust my Navigation Marker to
compensate, since we have now shifted the timeline.
| | 08:29 | I am going to Zoom Out again, so we can
Delete the Marker > Full Song, adjust the in and out
| | 08:36 | point, and create a new Marker
with Option+C or Alt+C, to replace it.
| | 08:43 | So now that our session is set up and
everything is ready to go, let's get started editing.
| | 08:48 |
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|
|
2. Editing the Lead VocalsEditing the lead vocal| 00:00 | You can edit your tracks in any order that
you like, but I usually prefer to start with
| | 00:04 | the Lead vocal and build around it.
| | 00:06 | The reason for this is because it's
usually better to have the Lead vocal's pitch and
| | 00:09 | timing where you want at first since all
the other vocal tracks are going to fit around
| | 00:13 | it and need to play nice with it.
| | 00:15 | In this chapter we'll look at a few
different approaches for editing our Lead vocal, but
| | 00:19 | first, let's just take a minute
to get familiar with the song.
| | 00:22 | You may have already been listening to it,
but if you haven't, now is a good time to
| | 00:24 | pause and just have a listen through.
| | 00:27 | Now that you have heard the song a little bit, you
have an idea of what we're going to be working with.
| | 00:30 | Let's set the session up, get it
ready to actually start our editing.
| | 00:34 | So, since we're going to start with the Lead
vocal, what I usually like to do is mute all
| | 00:38 | of the tracks that we're not going to edit,
so that I can listen to the entire arrangement
| | 00:42 | without hearing all of the additional
vocals until I'm actually ready to edit them.
| | 00:46 | So first, let's go to the Mixer, Shift+Command+M
or Shift+Ctrl+M, I'm just going to start at
| | 00:50 | the end and mute all of my background tracks.
| | 00:54 | And there is quite a few of
them, so it can take a minute.
| | 00:56 | If you have a control surface, you can
probably cut a little time off in this process.
| | 01:00 | So now, all we're going to hear when we play back
is just our instrumental track and our lead vocal.
| | 01:05 | I am going to close the Mixer, I'm going to
locate the cursor right before the Lead vocal
| | 01:09 | comes in and just have a listen
and make sure everything is right.
| | 01:12 | (music playing)
| | 01:14 | I am going to open the Mixer again and just drop
the instrumental a little more before we start.
| | 01:19 | (music playing)
| | 01:22 | Cool. Now when I open the editor window by,
double clicking the note blobs on one of the
| | 01:26 | tracks, or by using the key command Shift+
Command+E or Shift+Ctrl+E, we can now see that track
| | 01:32 | in our Edit window and from here...
(music playing)
| | 01:36 | ...we can choose to play only the visible track,
we can play the arrangement, which will also
| | 01:41 | play any unmuted tracks.
(music playing)
| | 01:46 | Or we can play selected which we'll use later,
but what that does is when you have multiple
| | 01:50 | tracks that have been selected in that
same Edit window, it allows you to hear all of
| | 01:54 | those tracks, as long as they are
unmuted, from the same editor window.
| | 01:57 | So I'm going to set this back to Play
arrangement, I am going to select our first Lead vocal
| | 02:02 | again, and let's get started on editing.
| | 02:07 |
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| Exploring the live editing approach| 00:00 | There are many ways that you can edit in
Melodyne, but one of the approaches that we'll look
| | 00:04 | at is editing everything live, which
essentially means that we're going to walk through each
| | 00:08 | section of the song and very carefully
edit all of the different aspects as we go.
| | 00:12 | So we're going to make our note separations,
correct our pitches, and correct rhythm all
| | 00:17 | in the same pass with this approach.
| | 00:19 | In this course we're going to look at three
different approaches for editing, but there
| | 00:22 | are many different ways that you can do this
in many different combinations, so these are
| | 00:26 | not, by any means, the only ways to use Melodyne.
| | 00:28 | And of course the more you use Melodyne,
the more new ways you'll find to work with it
| | 00:32 | and new approaches you'll find that really
work best for what you're trying to accomplish.
| | 00:37 | So now let's open our Edit window again,
you can either double-click on the track that
| | 00:40 | you want to edit, by double-clicking on the
note blob, or we'll close that, and you can
| | 00:45 | open the Editor window by Shift+Command+E or
Shift+Ctrl+E, and there is our lead vocal for that track.
| | 00:51 | And using the key command that we set earlier,
in this case Option+A or Alt+A, and it may
| | 00:55 | be different if you set a
different key command earlier.
| | 00:58 | I'm going to show the entire track.
| | 00:59 | So now I have a view of the entire
track that we're going to edit on this pass.
| | 01:03 | So let's zoom in, I am going to hold Command+Option
or Ctrl+Alt, bring up the magnifying glass.
| | 01:07 | I'm going to zoom in until I get it kind
of centered how I want the view to look, and
| | 01:11 | I'm going to start listening.
| | 01:13 | (music playing)
| | 01:16 | So if you want the music to play along you
can choose Play arrangement, if you don't,
| | 01:21 | you can leave it on Play visible.
| | 01:22 | I am going to start with that, but just set
it however you're comfortable with it, and
| | 01:26 | we're going to basically start editing every
section of the vocal live as we go through.
| | 01:31 | So I like to start with my Main tool, or my
Pitch Correction tool, so that I can see the
| | 01:36 | pitch on which each note blob is centered.
So I'm going to listen to the first phrase.
| | 01:41 | (music playing)
| | 01:44 | And basically the first thing I'm going to do is
go through and just pitch and fix each thing here.
| | 01:49 | So I have got a little bit of a vocal
side that I'm going to want to separate.
| | 01:51 | I'm going to take my esses and plosives out so
that those aren't getting pitch corrected.
| | 01:56 | And then I can select each note and double-click
it to correct the pitch, and that's going
| | 02:01 | to snap the center of the pitch, or what
Melodyne detects as the center of the note variance,
| | 02:07 | which is the line that you see that essentially
squiggles up and down around the center of each pitch.
| | 02:12 | It's going to snap the center of that to the
closest pitch that it detects as being the pitch center.
| | 02:17 | And sometimes that's correct, unless the
pitch is actually a little bit closer to the next
| | 02:23 | note, in which case it may snap to the wrong
note and so we have to listen to determine that.
| | 02:27 | So using this approach we can do single
notes at a time, or we can make a selection and
| | 02:32 | double-click to snap all
of them at the same time.
| | 02:35 | Now I notice that there's a breath on
the end of this that I want to separate.
| | 02:39 | So I'm going to click here and double-click
with the Note Separation tool using whatever
| | 02:43 | key command you set to select that tool, or
you can right-click and select the tool you
| | 02:48 | want to use from that pop-up menu.
| | 02:50 | And then selecting that breath that we have
already accidentally tuned you can choose
| | 02:54 | a key command--which we already set earlier--but
under Edit Pitch > Reset Pitch Center to Original.
| | 03:00 | So whatever key command you have set for that
we're going to invoke that now, and if there
| | 03:04 | was any change to that pitch that will reset
it, so it looks like we're safe on this one.
| | 03:08 | So now we can have a listen
to what we have just changed.
| | 03:10 | (music playing)
| | 03:12 | Pretty good. Now given that this is the
first line of the song, and that this is a pretty
| | 03:16 | poppy song, I may want to tighten it up a
little bit more and make the pitch variation,
| | 03:20 | or the pitch drift, a little bit less.
| | 03:23 | So, to do that I can choose my Pitch Modulation
tool by right-clicking and using the pop-up
| | 03:28 | menu or by using the shortcut that we set
earlier, and I can just kind of tighten them
| | 03:32 | down by clicking and dragging to make a
little bit less variation happen on each note.
| | 03:37 | And this may or may not be the effect that
you want, but for a song like this we do want
| | 03:41 | it to sound a little bit tighter and more poppy.
(music playing)
| | 03:45 | Now if you really wanted to go into an auto
tune effect, you can undo, select the notes
| | 03:50 | that you want to alter.
| | 03:52 | One thing to note is if you select multiple
notes with the Pitch Modulation tool or certain
| | 03:56 | other tools, it may not actually select the
notes, in which case, switch to your Main tool
| | 04:01 | or your Pitch tool and
then you can select the notes.
| | 04:04 | So we can select those notes, switch to our
Pitch Modulation tool, and simply double-click
| | 04:09 | on either one of the two notes with the
Pitch Modulation tool, and it will snap the line
| | 04:14 | so that it looks perfectly centered, and
that will give us an auto-tune-like effect.
| | 04:18 | So let's have a listen to what that sounds like.
(music playing)
| | 04:21 | Now you can also exaggerate that by using
the Pitch Transition tool here and simply
| | 04:26 | dragging the pitch transition all the
way so that it's a sharper transition.
| | 04:32 | You can soften that by
going the opposite direction.
| | 04:36 | But in a case like this it's so tight already
because we're using that auto-tune-like effect
| | 04:40 | that it doesn't really make a difference.
| | 04:42 | So let's undo the auto-tune-like effect--
I'm going to undo a few times until I'm back
| | 04:46 | to where I was--and then we can listen to
the effect of this on a less tuned example.
| | 04:51 | So I'm going to tighten this up a little bit
again like I did before we use the auto-tune-like
| | 04:55 | effect, and now we can listen to a softer curve...
(music playing)
| | 04:59 | ...which is more like a slide or a harder transition...
(music playing)
| | 05:04 | ...or an even harder transition.
(music playing)
| | 05:06 | So you can kind of get that auto-tune
sounding note transition without actually making the
| | 05:11 | notes themselves so perfect.
| | 05:13 | Now in this case I don't want to make this
so auto tuned sounding so I'm going to put
| | 05:17 | it back kind of where it was, or I can simply
undo or better yet I can select the two notes,
| | 05:22 | and I can go to Edit > Edit Pitch and select
Reset Pitch Transition to Original, and now
| | 05:29 | we're right back where we started.
| | 05:30 | Now if you find that that you use that quite
frequently you may want to make your own custom
| | 05:34 | shortcut so you don't have to
go into the menu every time.
| | 05:36 | Now let's keep listening.
| | 05:38 | (music playing)
| | 05:42 | So in the next phrase where she says, let it
be known, let's take a look at editing that.
| | 05:46 | Doesn't look like we have any breaths to worry
about here but we do have a couple of different
| | 05:49 | notes that we need to separate out and then we can--
well let me grab that breath at the end there.
| | 05:55 | Oh and one thing to note here, I accidentally
double-clicked with the Note Separation tool
| | 05:59 | while several notes were selected.
| | 06:01 | And you'll notice what it did is it
actually removed all of the separations within that
| | 06:05 | selection, and that can
actually be a very useful tool.
| | 06:07 | But in this case that's not what I meant to
do, so I'm going to undo that and just select
| | 06:11 | the note that I actually want to separate.
| | 06:12 | And I'm going to take that breath and use
my key command to reset the pitch center to
| | 06:17 | original--looks like it already is there--
and now again I can switch back to my Pitch
| | 06:21 | tool and correct those pitches,
and let's have a listen to that.
| | 06:25 | (music playing)
| | 06:26 | So not bad, again I want to tighten it up a
little and make it a little bit more poppy.
| | 06:30 | So I'm going to go to my Pitch Modulation tool.
| | 06:31 | I can tighten the whole thing up by
leaving it selected, or I can tighten up certain
| | 06:35 | sections of it by different amounts by
selecting only those sections of the note blob.
| | 06:40 | And we can also use a different tool
here to straighten out some of these notes.
| | 06:44 | So by right-clicking and selecting the
Pitch Drift tool--or by using the key command you
| | 06:48 | selected earlier--we can tilt an entire
pitch drift one direction or the other.
| | 06:53 | So for example, on this note blob, if I
wanted the entire thing to be as centered a little
| | 06:57 | bit more flat or a little bit more straight
instead of starting flat and ending sharp,
| | 07:01 | if I wanted it to start a little closer to
the center pitch and end a little closer to
| | 07:05 | the center pitch I can click on one end or
the other of the region and drag it up or
| | 07:09 | down, and you can see how it
shifts the pitch by doing that.
| | 07:14 | So I can do that on both of these notes that
actually have a little drift if I want them
| | 07:17 | to be a little more flat.
And let's have a listen to that.
| | 07:20 | (music playing)
| | 07:22 | Cool. So another thing that I often do which
can be actually very useful if there are low
| | 07:26 | notes in a song I'll actually switch to the
Edit Amplitude tool by using the key command
| | 07:31 | or by right-clicking and selecting the Edit
Amplitude tool from the menu. And I can click
| | 07:35 | and drag upwards to make the note blob
louder or downwards to make it softer.
| | 07:41 | So it's kind of like pre-automation, you may
or may not want to do this depending on what
| | 07:45 | your level of production
is in your original session.
| | 07:48 | This may actually not help you out at all,
but it may actually help you a little bit
| | 07:51 | if you haven't mixed anything yet.
| | 07:53 | So we can make that louder just so we can hear how
that note would stick out if it were already louder.
| | 07:58 | (music playing)
So maybe that's too much.
| | 08:00 | Let's put the difference so
we can leave it how it was.
| | 08:03 | And the other thing that you can do is
oftentimes in a note like this, which is really kind of
| | 08:07 | like a slide down into the note, you may want it
to start on a different note or maybe it starts
| | 08:11 | a little sharper than the center of the pitch,
you can also explore moving the pitch off
| | 08:16 | of the center line.
| | 08:17 | So in some cases like this, you may want the
note to peek at the center line rather than
| | 08:22 | center on the center line as it does here.
| | 08:25 | So by holding Option or Alt, we can click on
the note, and drag it up or down to move
| | 08:30 | it free from the grid.
So we can have a listen to that effect.
| | 08:34 | (music playing)
| | 08:36 | And then I'm going to move on and
continue editing this vocal in the same fashion.
| | 08:39 | And I usually do like to have the instrumental
track playing if there are any rhythmic fixes
| | 08:43 | that I need to make, because it's really hard
to hear if the rhythm is perfect without that
| | 08:47 | musical ruler against which you
are comparing the beat of the vocal.
| | 08:50 | So we can listen back to
those sections to check it.
| | 08:54 | (music playing)
| | 08:57 | So that works pretty well.
| | 08:58 | I might want to mess with this little
transition here a little bit better and explore what
| | 09:03 | other options I have here.
(music playing)
| | 09:05 | And it was actually better before, but maybe
this first note could be a bit of a slide
| | 09:10 | into the second note and maybe
I'll tighten up the second note.
| | 09:14 | (music playing)
And it's getting closer.
| | 09:17 | I just kind of want to make it
really tight and really poppy.
| | 09:20 | (music playing)
| | 09:25 | And it's getting kind of in the direction.
| | 09:27 | And the other thing is you're maybe not going
to get it perfect and exactly where you want
| | 09:30 | it the very first pass, so it's always a
good idea to go back through and listen again.
| | 09:35 | Oftentimes with fresh ears or maybe even
the day after or several hours after you have
| | 09:38 | already finished editing.
| | 09:39 | Let's go ahead and finish editing the rest
of this track using this approach, and you
| | 09:43 | can practice catching as much
as you can as you go through.
| | 09:46 | In the next video we'll look
at a different editing approach.
| | 09:51 |
| | Collapse this transcript |
| Using the "separate first" approach| 00:00 | By separating all of our sibilances and pitch
changes in advance, we can focus on our corrections
| | 00:05 | without having to stop to
make separations as we go.
| | 00:08 | Now, this approach, by separating each note
first, can help you, because you can go through
| | 00:13 | the entire vocal if you want, make all the
separations, and then go back through and
| | 00:17 | really focus on just catching the pitch.
| | 00:19 | Now, this is a technique that I learned from
a really good friend of mine, and I find that
| | 00:22 | I do it even when I'm editing live or in any
other mode, I really end up separating first,
| | 00:27 | even if it's just on a phrase by phrase basis.
| | 00:30 | So let's go back into our Edit Window and
pick up where we left off on that lead vocal.
| | 00:35 | So I am going to select Lead
vocal and leave it on Play visible.
| | 00:38 | Now, here we can see that the initially
selected track is also shown in the background, but
| | 00:43 | it's yellow rather than orange, or in other
words, a lighter color of the foreground color,
| | 00:48 | because you can actually change
that color in Melodyne if you want.
| | 00:51 | And we will pick up where we left off.
| | 00:52 | I'm just going to quickly
listen to what we just did.
| | 00:55 | (music playing)
| | 01:00 | All right. So we need to
pick up on, she's got the magic.
| | 01:03 | So from thereon let's finish
the verse separating first.
| | 01:06 | So we'll catch all of our S's, she's got the
magic, we got that separated, we got our breaths
| | 01:14 | out, any S's or plosives or anything that we
need to separate like this note change here.
| | 01:20 | Separate things like breaths, and basically just
go through and separate before we do anything else.
| | 01:26 | So with this approach really our goal is to
make everything that we're going to fix ready
| | 01:31 | to be fixed before we actually do any fixing.
| | 01:33 | So here we are in the pre-chorus of the song,
still just separating, taking breaths off
| | 01:38 | so they don't get pitch
corrected, sibilances, pitch changes.
| | 01:43 | Now, sometimes you'll try and separate a note in
one place, and it will happen in a different place.
| | 01:46 | You can just undo it and zoom in and try
again and usually you'll get it the second time.
| | 01:51 | I'm just going to do separations up through
the chorus, and then we will go back and pick
| | 01:54 | up where we left off and actually correct
those things, so that we can see how separating
| | 01:58 | things in advance will help us.
| | 02:00 | So now I'm going to select our scrollbar on
the bottom, which in Melodyne is really useful,
| | 02:03 | because you can see the actual waveform, so
you can really easily center your Edit Window
| | 02:08 | to your desired location.
| | 02:10 | So now we're back to where we started
separating, and we can go through and start correcting
| | 02:13 | pitches and tightening things up as we go.
| | 02:16 | (music playing)
| | 02:17 | We can double-click.
We can switch tools and tighten up.
| | 02:22 | (music playing)
| | 02:24 | If we want to leave some of that in
there, perhaps we want to exaggerate it.
| | 02:27 | We may actually want to
make them separate notes.
| | 02:30 | (music playing)
| | 02:33 | And we can also play around with doing
certain effects like we did earlier with the Auto
| | 02:36 | Tune-like effect, see
what that sounds like here.
| | 02:39 | (music playing)
We may or may not want to use that.
| | 02:43 | (music playing)
| | 02:44 | In this case probably not, it's a little early
in the song to introduce that, but it's always
| | 02:48 | worth trying, because you never know if
you're going to like it, or you might stumble upon
| | 02:51 | something that's actually more
useful than you might have thought.
| | 02:54 | (music playing)
| | 02:57 | Again, here I can select several notes in a
phrase all at once and double-click to get
| | 03:02 | them all to the center pitch.
(music playing)
| | 03:05 | Now tighten up parts of the line.
| | 03:08 | I'm going to change this drift a little
bit to make it not quite so noticeable.
| | 03:12 | And I'm going to leave this section here,
because I kind of like a little bit about
| | 03:15 | vibrato, but I'm going to tighten it up.
| | 03:18 | So essentially I'm separating that last note,
and I'm going to use the Option, or Alt key,
| | 03:24 | to drag it up a little bit sharper, so that
the bottom of that vibrato kind of matches
| | 03:28 | the curve of the earlier part of that pitch.
| | 03:31 | Now, you'll notice that as I drag it...
(music playing)
| | 03:35 | ...you can hear the pitch being played, if you
will, and you can hear that the pitch changes.
| | 03:39 | And this is a really handy thing, because
you can hear the pitch for the note that you're
| | 03:42 | moving so that you can get it just
dialed in to right where you want it.
| | 03:46 | And you can actually turn this off if you
find it annoying, or you don't want to use it.
| | 03:49 | So you don't actually have to
hear the pitch as you move the note.
| | 03:53 | So if you do want to turn that off, you can
go to the Melodyne > Preferences, and on the
| | 03:56 | Other tab you can choose to
unselect Monitor Note Pitch on Editing.
| | 04:02 | And now when you move the note, you will no
longer hear it making any sound as you move it.
| | 04:06 | I actually do kind of like it, because it's
useful even though it is somewhat annoying,
| | 04:09 | so I'm going to turn it back on.
And we're just going to continue editing here.
| | 04:14 | (music playing)
Okay.
| | 04:20 | So on the line because what she got,
there's some stuff we want to tighten up in there.
| | 04:24 | (music playing)
| | 04:25 | And this is a good example for a normal type
of usage, because the vocal is already pretty
| | 04:30 | close to what we're going
to want in our end result.
| | 04:33 | Our vocalist is really good, we're just
tightening up little things to make it match what we
| | 04:37 | hear as far as what this pop
song needs production wise.
| | 04:41 | So I'm just tightening it up a little bit here
and there, snapping certain notes into place.
| | 04:45 | We can also use our Pitch Drift tool, tilt
the note in certain cases where we want it
| | 04:50 | to start a little closer to the center
and end a little closer to the center.
| | 04:54 | We can use our Pitch Modulation tool if we
want to tighten up the actual modulation of
| | 04:58 | the note over time.
| | 04:59 | We're just going to go through and kind of
correct all the stuff now that we have already
| | 05:02 | separated where those pitch changes happen.
(music playing)
| | 05:07 | Notice a few things that are definitely not right
there now that I have changed them, so let's fix them.
| | 05:12 | (music playing)
| | 05:16 | We'll see if that's better.
(music playing)
| | 05:21 | I think this note might need to be up there.
(music playing)
| | 05:26 | That was right the first time.
| | 05:28 | (music playing)
There we go.
| | 05:31 | (music playing)
We can also try doing pitch bends in the middle.
| | 05:37 | (music playing)
| | 05:38 | Kind of just get the inflection that you want to get,
and for this we'll probably keep it a little tighter.
| | 05:43 | (music playing)
| | 05:45 | And maybe I don't want a pitch bend on this
part of the note, so maybe I'll tighten it
| | 05:48 | up and make the whole thing
a little bit more straight.
| | 05:51 | (music playing)
| | 05:53 | And maybe this sounds a
little too tuned on the word got.
| | 05:56 | That went a little too far, so I can try
softening up the transition, which is better, or I can
| | 06:03 | just back off the Pitch Modulation and
drift edits that I made, by going to Edit Pitch
| | 06:08 | and Reset Modulation and Drift to Original,
or I could just choose Reset All Pitch Related
| | 06:13 | Changes to Original.
| | 06:15 | And again, if you find yourself using these
frequently, you may want to set a shortcut
| | 06:19 | of your own for them.
| | 06:20 | So I'm going to do the same thing that I did,
but just a little softer so that it's not
| | 06:23 | quite as noticeable.
(music playing)
| | 06:26 | And again, I'll probably soften up
that transition and keep moving on.
| | 06:32 | (music playing)
| | 06:35 | Already pretty close here.
I'm going to grab certain sections in one pass.
| | 06:40 | (music playing)
| | 06:43 | Pretty good. I'm just going to tighten up
the Pitch Drift a little bit better there.
| | 06:46 | (music playing)
| | 06:51 | And maybe one more there.
(music playing)
| | 06:56 | I actually kind of like the vibrato big,
so I might start the vibrato a little softer
| | 07:00 | so that it has a chance to grow.
| | 07:01 | (music playing)
| | 07:07 | Got a few things here we
want to fix a little bit.
| | 07:09 | So we're just using that
double-clicking technique for now.
| | 07:11 | There are definitely other ways to do
it, which we'll look at in a minute.
| | 07:14 | (music playing)
| | 07:16 | So this pitch is too sharp, so
I'll just click it and drag it down.
| | 07:19 | (music playing)
That was too sharp as well.
| | 07:23 | (music playing)
| | 07:26 | And again, once we get the basic shape of
the melody where we want it, we can just start
| | 07:30 | tightening it up and getting
it into the realm that we want.
| | 07:33 | Now, in some songs--maybe not a pop song like this--
you may not want it to be as tight or as tune sounding.
| | 07:40 | And if that's the case, that's one of the
best uses for Melodyne, because it can help
| | 07:44 | you do little pitch corrections like that without
actually overdoing them or making them sound fake.
| | 07:49 | Granted in a pop song like this Melodyne is
really powerful, but using it in a more natural
| | 07:53 | context is also a really
powerful way to use Melodyne.
| | 07:56 | (music playing)
| | 07:57 | I'm going to zoom out a little so I
can see this phrase a little faster.
| | 08:02 | (music playing)
| | 08:07 | So again, a couple of note separations that
it looks like I did catch, I thought I hadn't,
| | 08:10 | and I'm just going to make sure all
these bottom notes are on the same place.
| | 08:14 | Some of them I want to tighten up just a hair,
because they get a little bit sharp at the end.
| | 08:21 | (music playing)
| | 08:24 | And again, here we'll make these
top notes land in the right place.
| | 08:28 | That's the main notes here.
(music playing)
| | 08:36 | I'm pretty much where we want to be.
| | 08:37 | I might actually reset that one and actually
reset the Pitch Modulation that I changed as well.
| | 08:42 | And instead of changing the Pitch Modulation,
another approach is just to make the entire
| | 08:46 | note a little bit flatter so that the peak
of the pitch stays where you want it to stay.
| | 08:51 | So now, the note center itself is actually
flat, but because the Pitch Modulation goes
| | 08:56 | sharp, we have now made that section
of the pitch land in the right place.
| | 09:01 | (music playing)
| | 09:04 | A little bit flat, so split the difference,
and you can always listen as you move the notes.
| | 09:09 | (music playing)
| | 09:12 | And there we are in the chorus of the song.
| | 09:14 | So this technique is often the best
approach for making sure that all the note changes
| | 09:17 | and sibilance are addressed as you go, and
that you don't miss any, but there are obviously
| | 09:20 | endless ways to approach editing
a vocal, or anything, in Melodyne.
| | 09:24 | So you'll probably find other ways that
you want to work, and you'll probably want to
| | 09:27 | go back and double check your work
anyway no matter which approach you use.
| | 09:32 |
| | Collapse this transcript |
| Correcting pitch automatically| 00:00 | Melodyne also offers automatic pitch
correction so that large sections of a performance can
| | 00:05 | be edited all at once.
| | 00:06 | And this can be a really handy tool if you
want to do a quick rough pass and then go
| | 00:10 | back and fine-tune the details like
removing the breaths and making the sibilances not
| | 00:16 | corrected, you can also
correct notes and rhythm later.
| | 00:19 | Another use for this tool is taking another
track and actually doing a quick pass on it
| | 00:23 | just like we just talked about to match
another track like, in this case, our Lead 1b would
| | 00:28 | be compared to our Lead 1a.
So let's unmute Lead 1b.
| | 00:32 | I am going to navigate to our Full Song marker,
so I can see the full song, and I am going
| | 00:37 | to open the Lead 1b track.
| | 00:39 | Now if I want, I can also select Lead 1a,
so I can see them both in the arrangement
| | 00:45 | and by having Play visible selected,
I can hear them both at the same time.
| | 00:49 | But if you really want, you can just have Play
selected, which will only play the currently edited track.
| | 00:54 | So let's do that first, so we
can hear what this sounds like.
| | 00:56 | I am going to quickly take a
listen to the pre or unedited vocal.
| | 01:01 | (music playing)
| | 01:02 | And just skip ahead here.
(music playing)
| | 01:05 | So you know its pretty close,
but you hear some pitch stuff.
| | 01:09 | (music playing)
| | 01:14 | But if we wanted to correct all of that in
one pass, using this technique is a really
| | 01:18 | quick way to do it and then we
can go back and fine-tune it.
| | 01:20 | So using our main tool or our Pitch tool,
we'll drag to select the entire section that
| | 01:26 | we want to edit and then using the key command,
Command+Option+P or Ctrl+Alt+P, we can open
| | 01:32 | our Correct Pitch menu.
| | 01:34 | Now in this menu, you have two options,
Correct Pitch Center and Correct Pitch Drift.
| | 01:39 | Pitch Center is really the strength of how
close to the center each note is going to
| | 01:44 | be snapped in this process. With zero being
the source as recorded and 100 being snapped
| | 01:50 | all the way so that the center of the
pitch is right on the center of the grid.
| | 01:55 | With Correct Pitch Drift, the same thing
applies with zero being as recorded and 100% being
| | 02:01 | corrected to the center of the drift.
| | 02:03 | With a pop song like this, we may want to
keep them both at a 100%, but we may also
| | 02:08 | want to soften it up a little bit
and keep it a little bit more natural.
| | 02:11 | Now if this was not a pop song, and we were
working on something with a lot more natural
| | 02:14 | sounding vocal, we probably wouldn't want
to go anywhere near 100%, maybe we'd start
| | 02:18 | at 60 or 70% and even less for the drift.
| | 02:23 | But it's really just a matter of getting the
right sound without making it sound like you have
| | 02:26 | tuned it unless that's your goal.
| | 02:28 | For a pop song like this, sometimes that
effect is actually what you want, and we are going
| | 02:32 | to play around with that in this song.
| | 02:34 | So for now, let's start with this, maybe
around 85 or 90% and see what it sounds like.
| | 02:39 | So now, we can zoom back in a bit, and we are
going to listen to those same sections we just heard.
| | 02:45 | (music playing)
| | 02:47 | And you can hear that stuff that was needing a
little correction before it has already been corrected.
| | 02:54 | (music playing)
| | 02:58 | But we still need to fine-tune it a bit.
| | 03:00 | So what we'll do is we'll go back through
that stuff and make some more tweaks to it.
| | 03:04 | So if we missed any sibilances or breaths
that we want to exclude from being corrected, we
| | 03:08 | can do that now, and that's a good idea
because when you correct an S or a P or a breath,
| | 03:13 | sometimes the change in pitch can actually
cause a little bit of a phasing sound to be
| | 03:17 | introduced, which is oftentimes very noticeable.
And on a natural song, definitely not something
| | 03:22 | you want to introduce.
| | 03:23 | On a song that's a pop song, you may want
to keep that effect, so it may be useful,
| | 03:27 | and it's really just a matter of
knowing what you're looking for.
| | 03:29 | So now, let's take a look at this.
| | 03:31 | We are going to edit this so that it matches
our other Lead Vocal 1a a little more closely
| | 03:36 | since this is doubling Lead Vocal 1a.
| | 03:39 | So I am going to zoom in and make a
separation here, closer to the original performance.
| | 03:45 | And I can kind of change the pitch to match
the same curve of Lead Vocal 1a, which I can
| | 03:51 | see in the background,
because I have it selected.
| | 03:53 | Now if don't just go to the list, select
Lead 1a, and it's now selected and switch back
| | 03:59 | to Lead 1b, and you can now
see Lead 1a in the background.
| | 04:03 | (music playing)
| | 04:05 | So that's kind of the curve, but I am going
to need to tighten it up a little bit more
| | 04:08 | to make it match the tightness
that we did on the other vocal.
| | 04:11 | So I'll squash the modulation down a bit and
maybe change the drift here, so it's flatter.
| | 04:18 | (music playing)
| | 04:20 | And again, maybe make the same sorts of
separations that we did on the other vocal.
| | 04:24 | (music playing)
| | 04:26 | Maybe I'll tighten this up just a hair, take
a little bit of the warble out of the vocal.
| | 04:31 | (music playing)
| | 04:32 | Move onto the next line and essentially go
through note-by-note and change the things
| | 04:36 | that we want to change to make it
more like what we are going for.
| | 04:39 | (music playing)
| | 04:41 | So here, we have got a couple breaths and
esses that we want to remove, a couple of note
| | 04:45 | separations, and you can see again I'm
separating notes in advance because generally I prefer
| | 04:49 | to do that just as a matter of course.
| | 04:51 | It makes it a lot easier to
make sure you don't miss them.
| | 04:55 | (music playing)
| | 04:58 | So I can take a look at the other Lead Vocal
and see what happened there, what it sounds like.
| | 05:02 | (music playing)
| | 05:04 | So it's actually staying on that top note
whereas this one, I initially had it dipping
| | 05:08 | down, we'll move this one up to
that top note and see what we have got.
| | 05:12 | (music playing)
| | 05:13 | There we go, and it looks like there may be
some timing differences between the two vocals.
| | 05:16 | So we are going to come
back and correct that later.
| | 05:19 | I am just going to continue
tightening this up a little bit.
| | 05:24 | (music playing)
| | 05:28 | Tighten that up just a hair more on the
end move onto the next phrase and essentially
| | 05:32 | just going through section by section and
getting what we are looking for out of this vocal.
| | 05:37 | (music playing)
| | 05:41 | Looks like I need to get that breath out
in this first note, we can just use the same
| | 05:44 | techniques we used before
to make little corrections.
| | 05:46 | (music playing)
| | 05:50 | We want to take that S out
of our pitch corrected note.
| | 05:53 | (music playing)
| | 05:57 | And this is pretty good just tighten these up
a little more, so the vibrato sticks out more.
| | 06:01 | (music playing)
| | 06:04 | I am just going to go back through and make
sure I didn't miss any other Ps, I think there
| | 06:08 | is P in the player here.
| | 06:11 | (music playing)
| | 06:13 | Take that out as well.
| | 06:14 | And we are going to more on,
grab this breath in this.
| | 06:17 | (music playing)
And the S in use.
| | 06:20 | So again, we are just going to through and
making little adjustments here and there,
| | 06:24 | separating out the esses and the breaths,
separating notes out that we may have missed with our
| | 06:28 | batch pitch correction, because basically
the batch pitch correction was a quick pass,
| | 06:32 | it may not have gotten everything 100% of
the way to where we want it, but sometimes
| | 06:37 | it does, and it's just a quick and
dirty way to get the broad strokes done.
| | 06:41 | (music playing)
| | 06:45 | I am going to tighten this up a little bit here.
(music playing)
| | 06:51 | Let's squish that down a bit, bring this
pitch down so it's more like a half step.
| | 06:57 | (music playing)
| | 07:00 | Then I'll tighten these guys up just a hair
and tighten that up again so the vibrato pops
| | 07:04 | out a little bit more.
(music playing)
| | 07:17 | Cool. So there is a couple of things in
there we'll quickly catch, one being the end
| | 07:21 | of this vibrato, we want to bring it down a little
bit closer to match the rest of that performance.
| | 07:26 | We are basically separating
each section of the vibrato.
| | 07:29 | (music playing)
| | 07:31 | And tightening it up, so that it
sounds like the vibrato that we want.
| | 07:35 | (music playing)
| | 07:38 | So I am going to tighten up certain of
these notes just a hair more than the setting we
| | 07:42 | chose when we did our batch pitch
correction because we set it to 90 and 89% so, in some
| | 07:48 | cases, you may want it a
little tighter or a little looser.
| | 07:51 | And so we have the opportunity to go
through and make those changes now.
| | 07:55 | Let's take one more listen to that.
| | 07:57 | (music playing)
| | 08:01 | Cool. So now we have tuned the pitch on Lead
Vocal 1b, which is basically our Lead Vocal
| | 08:05 | double all the way up through the chorus.
| | 08:08 | Let's now take a listen to that playing along with
Lead Vocal 1a, so we can see how they sound together.
| | 08:12 | So I am going to choose Play selected and
switch that to Play visible and since both
| | 08:17 | Lead 1a and Lead 1b are selected,
we will now hear them both play.
| | 08:22 | And, as you can see, Lead 1b only
doubles parts of Lead 1a in the verse.
| | 08:26 | And then in the pre-chorus, they sing in unison.
| | 08:29 | So let's have a listen.
| | 08:31 | (music playing)
| | 08:35 | So pretty good so far.
(music playing)
| | 08:40 | But there I do have some rhythmic issues.
| | 08:42 | So let's take a quick look at
tightening up the rhythmic issues.
| | 08:44 | There is a couple of ways you can do this,
one of which is moving the two tracks on a
| | 08:49 | separate note, so you can see it.
| | 08:50 | The other is just listening and adjusting,
which is sometimes hard when the two notes
| | 08:54 | are actually the same note
as they are in this case.
| | 08:58 | So now we can switch to our Move Notes tool
and Option+click at the head of the region
| | 09:05 | to actually shift the timing earlier, and
you can see that that actually stretches out
| | 09:09 | the note so we need to shorten the end, in
this case, to make it match, and we may need
| | 09:15 | to move other notes as well.
| | 09:16 | In this case, it looks like the next note might
start a little bit late and even the following
| | 09:20 | notes might start a little bit late.
| | 09:22 | So we can select all of that material, go
back to our Move Notes tool and slide it earlier
| | 09:27 | and so it looks like it's close to
where we want it and have a listen.
| | 09:31 | (music playing)
| | 09:32 | Now it's better except the cause,
something still not quite right about that.
| | 09:37 | So it's either still a little late or a little
early, let's try moving it a little earlier first.
| | 09:42 | (music playing)
| | 09:43 | Now that's good obviously now, part of what
we are hearing is that they are on different
| | 09:46 | pitches, so let's put them back so that
they are on the right pitch and listen again.
| | 09:51 | (music playing)
Yeah, it's much better.
| | 09:54 | So we are going to look at more rhythmic detail
later, but for now we have gotten that section
| | 09:58 | pretty much where we want it.
| | 10:00 | Let's take a listen to the next
sections and see how they play.
| | 10:05 | (music playing)
| | 10:15 | Okay, a little bit of change here, and we
might want to fix on the vibrato of the last tude.
| | 10:21 | (music playing)
| | 10:25 | And a few little rhythmic elements that we
are going to want to fix later, but we'll
| | 10:27 | come back to that in the video where we
actually address the rhythmic stuff a little more.
| | 10:31 | So if you are in a time crunch, this
is often the fastest approach to use.
| | 10:35 | Just make sure you listen really carefully
to correct any unwanted phrasing or artifacts
| | 10:38 | introduced by changing the esses or the Ps or
the breaths within a performance, and if you
| | 10:44 | need to separate them out to remove
those artifacts just make sure you do.
| | 10:49 |
| | Collapse this transcript |
| Correcting lead vocal pitch| 00:00 | We have been correcting the pitch as we go
along in all of these examples, but now let's take
| | 00:04 | a look at some fine-tuning
that we can do with Melodyne.
| | 00:07 | So now we are pretty much where we left off,
I am just looking at the lead 1a track, and
| | 00:11 | I have got the entire track visible so I
can see all of the notes and note blobs on that
| | 00:16 | track, and this is in our Edit window.
| | 00:18 | So picking up where we left off, let's have a
listen to our chorus since we haven't touched that yet.
| | 00:22 | We are just listening to the two vocal tracks
that we are showing right now as we have our
| | 00:27 | Edit window set to Play visible.
| | 00:30 | (music playing)
| | 00:39 | All right, so we can see that that
second half is a repeat of the first half.
| | 00:43 | So one of the things we can do here is use
our copying and pasting so that once we have
| | 00:47 | corrected a section we can paste it where it
repeats and not have to do the editing twice.
| | 00:52 | So let's first make any corrections we want to
make to the first half of this double chorus.
| | 00:56 | And it sounds like there were a couple
of notes here that we might need to tweak.
| | 01:00 | You hear a little bit of pitch
discrepancy between those two different takes there.
| | 01:04 | We can just slide one of them up.
| | 01:06 | (music playing)
| | 01:07 | And take a look at the other one as well.
| | 01:10 | Sometimes you can select the other track by
clicking a different note that may be poking out.
| | 01:14 | And you can see its pitch bend that way.
| | 01:17 | So here you can see that on Lead 1b the
pitch starts a little sharper and ends a little
| | 01:22 | bit more near the center than it does on 1a.
| | 01:25 | So one way we can make the desired change
is by editing one, or the other, vocal so that
| | 01:29 | they both have a similar curve.
| | 01:31 | In this case, one technique we can use is to
separate the note and manually drag the first half down.
| | 01:37 | And what we're doing is essentially creating
a fake pitch curve by doing this, essentially
| | 01:42 | altering the melody.
So let's hear if that works.
| | 01:45 | (music playing)
| | 01:50 | Yeah, that makes the beginning of both
notes sound like they are starting on a similar
| | 01:53 | pitch so there is not so much
discrepancy between the two notes.
| | 01:56 | Now in this chorus, I actually kind of want to keep
some of that attitude that the song is talking about.
| | 02:01 | So I don't want everything to be so
perfectly corrected, I really just wanted to outline
| | 02:04 | the shape but leave some of that pitch
bend and some of that attitude in there.
| | 02:08 | I am not going to overcorrect most of the
chorus, but the other part that I will want
| | 02:11 | to correct here are these bottom notes and
both of these need to be brought up a little bit.
| | 02:16 | So let's look at that on both tracks, we can
just select the notes, double-click and correct
| | 02:21 | if they don't all snap.
| | 02:22 | And here we can see that this note kind
of slides up in pitch, which maybe is good.
| | 02:27 | If we don't want it to we can use our Pitch
Drift tool to correct that or to flatten it
| | 02:33 | out, and let's have a listen to the change.
(music playing)
| | 02:40 | Yeah, it's a little closer
to what we are looking for.
| | 02:41 | And do the same thing on the second
half of the first part of the chorus.
| | 02:46 | And let's switch over to 1b and grab the other
one in the same take and listen to that section.
| | 02:52 | (music playing)
| | 02:54 | Yeah, something slightly different on this
note of tude, I'll go back over here, looks
| | 03:00 | like it's that same slide so maybe I will
flatten that drift out a little bit more.
| | 03:04 | And you can see as I did that
the center has now changed.
| | 03:06 | So I am going to need to drag
the center of the note down.
| | 03:09 | (music playing)
| | 03:10 | So that it kind of line up a
little bit more in the pitch.
| | 03:14 | (music playing)
| | 03:17 | You don't have to be perfect because I
want to keep some of that attitude in there.
| | 03:21 | (music playing)
| | 03:24 | And now that we have gotten that first half
of the chorus ready we can simply copy and
| | 03:28 | paste it to the second half of the chorus.
| | 03:30 | So using copy and paste we can save ourselves
some time rather than having to edit this again.
| | 03:34 | Now if the performance were different on the
first and second halves of the chorus we wouldn't
| | 03:38 | want to use this because then we would
be overriding that different performance.
| | 03:42 | But in a case like this where it is a pop
song, and we are actually flying one section
| | 03:45 | to another this is a totally acceptable
technique, and it saves us a lot of time.
| | 03:49 | So we are just going to select and use
whatever key command we have assigned for copy.
| | 03:53 | And we're going to select the section that we want to
replace and use whatever key command we have for paste.
| | 03:59 | And all of our changes are copied and pasted to the
second half, and we don't have to make those edits again.
| | 04:04 | Now let's go over to Lead
vocal 1b and do the same thing.
| | 04:07 | So again we are going to copy and select and
paste and at that time you can see it didn't
| | 04:12 | actually paste it where I wanted it, I am
going to redo it so we can see how the timing
| | 04:16 | shifted looks like I must have had
a slightly different selection.
| | 04:19 | And it might be because I didn't select the
first half of that note that I had separated,
| | 04:23 | I am going to go back and reselect it making sure
that I select the entire note and reselect and repaste.
| | 04:28 | And now I can see that my
timing is where it should.
| | 04:31 | And we can listen to the second half
just to make sure everything sounds right.
| | 04:36 | (music playing)
| | 04:43 | Yeah, so we have got those same changes.
| | 04:45 | Now another thing we could do with copy and
paste in a song like this we might want to
| | 04:49 | make the repeats of girl and got
literal repeats of one of the performances.
| | 04:55 | So if we wanted to do that we could simply
copy here and paste here, and we have got a
| | 05:00 | stuttering sort of effect.
| | 05:02 | Now you could also do this in your DAW
before bringing it into Melodyne, or you could do
| | 05:06 | it after tuning it or correcting
it in Melodyne, the choice is yours.
| | 05:10 | In this case, I'm not going to do that because I
want to leave that natural kind of raw atitudey
| | 05:14 | sound in this section of the song.
So I'll undo those. But the option is there.
| | 05:19 | Let's go back to the Arrange window, and now let's
unmute Lead 1c, and let's open Lead 1c in our Editor.
| | 05:25 | So now Lead 1c is going to play in addition to
Lead 1a and 1b because all three are visible,
| | 05:31 | and we have it set to Play visible.
| | 05:33 | Let's select the beginning of that section,
and I want to find a vibrato so that we can
| | 05:37 | talk about changing vibratos to make
them more like what we're looking for.
| | 05:41 | So most of the vibratos that we have in this
song are already where we want them, but perhaps
| | 05:45 | a few of them are not.
| | 05:46 | What we did before in this section of the
chorus was to use our Pitch Drift tool and
| | 05:51 | flatten out the curve to make the
pitch a little bit more centered.
| | 05:55 | And then we had to adjust where the
pitch center landed because of that change.
| | 05:59 | But instead of doing that
let's take a different approach.
| | 06:01 | Let's actually look at shaping our vibrato
manually, one way to do that is to use out
| | 06:06 | Separation tool and literally manually make a
separation where each part of the vibrato occurs.
| | 06:12 | Now you can also select the entire region
and under the Edit menu we are going to go
| | 06:17 | to Edit Note Separations and choose Separate
Note as Trill, and you can see that Melodyne
| | 06:22 | will automatically make
that same separation for you.
| | 06:25 | Now if you find that you use this very frequently
you may also want to assign a shortcut for this.
| | 06:30 | Now once we have separated these notes we can
control that vibrato and really make it exactly
| | 06:34 | what we want by just
moving the pitch of each note.
| | 06:37 | Now also we can change the timing of each
note if perhaps two parts of a vibrato are
| | 06:42 | too close together or too far apart.
| | 06:44 | But in this example, they are pretty much good
timing-wise, we just want to change the pitch
| | 06:48 | so that the center stays where we want it.
| | 06:50 | So what we are going to do is take the endnote,
drop it down a little bit, and just gradually
| | 06:56 | adjust the vibrato so that it starts and ends in a
slightly growing distance from the center of the pitch.
| | 07:04 | And we also need to adjust where the
center of the pitch overall occurs.
| | 07:07 | I am going to slide the entire thing
| | 07:10 | up just a hair, and then we can have a listen,
let's just play the selected one only just
| | 07:14 | so we can hear this by itself.
| | 07:16 | (music playing)
| | 07:19 | Yeah, so that gets us the result, and if
you want to hear it before we can just undo a
| | 07:23 | few times, and now we can hear the pitch
drift that was naturally in the performance.
| | 07:27 | (music playing)
| | 07:30 | It's not that one is better or worse, it's just
maybe ones what we are looking for and the other isn't.
| | 07:35 | So we just make those
changes, and we get a new result.
| | 07:38 | Now just like we can alter a vibrato that
already exists we can also manufacture a vibrato
| | 07:42 | where one doesn't naturally occur.
| | 07:44 | So let's see if we can find a
good spot to attempt to do this.
| | 07:47 | Looks like there might be vibratos on a lot
of these sections, so maybe the end of one
| | 07:51 | of the chorus sections will be good, and
again I am just going to play selected so we are
| | 07:54 | only hearing this one track.
| | 07:56 | (music playing)
| | 07:57 | And granted this is not really how we would
actually do this in the song, but if I did
| | 08:00 | want that yeah instead of being a
rising yeah, where the pitch goes up.
| | 08:05 | If I wanted that instead to be some sort
of a vibrato, I can actually manufacture one
| | 08:09 | by again separating the note into several
sections and moving those sections to kind
| | 08:13 | of create the effect that I'm looking for.
| | 08:16 | So we can try starting with a little bit less
noticeable drift, and gradually making it broader.
| | 08:24 | Let's hear what that sounds like.
| | 08:26 | (music playing)
| | 08:28 | So that's not a great sounding vibrato, but
you can see how you could use this to actually
| | 08:31 | make one so perhaps you have a long note at
the end of a phrase, and you want it to slowly
| | 08:35 | grow into vibrato where there
was not one in the performance.
| | 08:39 | You can actually use this technique to build a
little bit of a vibrato into the performance.
| | 08:42 | Now I am actually going to undo this
because we don't want to keep this in the song, I
| | 08:46 | am just going to hit Undo a couple of
times, or we can actually reset every thing to
| | 08:50 | the original using those key commands.
| | 08:52 | Now let's look at one other
thing we can do with Melodyne.
| | 08:55 | Now let's say we wanted to completely
change the melody of some part of the song.
| | 08:58 | One of the great things about Melodyne
is you are not tied to what you recorded.
| | 09:02 | So if we wanted to change one of the lines
in our verse and make something completely
| | 09:04 | new we can do that.
| | 09:05 | Now let's go back to one of the lines
we have already edited, Lead 1a for example.
| | 09:09 | And let's look at just
making a new melody out of it.
| | 09:12 | (music playing)
| | 09:14 | So we can just simply move
notes to make something new.
| | 09:19 | (music playing)
| | 09:23 | That's not maybe the best little change, but a
few little tweaks, and we have got a different melody.
| | 09:28 | (music playing)
| | 09:30 | Eh, maybe not that one, let's try this.
| | 09:32 | (music playing)
| | 09:35 | So you know, a couple of little tweaks makes a
new melody, we can also go a lot more drastic
| | 09:39 | with it if we wanted to change more of it.
| | 09:43 | (music playing)
| | 09:50 | And you can also start to hear a little bit
of artifact introduced. So this brings us to
| | 09:53 | yet another thing we can do with Melodyne.
And that is to use our Formant tool, and using
| | 09:58 | the Formant tool we can actually correct the
formant--or the sound that actually forms the
| | 10:03 | pitch we are hearing. In other words, the
shape of the throat, in the case of a vocal, or the
| | 10:07 | shape of a guitar body in the case of a guitar,
to actually change the sound and the resonance
| | 10:13 | of a sound within the shape that forms it.
| | 10:15 | So when we change a pitch by a large amount
like we did here you can hear that it starts
| | 10:19 | to sound a little bit degraded.
| | 10:21 | (music playing)
| | 10:23 | This particular note has a dirty sound to it,
so we can use the formant to kind of help
| | 10:28 | offset that to make it sound a little more
natural, we may want to go up or down depending
| | 10:32 | on the change we have made, in this case
we might want to bring it a little bit down.
| | 10:35 | So make it sound like the throat is
actually a little bit bigger since the throat would
| | 10:39 | be more open to sing a lower note.
| | 10:41 | (music playing)
| | 10:43 | And you just find the right balance, obviously,
it's really what feels good to your ear, but
| | 10:47 | finding the right balance will make it feel a
lot more natural and get rid of those artifacts.
| | 10:52 | (music playing)
And just kind of adjust it essentially.
| | 10:56 | (music playing)
| | 10:57 | Now you can also the Formant tool for effect.
| | 11:00 | If we really wanted to make a drastic sonic
change we could drag the Formant either way
| | 11:04 | up or way down, and you will hear some very
familiar effects that you have heard in many records.
| | 11:09 | So going up gives us a bit of a chipmunk sound
or a really, really small source of the sound.
| | 11:13 | (music playing)
| | 11:15 | We probably won't do that in the song, but
you can hear the effect and going down likewise
| | 11:20 | will open it up in the opposite direction.
| | 11:22 | (music playing)
| | 11:25 | Now sometimes changing the pitch and the formant
together can give you an even more exaggerated effect.
| | 11:30 | So perhaps we would drop this entire section
by a full octave, maybe it won't be the cleanest
| | 11:36 | sounding thing, but it will
certainly give us that effect.
| | 11:39 | (music playing)
| | 11:41 | Now we can always exaggerate
it even further if we want.
| | 11:44 | (music playing)
| | 11:46 | And you can also experiment with changing the
formant in the opposite direction of the pitch change.
| | 11:50 | Now all the stuff gives you some
cool stuff you can use as effects.
| | 11:53 | I am going to put that all back to where it
was initially since we don't want to actually
| | 11:57 | make those changes. And I am going to undo
all these changes to the melody that we made
| | 12:01 | since we are not actually going to keep them
and get us all back to where we started right
| | 12:05 | there, have a listen to it
just make sure it's right.
| | 12:08 | (music playing)
| | 12:09 | Cool. And one last thing we can do is using the
Volume tool we can actually change the volume of a note.
| | 12:15 | We kind of looked at this little bit
earlier when I was talking about low notes.
| | 12:18 | But if you have, for example, several
different takes that you count together and they sound
| | 12:23 | slightly different and maybe the vocalist
was further away from the mike in one or closer
| | 12:26 | in another, you can use this tool in Melodyne to
help smooth out the difference between the takes.
| | 12:30 | And you can also do this in your DAW with
different techniques, but it's nice to be
| | 12:34 | able to do it in Melodyne if you didn't catch it
before you already brought that vocal into Melodyne.
| | 12:38 | So here's an example of how that might sound.
| | 12:41 | Let's pretend that this section was recorded and
the vocalist a little farther away from the mike.
| | 12:45 | We are going to just listen, and you are going to
be able to hear the difference the level of the two.
| | 12:50 | (music playing)
| | 12:52 | On the words, to amend her, it
sounds like it's just a lot farther back.
| | 12:55 | So if that were the case, and that was
actually part of our comp we can literally compensate
| | 12:59 | by dragging this up and making it
louder for those selected words.
| | 13:03 | (music playing)
| | 13:05 | To make it sound like it should.
| | 13:06 | I am going to just undo that and
put it back to where it was naturally.
| | 13:09 | And now that we have gotten through this pass
on our vocal, let's go back and double check
| | 13:13 | our changes and catch any rhythmic issues.
| | 13:18 |
| | Collapse this transcript |
| Correcting lead vocal rhythm| 00:00 | You may have already fixed most of your
rhythmic issues as you went through on your first pass.
| | 00:04 | But it's often helpful to do a separate pass just
for checking rhythms and correcting rhythmic issues.
| | 00:09 | Now you don't have to do it this way but I
usually like to make sure that I can hear
| | 00:13 | the instrumental in the background so that
I have some sort of frame of reference for
| | 00:16 | adjusting the rhythm of my vocals.
| | 00:18 | And you can use this to actually make
corrections if there were performance issues, you can
| | 00:23 | use the rhythmic changing to actually
change rhythms, and you can use it to just change
| | 00:27 | the pocket of the performance if perhaps
you want something to feel a little bit behind
| | 00:31 | the beat or maybe something to sit a
little bit more on top of the beat.
| | 00:34 | So you can do all of that
stuff very easily within Melodyne.
| | 00:37 | And just like we did in Automatic Pitch
Correction, you can do Automatic Rhythmic Correction,
| | 00:42 | although you have to make sure you have the
tempo set properly in your session to do that.
| | 00:46 | So let's go back in and
pick up where we left off.
| | 00:48 | We are going to open up our Lead 1a_COMP_01, and
check the rhythm against our instrumental track.
| | 00:54 | So we have opened our Lead 1a_COMP_01, and
we are going to choose Play arrangement.
| | 00:59 | And just for the sake of hearing those by
themselves, I am going to mute 1b and 1c.
| | 01:03 | I am just going to listen with the couple
of bars or pre-rolls, so I can kind of feel
| | 01:06 | the rhythm and make sure the rhythm of this
vocal against that rhythm of the track is working.
| | 01:12 | (music playing)
| | 01:37 | Cool. So just based on that, she is pretty
much right on the pocket with this, but there
| | 01:41 | are few things that I might want to adjust.
So perhaps you want certain words to be more
| | 01:46 | on top of the beat, maybe a little more robotic
or perhaps you want the entire pocket to float
| | 01:50 | a little more and be more behind the beat,
depending on what it is you are looking for
| | 01:54 | in your performance, there are
different ways to address it.
| | 01:57 | So if, for example, we wanted an entire
phrase or an entire section to be earlier or later,
| | 02:02 | we can simply select it and using the Move
Notes tool, we can hold the Option of Alt
| | 02:07 | key and click and drag the
performance just a little bit earlier or later.
| | 02:11 | And you can see how it's moving
it within the confines of the grid.
| | 02:15 | So let's undo that and zoom in a little bit
more so we have a little more fine control
| | 02:19 | over that. So if we wanted the entire
performance to sit even further back on the beat, we could
| | 02:24 | use this and just slightly nudge it a little
bit later, and you can hear the effect of that.
| | 02:29 | (music playing)
| | 02:32 | So that is fairly subtle, we can make
it a lot more exaggerated if we wanted.
| | 02:35 | And likewise, if we wanted the entire thing
to sit more on top of the beat, you can hold
| | 02:40 | Option, slide it a little
bit earlier and listen to that.
| | 02:44 | (music playing)
| | 02:46 | So that makes it sound a little bit more on
top of the beat and a little bit more robotic,
| | 02:50 | but perhaps we are happy with most of the
performance, and we just want to change a
| | 02:53 | few little sections.
| | 02:54 | If that's the case, we can just do
the same thing for those sections.
| | 02:58 | (music playing)
| | 03:01 | So maybe I want known and let it, to be a
little bit earlier, but I want everything
| | 03:05 | else to stay more or less where it is.
| | 03:07 | So I can just take those small sections
and scoot them a little bit closer to where I
| | 03:12 | want them without really
affecting anything else.
| | 03:15 | (music playing)
| | 03:17 | Now it feels like she's attacking those
beats a little bit more aggressively, because the
| | 03:21 | timing is just a little bit closer to the beat.
| | 03:27 | (music playing)
| | 03:35 | So same thing here, I probably want
cause and got to come a little bit earlier.
| | 03:38 | So I can select them both and just slide them just a
hair earlier, make sure I am happy with the result.
| | 03:44 | (music playing)
| | 03:47 | Maybe I am want to shorten up cause just
to make that a little more staccato, and that
| | 03:50 | will also help with the energy.
| | 03:52 | (music playing)
| | 03:55 | We have got to make sure that that doesn't
make the S of cause sound strange though,
| | 03:58 | because we have now lengthened it.
| | 04:00 | So I am going to make the next note, start
a little earlier to shorten that S, or I
| | 04:04 | can also just shorten the S by making
another separation, but let's hear this first.
| | 04:08 | (music playing)
| | 04:09 | It's actually pretty good, let's listen it
one more time, with a little more pre-roll.
| | 04:13 | (music playing)
| | 04:17 | Here a little bit too early on what, the idea
is just to dial it in until you're happy with it.
| | 04:22 | So now we go through the
rest of the performance.
| | 04:25 | (music playing)
| | 04:28 | Just catch any little things that we might
want to bring earlier, we can even play around
| | 04:31 | with making these automated rhythm corrections,
I believe the key Command+Option or Ctrl+Alt+T.
| | 04:39 | And we can now quantize the groove
essentially using any different one of these templates,
| | 04:43 | we can go to quarter notes, quarter note triplets,
eighth notes, eighth note triplets, et cetera,
| | 04:47 | or we can use a Reference Track, in this case
we could choose to use our Instrumental Track
| | 04:52 | as a reference if we wanted to.
| | 04:53 | You can set your Quantize Intensity, which is
essentially how close to the original performance
| | 04:59 | and how close to perfect you want to be.
| | 05:03 | And just on the section that you
have selected, it will operate.
| | 05:05 | So you can see as you move the slider that
those changes are taking place, they are not
| | 05:09 | going to stick until you commit them.
| | 05:10 | Now let's try like may be 75%
and see what that sounds like.
| | 05:15 | (music playing)
| | 05:17 | Overall it's pretty good, but it did make
a few changes that are not quite what I'm
| | 05:20 | looking for, we will undo
that and just do them manually.
| | 05:23 | (music playing)
| | 05:26 | And usually when Melodyne makes those types
of changes, it's because an anticipation may
| | 05:30 | fall just a hair closer to the beat before, and
therefore, appear as if it's trying to be on that beat.
| | 05:37 | So fine-tuning how you're using Quantize can
actually help you use it in a way that might
| | 05:41 | actually make it more useful for you.
| | 05:42 | But here I am just going to make
certain notes just a hair earlier.
| | 05:46 | (music playing)
| | 05:49 | Just a few notes that
probably should be little earlier.
| | 05:53 | (music playing)
| | 06:02 | And so, for example, the beginning of the
Atti-Girl and Attitude, maybe it could be
| | 06:07 | a hair earlier in this case just because
we are going for a bit of that robotic thing
| | 06:11 | until we hit the chorus.
| | 06:15 | (music playing)
| | 06:21 | And then we can move on to looking at
multiple tracks that need to be timed together.
| | 06:25 | So now, if we select Lead 1b and unmute that--
we can also unmute it from the mixer if you
| | 06:30 | want, whichever way is more convenient for you.
| | 06:32 | We can now listen to the two together and
make sure that they both play well in time.
| | 06:37 | (music playing)
| | 06:39 | So overall that's pretty good, now if you
really want a very perfect pop sound, you
| | 06:43 | can use other tools like vocal line to make
sure that the vocals are literally doing the
| | 06:47 | exact same thing rhythmically.
| | 06:49 | But a lot of times I prefer to do something
with a little bit more natural character to
| | 06:53 | it and Melodyne is great for that, because
you can literally just fine-tune each little
| | 06:57 | section of the melody and of the rhythm,
until you get what you're looking for.
| | 07:01 | So here, we can make certain sections a
little earlier to match the other take, and just
| | 07:06 | like you saw there, if you accidentally click
on a section that's overhanging from a different
| | 07:10 | track, it will actually select that
track, so you have to be aware of that.
| | 07:14 | In this case it actually moved us back to Lead 1a,
so I have to go back up here and select Lead 1b.
| | 07:19 | And make sure I actually select the right
piece, instead of accidentally switching tracks.
| | 07:24 | And just see what we got here.
| | 07:25 | (music playing)
| | 07:27 | Feels like there is a little bit of difference
between the timing of known on the two takes,
| | 07:32 | so let's try that again.
| | 07:34 | (music playing)
It's better.
| | 07:40 | (music playing)
| | 07:43 | We probably bring got up a hair earlier
just to match what we did on the other take.
| | 07:48 | (music playing)
| | 07:49 | Maybe cause as well, you know just kind of
catching the little things that you think stick out.
| | 07:54 | (music playing)
| | 07:56 | Let's just jump ahead and grab
the same stuff on the next part.
| | 08:01 | (music playing)
| | 08:13 | Overall it's pretty good, and I am not trying to tighten
it up too much, but if you want it to be really
| | 08:16 | perfect with this, you really can get into
a fine level of detail, you can use visual
| | 08:20 | cues if you want to zoom in, you can also
separate the notes on the different pitches,
| | 08:25 | so that you can visually
line up a start of each note.
| | 08:28 | So there are all kinds of different ways that
you can use Melodyne to really dial in the rhythm.
| | 08:32 | (music playing)
| | 08:36 | So there is one other tool that's really useful
for timing edits, and that is to Edit Time Handle tool.
| | 08:42 | With the Time Handle tool you can actually
change the way a note attacks, you can make
| | 08:46 | the note start more quickly or more slowly.
| | 08:49 | So if a note has a pitch bend naturally, you can make
the pitch bend take longer or shorter amount of time.
| | 08:55 | So let's take a listen
to how that could be used.
| | 08:57 | By clicking and dragging upward with the
Time Handle tool we have shorten the attack.
| | 09:02 | (music playing)
| | 09:04 | And therefore, the length of the note in
this case, because we went pretty drastically,
| | 09:08 | we can undo that, and we can drag it
downwards to make the attack slower.
| | 09:12 | And let's just listen to just this
track, so we can really hear this.
| | 09:15 | (music playing)
| | 09:16 | You can hear it kind of eases into the
note, versus attacking the note really hard.
| | 09:23 | (music playing)
| | 09:25 | So this is a really useful tool for making a
different performance than what you actually
| | 09:29 | recorded, because you have a lot of
control over certain elements of the performance.
| | 09:34 |
| | Collapse this transcript |
| Finishing up the lead vocals| 00:00 | In this song, like a lot of pop songs, we
have quite a lot of lead vocal tracks, but
| | 00:04 | really there's not a lot of lead vocal tracks,
there's just two parts and each part has been quadded.
| | 00:09 | So what we're going to do now is take a look
at the second part, and using the techniques
| | 00:14 | that we went over in the previous videos,
we're going to edit the first of those two
| | 00:17 | parts, Lead 2a and Lead 2b.
| | 00:20 | So let's first unmute 2a and
open that up in our Editor Window.
| | 00:24 | I'm going to choose Play arrangement so we
can hear the track playing behind this, as
| | 00:28 | well as the other vocals that are unmuted.
| | 00:30 | In this case I'm just leaving Lead 1a and
1b unmuted, since we never finished 1c or
| | 00:35 | 1d, and let's have a listen.
| | 00:39 | (music playing)
| | 00:47 | Cool. So we're just going to go
through this and do a quick pass.
| | 00:50 | I'm not going to spend a ton of time on this,
because it's already pretty close to what I want.
| | 00:53 | So I'm going to use our Automatic Pitch
Correction approach that we looked at earlier for our
| | 00:57 | first pass, but I'm only going to correct
the first section of the song, I'm not going
| | 01:01 | to do the whole thing yet.
| | 01:02 | So maybe I'll make it a
little tighter than we did before.
| | 01:05 | I'm going to go back and
listen to the effect of that.
| | 01:09 | (music playing)
| | 01:11 | And I'm going to separate a few notes out
that I didn't separate before, because I actually
| | 01:15 | want to keep those as separate notes, and
we can go and re-center those, or in the case
| | 01:21 | of notes that may be a little sharper than
the center, we can just drag them down as
| | 01:24 | we did before, one at a time.
| | 01:30 | (music playing)
| | 01:32 | Actually I want to put that got back where
it was, so I'll use the key command that I
| | 01:35 | set up earlier for resetting
the pitch center to original.
| | 01:39 | (music playing)
| | 01:48 | And all that's fine, I just want to
take the breaths and S's out of there.
| | 01:51 | So I'm going to go through and separate
the stuff that I did not separate before.
| | 01:55 | And this is why I like to do it in advance
just because it's that much easier, and we
| | 01:58 | can just select each one now, reset it to
original with whatever key command you have set.
| | 02:04 | This will just help keep the audio a little cleaner,
because we're not introducing any unnecessary changes.
| | 02:10 | (music playing)
| | 02:15 | Okay, I want to make that but...
(music playing)
| | 02:20 | ...land on the same note.
| | 02:23 | (music playing)
| | 02:25 | For some reason the pitch isn't
detected, which happens once in a while.
| | 02:30 | (music playing)
| | 02:30 | You just have to move it until it sounds right.
| | 02:35 | (music playing)
| | 02:39 | And get the S's and those
sort of things separated out.
| | 02:43 | (music playing)
Tighten up pay.
| | 02:48 | (music playing)
Fix that.
| | 02:54 | (music playing)
| | 02:56 | And get this S out of there.
(music playing)
| | 03:05 | Cool. And now we're going to jump
ahead and look at the part in the chorus.
| | 03:09 | This is the chorus B line.
| | 03:11 | (music playing)
| | 03:16 | I'm going to want to tighten that up a bit.
| | 03:17 | So this time I'm going to go and make my
separations first, I have got a ton of them.
| | 03:21 | Excluding the breath that I separated, let
me go ahead and just use this double-clicking
| | 03:25 | technique and grab the notes
that I know I want to change.
| | 03:31 | (music playing)
| | 03:35 | Keep that a little tighter.
| | 03:36 | Grab that S that I missed,
reset its pitch center.
| | 03:40 | (music playing)
| | 03:44 | And maybe I'll tighten up the Pitch Modulation
a little bit to make it a little bit tighter.
| | 03:48 | (music playing)
| | 03:53 | Cool! Now let's look at the second half of that.
(music playing)
| | 04:02 | And do the same thing there.
| | 04:03 | Make our separations,
take the T out of it, deselect.
| | 04:08 | (music playing)
| | 04:13 | There's a couple of melodic
changes I'm going to make here actually.
| | 04:15 | I'm going to switch these notes
around, and I'm going to drop this note.
| | 04:19 | (music playing)
See what that sounds like.
| | 04:24 | (music playing)
| | 04:29 | So that's actually the melody that
I'm going to use there in the song.
| | 04:32 | And we're going to use one of the
techniques we looked at earlier, which is making this
| | 04:35 | note a little bit louder
with the Edit Amplitude tool.
| | 04:37 | And I'm probably going to tighten
up the Pitch Modulation a little bit.
| | 04:42 | (music playing)
| | 04:47 | And I want this a little bit tighter.
(music playing)
| | 04:51 | Cool. And again, since this is the chorus,
and it repeats, I can just get that section
| | 04:56 | that I have finished, select it, in this case
I haven't separated the breath yet, so I'm
| | 05:00 | going to include the breath.
| | 05:02 | I'm going to go and make a selection of what
I'm pasting and paste that in there, and you
| | 05:06 | can see that this section has been
replaced with the corrected version.
| | 05:11 | (music playing)
| | 05:16 | Now let's go and make Lead 2b
match what we have just done here.
| | 05:20 | Well, first let's unmute 2b, and just do a quick
pass again, using our Automatic Pitch Correction tool.
| | 05:28 | Now that I know which separations I want to
include and which things I don't want to include,
| | 05:32 | it's going to be a lot faster, because I have
already done this process once, so I can literally
| | 05:35 | just mirror what I did the first time.
| | 05:40 | (music playing)
| | 05:46 | As irritating as that sound can be, it can
really help you find the center of the pitch.
| | 05:52 | (music playing)
| | 06:00 | So again just make my separations, the breaths out
of there, and reset the pitch center on all of those.
| | 06:07 | And again, if we want to tighten it up a little bit,
we can make the Modulation a little bit less noticeable.
| | 06:14 | (music playing)
| | 06:17 | Couple of notes I might do a little bit more on.
| | 06:20 | (music playing)
Cool. Moving on.
| | 06:23 | (music playing)
| | 06:25 | Again, I want to move that
but up to the right note.
| | 06:31 | (music playing)
| | 06:34 | Make that can't on the right pitch as well.
(music playing)
| | 06:38 | And tighten up a few more things,
but we're more or less there.
| | 06:43 | (music playing)
| | 06:48 | So there's some stuff in here we have got to
correct, and just start by doing a Manual
| | 06:52 | Batch Correct, by double-clicking, fix the note
that I know needs to be fixed, make a few separations.
| | 06:58 | (music playing)
| | 07:01 | And then just tighten it up a hair,
pretty much there with this one.
| | 07:06 | (music playing)
| | 07:10 | And then we'll get to the chorus and do
the same thing on the B line in the chorus.
| | 07:13 | (music playing)
| | 07:17 | I'm just going to tighten up the Modulation on
these as well just like we did on the other one.
| | 07:23 | (music playing)
| | 07:26 | And we'll grab the second half of the chorus,
and double-clicking is really the same thing
| | 07:31 | as using our Correct Pitch, it's just that
you have a little more control over how close
| | 07:34 | to center you can get when
using the Correct Pitch feature.
| | 07:37 | Let's tighten up the modulation a bit.
| | 07:39 | (music playing)
| | 07:45 | And we have got to change those same
notes that we changed in the other part.
| | 07:48 | (music playing)
| | 07:50 | And I'm going to make this a
little bit louder like I did before.
| | 07:53 | I may actually want to use a little bit of
format change on both of these notes just
| | 07:57 | to change the naturalness of that
sound, but it doesn't sound too altered.
| | 08:02 | (music playing)
| | 08:04 | Make the throat sound a little bigger
since she's singing a lower note basically.
| | 08:08 | And then again, I'm going
to select and copy and paste.
| | 08:10 | This time I don't have to grab the breath
since the breath is already separated on the
| | 08:14 | second half of the repeated chorus, and
we're going to copy and paste it like we did on
| | 08:18 | Track 2a, so that they match, since this is
literally a double of what's on 2a, and we
| | 08:24 | can just double check it by listening to a snip.
| | 08:28 | (music playing)
| | 08:30 | Cool! So you know it's in the right
place, because the timing sounds right.
| | 08:34 | So now that we have gone through a couple of
each of the lead vocal parts, both the A line
| | 08:38 | and the B line, or Lead Vocal 1 and Lead Vocal
2. Let's take a moment to go through the rest
| | 08:43 | of the lead vocal parts on your own.
| | 08:44 | So that would be finishing Lead 1c and 1d
and Lead 2c and 2d, and then go through and
| | 08:50 | polish the Adlibs track on your own, using the
techniques that we have looked at in this chapter.
| | 08:55 |
| | Collapse this transcript |
|
|
3. Correcting Harmony and Background VocalsCorrecting background vocal pitch| 00:00 | Just like with the vocals that we already
finished, for all the Leads and Adlibs, we're
| | 00:04 | going to go back through now and do a pitch
correction pass and follow it up with a rhythm
| | 00:08 | correction pass starting
with our background vocals.
| | 00:10 | Granted you'll notice that all of the
backgrounds, including the harmonies, are named backgrounds
| | 00:15 | in this session. That's just done to keep
everything concise, and you can really organize
| | 00:19 | your session however you want.
| | 00:20 | If you wanted to have, for example, all of
your harmony vocals on separate tracks, so
| | 00:25 | that they are more easily controlled
in the mix, you can certainly do that.
| | 00:28 | It's really just a matter of what makes the
session flow and working in the session easier for you.
| | 00:33 | So for the purposes of this course, everything is
condensed down to keep it on as few tracks as possible.
| | 00:37 | So the true backgrounds in the song are
really going to be what we hear over the intro.
| | 00:42 | Now there are more backgrounds through the
actual song itself that have been removed
| | 00:45 | for this abridged version.
| | 00:47 | So we're just going to focus on
the stuff in the intro for right now.
| | 00:50 | So let's go to our Navigation menu and choose Zoom to
Full Song, so now we can see the entire song here.
| | 00:56 | We can see our instrumental up top and all the lead
vocals and the Adlib track that we already worked on.
| | 01:01 | Let's start with our Background 1a COMP.
| | 01:03 | So we can double-click or use the key command
Shift+Command+E or Shift+Ctrl+E, to open the Editor window.
| | 01:09 | We have got our background track selected already in the
Arrangement window, so it opens in the Editor window.
| | 01:14 | And we can either choose to Play visible,
selected or arrangement again, like we have done before.
| | 01:19 | This time let's play arrangement since
there's no Lead vocal going on here yet, we can hear
| | 01:22 | the track behind these vocal parts.
| | 01:25 | So I am going to go ahead and play with just
this one vocal unmuted from all these parts.
| | 01:33 | (music playing)
| | 01:42 | So that's all we're going to focus
on right now with these backgrounds.
| | 01:45 | So this is a pretty simple little part, there's not
any breaths or sibilants that we need to worry about.
| | 01:49 | So we can simply select the whole thing
and either double-click, or we can undo that
| | 01:53 | and use our Correct Pitch tool, which is
Command+Option+P or Ctrl+Alt+P, and in this case, I am going
| | 01:59 | to go ahead and put it to a 100 because I
am going to want this a little tighter, we
| | 02:02 | may come back and do some
more effects on this later.
| | 02:04 | But for now, let's hear what that sounds like.
| | 02:09 | (music playing)
| | 02:19 | Cool. So that's exactly what we want
to do, just tighten it up a bit for now.
| | 02:22 | I am going to go onto 1b, do the same thing.
| | 02:25 | So unmute each track as we go like we did
before, and again, you can change the workflow
| | 02:30 | to anything that suits your preferences.
I am going to try the same approach here.
| | 02:33 | We're going to notice that a few
notes were pulled up, one semi-tone here.
| | 02:36 | We just want to correct those,
and let's listen to this together.
| | 02:40 | (music playing)
| | 02:52 | Cool! And if I was going to keep it more natural,
I might just correct a few things here either
| | 02:56 | flattening this out a little bit or
perhaps even making a separation, which is another
| | 03:00 | way to handle certain things.
| | 03:01 | If most of the note is good or the pitch
modulation on it is not sticking out, but maybe just
| | 03:06 | one little part of it is to your ear, you
can just separate that part and correct that
| | 03:11 | part without having to change anything else.
| | 03:13 | (music playing)
| | 03:16 | Let's move on to our 1c, and we're just
going to kind of plow through these since they're
| | 03:21 | fairly simple part and build out
this entire background section as we go.
| | 03:25 | So you'll notice at these first four,
obviously all one part and they have been quadded, in
| | 03:29 | other words recorded four times, so that there
are four different vocals singing the same part.
| | 03:38 | (music playing)
| | 03:48 | Moving onto the next one, you can just
hear how it gets a little thicker each time we
| | 03:51 | add a vocal which is the
whole point of having multiples.
| | 03:57 | (music playing)
| | 04:07 | Cool. So we got the first part.
Let's grab our second part.
| | 04:10 | So we can see, and hear, that this
is going to be a different note.
| | 04:13 | In other words, it's a
harmony to the part we just did.
| | 04:16 | (music playing)
| | 04:19 | Yeah, so we definitely want to fix a few of
those little pitches in there. Let's hear this.
| | 04:29 | (music playing)
| | 04:37 | Cool. So we know that 2b, C, and D are
going to be the same part, doubled, tripled, and
| | 04:41 | quadded, so we can just quickly go through
those as well, make sure we can hear them as we go.
| | 04:50 | (music playing)
| | 05:02 | I am going to build this whole section out
here as we go doing the same thing, pretty
| | 05:06 | much keeping it fairly close to the
original performance now just making sure that the
| | 05:10 | centers are closer to where they supposed to be.
| | 05:14 | (music playing)
| | 05:20 | At a certain point you'll be able to tell
if it really even needs any editing just by
| | 05:23 | looking at it and obviously, you still want to
listen because that's really what's important
| | 05:27 | at the end of the day.
| | 05:32 | (music playing)
| | 05:44 | We can go onto our next part.
| | 05:45 | This is the third part, and you can see here there
are just a few notes at the very end on this part.
| | 05:51 | (music playing)
| | 05:55 | And given the nature of this part, I probably
want to tighten up the pitch just a hair more
| | 06:00 | than I might have on the other parts.
So I am going to go ahead and do that.
| | 06:05 | (music playing)
| | 06:09 | And given that there is a breath in here, we
can just make sure that it's not been affected
| | 06:13 | by using our Reset Pitch Center to our
original key command that we set earlier.
| | 06:16 | And let's grab our next vocal in this
series here which is the double of vocal 3.
| | 06:21 | We can pretty much just apply the same approach we did
on the last one and just double check it by listening.
| | 06:28 | (music playing)
| | 06:31 | And grab number C, every once in a while
selecting with a certain tool may not actually make
| | 06:36 | the selection, you have
probably noticed it a few times by now.
| | 06:40 | So if it does just switch tools to
the Main tool or the Pitch tool.
| | 06:43 | (music playing)
| | 06:49 | And we'll grab 3d to finish out this part.
| | 06:53 | (music playing)
| | 06:57 | Then we're moving onto 4a now, and you can see this
is kind of like a B-line in this background arrangement.
| | 07:03 | So in other words, it's going to be kind
of a bit of a common response, so let's hear
| | 07:07 | what that's going to sound like.
| | 07:08 | (music playing)
| | 07:14 | Again, we are just going to tighten up the
pitches on these, and we can plow through
| | 07:16 | these pretty quick, because there are all
fairly simple parts just couple of notes.
| | 07:20 | So we are onto 4b now.
| | 07:23 | (music playing)
| | 07:27 | I might tighten up the Pitch Center on these
just a hair, move onto 4c, do the same thing
| | 07:32 | here and again we are going to
switch tools to make that selection.
| | 07:37 | (music playing)
| | 07:41 | Get the right tool there, tighten these up
just a tiny bit, and we'll grab the fourth
| | 07:46 | recording of this part.
| | 07:49 | (music playing)
| | 07:54 | So we can really just plow through these,
there are not that complicated, we can always
| | 07:57 | make sure that our work is good by listening
after we do stuff on a simple part like this.
| | 08:01 | So here is the first harmony part.
| | 08:04 | We can even attempt to do four in a batch
here, let's see what happens if we just edit
| | 08:08 | them and then listen, so we have got A and B, C and D,
and now we can listen to what that sounds like.
| | 08:24 | (music playing)
| | 08:29 | Cool. So that will work for now.
| | 08:30 | We'll move onto our last part 6 and here
are a few little rhythmic issues in there that
| | 08:35 | we'll come back and fix in the next video.
| | 08:37 | Again we'll grab these all in one pass here, so 6a,
6b, 6c, and 6d. And let's have a listen to that.
| | 08:53 | (music playing)
| | 08:58 | Cool. So now let's take a listen to this entire
little section of the song with all the parts.
| | 09:02 | Granted, it's not mixed, we really just
have a quick and dirty faders up mix of all the
| | 09:06 | vocals as recorded.
| | 09:08 | But now we have tuned them a little bit,
and let's hear what it sounds like.
| | 09:12 | (music playing)
| | 09:25 | So we have gotten through our goal with this.
| | 09:26 | What we're going to do with this section in the
song is copy and paste it to play it underneath
| | 09:32 | the final chorus, which in this example, is really
the chorus since we're doing in abridged version.
| | 09:37 | So once we got these tracks back into our
DAW, we would then copy them, put them on
| | 09:41 | another set of tracks, and duplicate
this section twice underneath the chorus.
| | 09:45 | And if you want to take a listen to the final
version of the song you will be able to hear
| | 09:48 | what we have done with that.
| | 09:50 | So in the next video, we're going to go back in and
correct any rhythmic issues with these background parts.
| | 09:55 |
| | Collapse this transcript |
| Correcting background vocal rhythm| 00:00 | In this pass, we'll go back through the
background parts that we just tuned and make any rhythmic
| | 00:04 | changes that we want to address.
| | 00:06 | We can change the overall feel of the entire
part by making things earlier or later, and
| | 00:10 | we can also tighten up the timing
between the various parts and takes.
| | 00:14 | Now another approach to get a really tight
pop like sound for these background parts
| | 00:18 | would be to use a tool like vocal line or
something else that your DAW might offer to
| | 00:22 | tighten up the parts before bringing them
into Melodyne or even after you have tuned them.
| | 00:27 | But you can also use Melodyne to
make these changes to the rhythm.
| | 00:30 | And Melodyne actually gives you a very good
toolset and a very easy way to make rhythmic
| | 00:35 | changes in a very natural way.
| | 00:36 | So if you want to keep the performance
sounding a lot more natural and not as super tight
| | 00:40 | and super pop, Melodyne gives you a
really good toolset for doing that.
| | 00:44 | So again, let's take a quick
look at changing the feel first.
| | 00:47 | And I am going to go ahead and mute all of
the other tracks so we can just hear the song
| | 00:51 | one part at a time.
| | 00:53 | So now that I have muted all of the
background tracks except for the first one that we'll
| | 00:56 | start with, we can hear what we are going
to do a little bit easier, rather than trying
| | 00:59 | to make changes to one track and hearing them
all playing at the same time, which would really
| | 01:03 | mask the effect of what we're attempting to do.
| | 01:06 | So, again we may want to set this to Play
arrangement so that we can hear the background
| | 01:10 | track against the vocal, and let's
take a quick listen to our part as it is.
| | 01:18 | (music playing)
| | 01:27 | So if we wanted to change the feel of this
and maybe make it sit a little more on top
| | 01:30 | of the beat, we could switch to our move
notes tool and hold the Option key or Alt key, and
| | 01:35 | just click and move the entire
performance just a hair earlier.
| | 01:39 | And what this will do is move it in
between sections of the grid rather than actually
| | 01:42 | snapping it to the grid.
| | 01:44 | So if we tried to move it without the Option
key, we would actually see that it would move
| | 01:47 | within sections of the grid, in this case
it looks like it's moving by 16th notes.
| | 01:51 | I am going to undo that.
| | 01:53 | Let's take a listen to this
with a little bit earlier timing.
| | 02:00 | (music playing)
| | 02:09 | So that's a lot more on top of the beat,
there might be some other changes that we'd want
| | 02:12 | to make if we were going to keep that, like
perhaps we would extend the end of a certain
| | 02:16 | note here to make it land a little bit
closer to the downbeat, again holding the Option
| | 02:21 | or Alt key, to make sure that
the edit doesn't snap to the grid.
| | 02:25 | (music playing)
| | 02:33 | And we can also experiment with going the
opposite direction and making everything feel
| | 02:36 | a little bit more off the beat,
little more upbeat, and more floaty.
| | 02:41 | (music playing)
| | 02:48 | At the end of the day the decision is really
yours, it's an aesthetic choice what are you
| | 02:51 | trying to accomplish with the song.
| | 02:52 | So, what we are going to do then is make
that decision and go through and edit all of the
| | 02:57 | other tracks to match
what we have done on our first track.
| | 03:00 | So let's say we decided to leave it more where it
was, but we just wanted to change a couple of things.
| | 03:04 | I am going to get the track back to where
it was before we edited it, and perhaps we
| | 03:08 | just want to make certain note transitions a
little bit more on the beat, but leave everything
| | 03:12 | else a little bit more behind
the beat like we had it before.
| | 03:15 | We can just move those two sections.
| | 03:18 | (music playing)
| | 03:21 | And may be we want to make the end of this
note cut off closer to the beat again, we
| | 03:24 | can just stretch the end out again, same here,
but again holding the Option key or the Alt key.
| | 03:30 | (music playing)
| | 03:43 | So now let's say that's exactly where we
want it, and we are happy with that performance.
| | 03:47 | The next step would be to move on to the next track
and mirror that same timing with the other tracks.
| | 03:54 | So we can do the same edits that we just
made on the other track, and our goal again is to
| | 03:58 | really just make all of the performances,
in other words the double, the triple, and
| | 04:01 | the quad of each part as tight
rhythmically with each other as possible.
| | 04:06 | So now let's listen to the two of them together.
| | 04:12 | (music playing)
| | 04:21 | Pretty good, I am not sure if there's a
difference between the yas, or it could just be the
| | 04:26 | pitch that I'm hearing.
| | 04:26 | So, we can use that technique we talked
about earlier where you can visually compare the
| | 04:30 | two by simply moving one or the other to a
different pitch so that you can see both of
| | 04:34 | them at the same time.
| | 04:35 | And you can see that they do attack really
close to each other, if we really wanted to
| | 04:39 | be stay closer about this we could fine
tune it a bit more, really get them to start in
| | 04:43 | the same place and really get
them to end in the same place.
| | 04:47 | And then again don't forget to
move it back to the right pitch.
| | 04:51 | (music playing)
| | 04:58 | So, once we have done that on the second track,
we would continue do that on the third track,
| | 05:02 | and the fourth track. Until we have got all of
the background one parts where we want them.
| | 05:06 | And then we would do the same thing to
tighten up all of the other parts, backgrounds 2,
| | 05:11 | 3, 4, 5, and 6 and get them all so
that they are really tight together.
| | 05:15 | Now for the purposes of this course we are
not going to go through that in this video,
| | 05:18 | but feel free to play around with it on your
own and get it to where you're happy with it.
| | 05:22 | One other thing we can do with rhythmic
elements is use our Edit Time Handle tool, and we can
| | 05:26 | really easily make note changes like we looked at
earlier that might affect our performance in a nice way.
| | 05:32 | So we can look at potentially slowing down
the attack of some of these notes and again
| | 05:36 | since we have two tracks going we probably
have to make sure we do it on both tracks.
| | 05:40 | And what this is going to do is make the
attack of each note a little bit slower, so let's
| | 05:43 | listen to the effect of that.
| | 05:45 | (music playing)
| | 05:47 | Now you can tell that they are obviously not done
together, so let's just really quickly mute one of these.
| | 05:52 | We are going to mute B, so we can
really just hear the effect on A.
| | 05:56 | I am going to undo that change on B, we are
going to switch back to 1a, and let's hear
| | 06:01 | that affect a little maybe more
drastically just so we can really hear it.
| | 06:06 | (music playing)
| | 06:08 | In other words we're kind of swelling into
the note, and we can even make it more drastic
| | 06:12 | by dragging that handle even further down.
| | 06:15 | (music playing)
| | 06:17 | And granted that this is single note so
we're not noticing it as much on this note as we
| | 06:22 | might on a different performance, but it's
dragging out that vibrato on the beginning
| | 06:26 | of the note, so you can see what was
in the beginning is now moved later.
| | 06:30 | And the other direction, we'll make it shorter or
more of a abrupt attack rather than a smooth attack.
| | 06:36 | (music playing)
| | 06:39 | So this is the kind of thing you may want
to use more on a lead vocal if you're trying
| | 06:41 | to get a slight little swell into a note or
make something a little bit more aggressive
| | 06:46 | with an attack, but you can play around
with it in all of your parts because you may be
| | 06:49 | able to use it in some unique way.
| | 06:50 | Now another thing we can do with the rhythmic
elements in Melodyne is we can actually change
| | 06:55 | the rhythm altogether and
make something completely new.
| | 06:57 | Now let's say, for example, with any one of
these parts, we didn't like the rhythm that
| | 07:01 | we came up with, and we wanted to
change the part to something different.
| | 07:03 | May be if we didn't want three notes here,
or we wanted a different rhythm of two notes,
| | 07:08 | we could actually mute one by double-clicking
with the Edit Amplitude tool--you can try
| | 07:12 | this in both places--and then we can
actually move with our move notes tool, the timing
| | 07:17 | of one of the other notes to try
something different rhythmically.
| | 07:20 | And, as you can see, by moving that note--I
am just going to undo it so we can see it
| | 07:23 | happen again--the end of the note has been
truncated. So we can actually stretch out
| | 07:27 | the end of the note by shortening the muted
note and by lengthening the end of the note
| | 07:32 | that we want to affect.
| | 07:33 | So I am not sure if this rhythm is going
to be what we want, it doesn't look like it,
| | 07:36 | but let's have a listen to
the change we just we made.
| | 07:39 | (music playing)
| | 07:40 | And we actually have some other parts playing in
the background, so let's make sure those are muted.
| | 07:45 | (music playing)
| | 07:47 | So let's say we wanted a slightly
different rhythm their altogether.
| | 07:51 | Maybe what we would do is delete this
little chunk, move this one more 16th note later,
| | 07:57 | and may be we would use our Edit Time Handle
tool to soften the attack of this note a little
| | 08:01 | bit, now that we have changed that.
Let's hear what that sounds like.
| | 08:05 | (music playing)
| | 08:07 | We have got a really abrupt attack to that note,
and that's probably because the note we removed
| | 08:11 | earlier actually contains
the attack of this note.
| | 08:13 | So if we really wanted to go down this path
and try and make this rhythmic change, maybe
| | 08:17 | a better way to do it is to actually use
that note instead of the second note in the
| | 08:21 | place of this rhythm.
| | 08:22 | So let's go back, we are going to undo these
changes until we get back to where we started,
| | 08:27 | and we could try going the opposite
direction, deleting this, and moving this note earlier.
| | 08:32 | So let's use our Move Notes tool and get the
note where we want it to start, and now you
| | 08:35 | can see this is going to actually make that
note stretch longer because we moved the beginning
| | 08:39 | but the end and the transition
still happen in the same place.
| | 08:42 | So let's have a listen to that.
| | 08:43 | (music playing)
| | 08:45 | Ad again I need to mute 1b.
(music playing)
| | 08:51 | So, you can see this is not the best
example because this is not a musical change that
| | 08:56 | we would actually want to make.
| | 08:57 | But if we did want to make a
rhythmic change like this we can do so.
| | 09:01 | Another way we could do this, that might be
a little bit better example, would be to use
| | 09:04 | some of these rhythmic notes at the end here.
| | 09:06 | (music playing)
| | 09:08 | Maybe I want this last note to actually
fall in the downbeat rather than the upbeat so
| | 09:12 | I can simply take that note
and slide the entire note later.
| | 09:16 | Now I can see that that's lengthened the
previous note so what I want to do is make sure there's
| | 09:19 | a separation between the notes, and I can use the
Move Notes tool to shorten the end of that note.
| | 09:26 | Let's have a listen to that, I am just going to
make sure that 1b is muted still, there we go.
| | 09:31 | (music playing)
| | 09:35 | So we can do that, and if we wanted to do
the same thing here just a simple example
| | 09:38 | of how we can use
Melodyne to make these changes.
| | 09:40 | Let's hear what it sounds like in this example.
| | 09:43 | And again remember that if we were going to do this
for real we would have to do it on all of the parts.
| | 09:48 | (music playing)
| | 09:52 | And you can hear it's still a bit behind
the beat, so we might want to tighten that up
| | 09:55 | and make that last downbeat actually
hit right on the top of the beat.
| | 09:58 | We can also double-click to
make it snap to the start.
| | 10:03 | (music playing)
| | 10:07 | Just like we could here, if we wanted to be
really precise with our quantization we can
| | 10:11 | simply just double-click, and it will snap
to the point that Melodyne detects being the
| | 10:14 | intended start of the note.
| | 10:17 | (music playing)
| | 10:21 | So you may decide that you do or don't want
to follow that, really it's up to your ear.
| | 10:25 | So play around with all of these rhythmic tools.
| | 10:27 | Before we move on I am going to set this
back to where it was initially, and I am going
| | 10:31 | to go back through into a quick pass
just tightening up this section of the song.
| | 10:34 | I am not going to really get into it too deeply,
but just enough to do a quick and dirty pass,
| | 10:39 | so we can tighten up the
rhythmic part of these backgrounds.
| | 10:42 | So once we have edited all of the rhythmic
elements on these vocal parts, we'd want to make sure
| | 10:45 | to listen again so that we
know we're happy with the result.
| | 10:49 | It's often a good idea to listen to the
a cappella as well as the full mix since when
| | 10:52 | you listen to the vocals all by themselves
you may hear certain elements of the pitch
| | 10:56 | and rhythm that you might not have heard when
the instrumental was playing at the same time.
| | 11:01 |
| | Collapse this transcript |
| Correcting harmony vocal pitch| 00:00 | Now let's dig into the rest of our
backgrounds which are really our harmony vocals.
| | 00:04 | In this session, we have left off
right at the end of the last video.
| | 00:07 | We have already tightened up a background
section at the beginning of the song that we'll use
| | 00:11 | again under the double chorus.
| | 00:14 | So now we're going to move forward and
edit the rest of what's on those tracks.
| | 00:17 | So in this Melodyne session 03_03, everything is
set up and ready to go so we can start editing BG 1a.
| | 00:24 | So let's open that up in our Melodyne
Editor, and let's have a listen here.
| | 00:28 | (music playing)
| | 00:30 | So, hat's what we already did, so we're
going to move on and start at Bar 10.
| | 00:33 | I'm going to set this to Play arrangement,
so we can hear it along with the instrumental
| | 00:37 | and the lead vocals.
(music playing)
| | 00:41 | So we can hear that this vocal right here is
going to play as a harmony to the lead vocal.
| | 00:46 | I'm going to tighten this up just a hair.
(music playing)
| | 00:52 | Here move on to the next section.
Now we kind of know what we're looking for.
| | 00:56 | It's going to be a little quicker to grab it.
(music playing)
| | 01:03 | I'm just tightening up the pitch on these, making them
sound a little bit more tuned, essentially, more poppy.
| | 01:14 | Here we know this one needs to do the same
melodic change as it did on the first part.
| | 01:20 | There we go.
(music playing)
| | 01:25 | So this one really just sits on the same note,
so this one is going to be pretty simple.
| | 01:29 | Remove the sibilances from this, so we
can tighten up the modulation a little bit.
| | 01:34 | We want to leave the vibrato on the last one.
(music playing)
| | 01:47 | Reset the pitch center on the sibilance, so
we don't introduce any phasing artifacts like
| | 01:52 | we talked about before.
| | 01:54 | I'm just, again, tightening these up.
(music playing)
| | 01:58 | So we got a weird pitch here.
There we go.
| | 02:04 | And here we're into the chorus, and
again, I want to keep this somewhat raw.
| | 02:13 | So really, it's these notes
that are going to be the problem.
| | 02:17 | (music playing)
| | 02:21 | And that's better, maybe...maybe make the
pitch on this one just a hair sharper.
| | 02:26 | And let's check the second half of that.
(music playing)
| | 02:31 | Yeah, again, just these bottom notes.
| | 02:34 | And since we did this already before on the lead
vocal, we know that this section essentially repeats.
| | 02:39 | Now we can see that it's a little bit
different this time, because there's more after the
| | 02:43 | section that does repeat.
So what we'll do, finish editing this section.
| | 02:48 | I'm going to snap these in
and tighten them up just a hair.
| | 02:52 | (music playing)
| | 02:54 | And then we can copy and paste that whole
section to save ourselves from having to edit it again.
| | 02:58 | In a song like this it's very, very acceptable to
do that because we want that kind of tight pop sound.
| | 03:04 | Now if this was a more natural sounding song,
you might actually have a different performance
| | 03:08 | there like we talked about before, and you
would actually want to keep that a little
| | 03:12 | bit more unique rather than copying and pasting.
| | 03:15 | So we're going to select the
section that we want to copy.
| | 03:18 | I'm going to use our key command for Copy
whatever you have set earlier, and then again
| | 03:21 | we're going to select where we want to paste
it, making sure that you select starting from
| | 03:25 | the first note and ending at the last
note of the selection you have already copied.
| | 03:28 | And then when you paste it, it's just
going to replace that section with your already
| | 03:32 | edited section, and then we just got a few
notes here at the end that we need to address.
| | 03:36 | (music playing)
| | 03:41 | Okay, so I'm going to snap the pitch of these.
| | 03:44 | I'm actually going to make
a few changes to this pitch.
| | 03:50 | (music playing)
| | 03:56 | Change these all to that note, and what we're
probably going to want to do as well is actually
| | 04:02 | change the format so that
they don't sound so affected.
| | 04:04 | Now we can play around with
that as an effect if we want.
| | 04:08 | (music playing)
| | 04:12 | Making it a little more
natural is our goal right now.
| | 04:14 | I'm just finding the right spot.
(music playing)
| | 04:17 | That's pretty good, so we'll go ahead and use
that same setting for the other sections of this.
| | 04:24 | (music playing)
| | 04:30 | So you can hear there is still a little bit
of an artifact sound to that, and if we really
| | 04:34 | wanted to dial it in, we could
mess with that a little bit more.
| | 04:37 | For now I'm going to leave
it alone so we can move on.
| | 04:39 | So now that we have gotten through BG 1a, we're going to
use that as a template and go through BG 1b, C, and D.
| | 04:46 | And essentially we're going to tighten these
up to make the match what we have done on BG 1a.
| | 04:51 | Now if you want to edit rhythm as you go,
you're more than welcome to do that.
| | 04:54 | However, it makes more sense for your workflow.
| | 04:56 | I often like to go back through and do it
in a separate pass, but it's really just a
| | 05:00 | matter of preference.
(music playing)
| | 05:05 | It looks like I might want to
actually do this on the 1a track.
| | 05:09 | So we have found something that we want to
change on the track we have already tuned by going
| | 05:14 | through the next track.
| | 05:15 | And that's something that
actually happens fairly commonly.
| | 05:17 | You may think one thing sounds good and then
something else sounds better, and you decide
| | 05:20 | to change the entire part to match that.
(music playing)
| | 05:25 | So it's going to do this really quickly.
| | 05:27 | So again, I'm just using whatever key
commands we set earlier to switch tools.
| | 05:30 | You can also use the right-click,
however you're comfortable working.
| | 05:33 | Another thing that we can use is our main
tool by just positioning the cursor over
| | 05:38 | different parts of the region
represented with different tools.
| | 05:43 | (music playing)
| | 05:50 | Another technique that I like to use a lot
is actually just moving the note slightly
| | 05:53 | off the center of the pitch rather
than changing the modulation too much.
| | 05:58 | (music playing)
| | 06:03 | And again, just making sure we are not changing the
pitches of our esses so that we don't introduce phasing.
| | 06:10 | (music playing)
| | 06:15 | So you can separate first like we did
before, or you can just make all the changes and
| | 06:19 | then separate later and reset, again,
using your Reset Pitch to Center command.
| | 06:27 | Here we are, back at the chorus.
(music playing)
| | 06:35 | So I'm just going to tighten these bottom
notes and leave the top notes there, as I
| | 06:38 | mentioned before we were tuning the lead vocal,
kind of wanted to have a bit of an attitude,
| | 06:42 | so I like that they are
not perfectly in tune there.
| | 06:47 | (music playing)
| | 06:55 | Tighten those up a bit, and again, we can make our
selection, Copy, and make our paste selection and Paste.
| | 07:04 | Let me just the same changes we made at the
end here on this vocal, holding Shift to select
| | 07:12 | multiple regions or blobs.
(music playing)
| | 07:19 | So that is bothering me a bit. If we were
really going to finish this out properly, I would
| | 07:23 | find a slightly better place for the format.
| | 07:26 | We can actually spend a minute doing that now, but
I don't want to spend a ton of time on it right now.
| | 07:39 | That's a little bit better.
We can still dial it in more if we want.
| | 07:42 | I just have one more listen to that end section.
(music playing)
| | 07:51 | So now, what we're going to do is move on
to our lead vocal 2 track, edit lead vocal 2a,
| | 07:56 | and essentially, this is another harmony part.
| | 08:00 | So I'll just do this quickly.
(music playing)
| | 08:06 | It just needs to be tightened up slightly
to the center, most of these are pretty much
| | 08:09 | where they need to be already.
| | 08:13 | (music playing)
| | 08:21 | And here, you can see I'm just going to move
this slightly above center so that we keep
| | 08:25 | the shape of the Vibrato centered around the
note, or as if the pitch center were selected,
| | 08:30 | it would go a little bit flat.
| | 08:31 | So I'm just going to move it slightly up.
(music playing)
| | 08:34 | To keep that centerline kind of around the
center of the true pitch, and I'm going to
| | 08:39 | copy and paste that whole section
and address the last little bit here.
| | 08:47 | (music playing)
| | 08:51 | Okay, I'm guessing this note
should be a half step higher.
| | 08:56 | (music playing)
| | 08:58 | I'm also going to want to move these 'tude'
notes down again, kind of match the change
| | 09:03 | we made on the other part.
(music playing)
| | 09:10 | We'll go to our lead vocal
2b, make those same changes.
| | 09:18 | (music playing)
| | 09:32 | And here, I might want to
change this vibrato just a hair.
| | 09:36 | Looks like I could maybe make it
center a little bit better at the beginning.
| | 09:39 | (music playing)
| | 09:40 | Again, using that same
technique just to nudge it.
| | 09:44 | And here I can see that if we do a copy and
paste, we're going to have to separate the
| | 09:47 | breath off the beginning of this note blob
so that we can paste it on the second half,
| | 09:51 | because the second half does that breath.
| | 09:53 | So make that separation with the
Note Separation tool. Copy and Paste.
| | 09:59 | Let me just double check our time and make
sure that I didn't paste in the wrong place.
| | 10:03 | (music playing)
| | 10:06 | And grab that last little section one more time.
(music playing)
| | 10:17 | You can see I'm going fairly quickly now.
| | 10:19 | I'm not really messing too much with addressing
the note modulation, just really kind of addressing
| | 10:23 | the center for most of these.
(music playing)
| | 10:31 | So I'm going to switch back to the
Arrangement window and use our Zoom to > Full Song marker
| | 10:35 | just so I can get a sense of
what else is on these tracks.
| | 10:38 | I can see here that we have got 2c and 2d, are
really just the triple and the quad of this part.
| | 10:43 | So let's move on to 3a, and
let's take a listen to this part.
| | 10:48 | This is the harmony to
that earlier part in the song.
| | 10:53 | (music playing)
| | 10:55 | And pretty much is where it needs to be. I'm
just going to tighten up a little bit of that.
| | 11:01 | Okay, and so here is the case where I may
actually want to make some separations to really have
| | 11:05 | a little more fine-tune control over that.
(music playing)
| | 11:12 | And if we want to be really clearer with
the stuff, we can separate out the breaths and
| | 11:16 | reset them just to make sure we are not shifting
the pitch on anything that doesn't need to be shifted.
| | 11:25 | I can do the same thing here,
take out the sibilances.
| | 11:29 | And you can also just quickly move everything
and then reset the sibilances all in one pass.
| | 11:34 | Looks like I missed this one breath here.
(music playing)
| | 11:44 | And maybe tighten that one up a hair.
(music playing)
| | 11:48 | Some more mixed stuff that
we may want to address later.
| | 11:51 | In this part, they are just speaking, I believe.
(music playing)
| | 11:54 | So we can just play it by itself, Play visible.
(music playing)
| | 12:00 | That's just a little attitude part. We don't
need to tune that because its fine the way it is.
| | 12:05 | That's the intention there, and we
are back here to the chorus again.
| | 12:09 | (music playing)
| | 12:12 | So here we have got a harmony on top
that we need to tighten up a hair.
| | 12:15 | Let me go through and just separate the
notes first like we did when we were editing the
| | 12:19 | lead vocal, and do a quick and dirty.
(music playing)
| | 12:24 | I may choose to Play visible again here
just so I can hear this a little better without
| | 12:27 | the track in the background.
(music playing)
| | 12:38 | Okay, pretty much there just a couple notes that were
pulled to the wrong direction from what we want.
| | 12:46 | Now that we have got that shape sketched out, we
can put the arrangement back together if we want.
| | 12:51 | (music playing)
| | 13:04 | Okay, so we're going to just tighten this whole
thing up, and there is one note I'm going
| | 13:07 | to actually change in this.
(music playing)
| | 13:09 | Let's have a listen to that.
(music playing)
| | 13:16 | I might actually change the second note here.
(music playing)
| | 13:22 | And I'll probably slide the second half of
this, might separate this out so I can have
| | 13:27 | a little more control over the vibrato.
(music playing)
| | 13:30 | Again, using this technique that we talked
about earlier, we are essentially making our
| | 13:34 | own vibrato by changing
what was naturally there.
| | 13:37 | So we can keep it kind of growing naturally,
or keeping the center a little bit more a lot.
| | 13:43 | Even though there is so much going on that
it's really not going to make a huge difference
| | 13:47 | in the overall picture.
| | 13:48 | It's still one of those
things that I like to do.
| | 13:51 | So now let's copy this, make a selection,
and paste it and just double check that that's
| | 13:56 | in the right place.
(music playing)
| | 14:00 | Cool! We can move on and do double of that.
Make sure we can hear what we were doing here.
| | 14:08 | Now we have kind of heard this part.
| | 14:10 | It will be a little
quicker to do the double again.
| | 14:13 | (music playing)
| | 14:19 | Same thing with the next part.
| | 14:20 | I'm just going to do this first
and then my separations later.
| | 14:23 | You can always do it in any order you like.
Sometimes I like to make the separations first.
| | 14:27 | The important thing is that you actually make
the separations, and you don't tune the sections
| | 14:31 | that don't need to be tuned.
(music playing)
| | 14:35 | Cool! The next section here, this is the
speaking part, so we'll just breeze right by that,
| | 14:41 | back into our chorus.
| | 14:42 | Here we just want to make sure
this match is what we did before.
| | 14:44 | So I'll make our separations
first here, do a quick tune on it.
| | 14:50 | Kind of looks like this note on
3a might actually be better off.
| | 14:55 | (music playing)
| | 14:57 | Up here, where it is on 3b.
(music playing)
| | 15:01 | So I'm going to make that change,
correct anything else that needs to be moved.
| | 15:06 | I'm just worrying about the pitch right now.
(music playing)
| | 15:10 | And if you want to be doing the rhythm at
the same time, you're more than welcome to.
| | 15:19 | I'm going to grab that next part here.
(music playing)
| | 15:26 | I'm just going to make the
same changes we made before.
| | 15:29 | And there we go.
(music playing)
| | 15:36 | And once we have made those changes, we can
make our selection, Copy and make our selection
| | 15:41 | and paste, and just double check the timing.
(music playing)
| | 15:44 | We know it's pasted in the right place, and
now we can move on to lead vocal 4a, and as
| | 15:49 | we get higher up in the parts, in this
session at least, you can see that there are fewer
| | 15:53 | and fewer parts, so it's
going to get quicker and quicker.
| | 15:55 | So let's look at 4a here.
(music playing)
| | 16:00 | Okay, so this is pretty simple just a line on top.
(music playing)
| | 16:08 | And there we go.
Jump to the next one.
| | 16:11 | It's like these might need to be a little
bit separated out here to be true to what
| | 16:15 | they are intending to be.
(music playing)
| | 16:20 | I'm going to play this without the
track so we can hear it a little better.
| | 16:24 | That's more like it.
| | 16:26 | And I may actually choose to Play selected
only just so I can hear it truly by itself.
| | 16:31 | Cool! I'm going to make that T separate
so that I can reset its pitch to center.
| | 16:38 | (music playing)
| | 16:41 | Go back to our arrangement now that we
know what these notes are supposed to be.
| | 16:47 | Same thing here that we
just did on the other section.
| | 16:54 | And then we'll do our double of that on 4b, and if
you want, you can start at the end and go backwards.
| | 17:00 | It's really kind of up to you.
| | 17:03 | Sometimes it's more fun to go backwards.
(music playing)
| | 17:05 | I'm going to tweak the Vibrato here just a hair.
(music playing)
| | 17:15 | Nice and simple, pretty simple part.
| | 17:19 | Now here we can see that the note starts
a little flat and ends up a little sharp.
| | 17:23 | So we can either use our Pitch Drift tool
to flatten it out and then we center it, or
| | 17:28 | we could if we wanted instead separate that in
several different chunks and center each of them.
| | 17:34 | And if you wanted to make the vibrato grow
you can use your Pitch Modulation tool to
| | 17:39 | increase it gradually
through each of the sections.
| | 17:42 | There is actually lots of ways you can fine tune stuff
in Melodyne, which is one of the best things about it.
| | 17:48 | (music playing)
| | 17:51 | Now that we have gone through the first two
of each of our harmony parts, go ahead on
| | 17:54 | your own and finish the other
two of each of the harmony parts.
| | 17:58 | In the next video we'll come back and
correct the rhythm for these harmony parts.
| | 18:03 |
| | Collapse this transcript |
| Correcting harmony vocal rhythm| 00:00 | In this video we'll go back and address any
necessary rhythmic changes to our harmony vocals.
| | 00:05 | And you may find that it's easier or
quicker to correct the rhythm and the pitch in the
| | 00:09 | same pass--which sometimes it is--but the
benefit to doing separate passes is that it forces
| | 00:14 | you to listen twice so that you're more likely
to catch any remaining issues or any artifacts
| | 00:19 | created by your editing.
| | 00:20 | So one thing that I find very useful when we
are editing timing is to use a ruler against
| | 00:26 | which we are going to gauge the timing.
| | 00:27 | So in the case of our lead vocal, we were
listening to the lead vocal against our instrumental
| | 00:32 | track, and we can do the same thing with
our backgrounds, but in the case of a harmony
| | 00:36 | it may be really useful to gauge those against
the lead vocals since we want them to sync
| | 00:41 | up tightly with that.
| | 00:43 | So let's go and look at our full session
and scroll down to our first background.
| | 00:49 | And in our window here, let's choose lead 1a_COMP
and then switch back to our first background.
| | 00:55 | Not to confuse the terminology, a background
is the track name, but in this case it contains
| | 01:00 | both background and harmony vocals, so we
are really editing the harmony vocals on a
| | 01:04 | track called BG 1a.
And we'll choose to Play visible.
| | 01:08 | So by selecting play visible, we are going
to going to hear what we can actually see
| | 01:12 | in the Editor window.
| | 01:14 | And that means that anything that is unmuted
in our arrangement window won't actually play
| | 01:18 | as long as Play visible is selected.
And the track is not visible in our window.
| | 01:22 | So let's take a listen here.
(music playing)
| | 01:28 | So we are going to look at the
timing in our BG 1a vocal track.
| | 01:32 | (music playing)
| | 01:34 | And overall, it's pretty tight, but you can
hear that the let might start just a hair late.
| | 01:37 | You can actually see that here as well.
| | 01:40 | So we can switch to our Move Notes tool
and just drag the beginning of that note just
| | 01:43 | a hair earlier to sync up a little
more tightly with the lead vocal.
| | 01:47 | (music playing)
| | 01:49 | And again, the next word, it, that transition
might just happen a hair behind as well, so
| | 01:54 | we can just address all of
these little issues as we go.
| | 01:57 | The end of it might need to be a hair later.
(music playing)
| | 02:03 | And perhaps the be might be starting just a hair early.
(music playing)
| | 02:07 | Yeah that feels a little bit tighter to me.
| | 02:10 | Obviously, this is all
based on what your ear hears.
| | 02:13 | If you really want it to be absolutely
perfect, there are other tools you can use, like I
| | 02:16 | mentioned before using vocal line.
| | 02:18 | But this is a better technique because we
can really kind of fine tune it as we go.
| | 02:23 | For most songs, we may not even want to do
this because we may be trying to create something
| | 02:26 | that's a little bit more natural and a
little bit more of a human performance.
| | 02:30 | In this case, we are kind of trying to
tighten it up and make it sound a bit more pop.
| | 02:34 | So we are going to tighten up the performances and
get them to sound a little bit more like a pop record.
| | 02:39 | So basically, we'll go through it phrase by
phrase and just tighten up the rhythms as we go.
| | 02:45 | Now I am actually going to turn off Auto
Scrolling while I am doing this because I don't want
| | 02:49 | to have to keep re-centering my view. You
can do that again under View > Autoscrolling
| | 02:55 | or use the key command, Command+Option+F or
Ctrl+Alt+F, and let's just tighten this up just a hair.
| | 03:01 | (music playing)
| | 03:04 | Make sure those Ts are in a similar place here.
| | 03:06 | I am going to stretch the end out to
make it match a little more closely,
| | 03:11 | which then condense that breath more than
I might like, so I am going to stretch that
| | 03:14 | out a little as well.
| | 03:16 | (music playing)
That's better.
| | 03:18 | (music playing)
| | 03:20 | Okay, and now we have a harmony part here
that's harmonizing with a different vocal, so
| | 03:25 | let's include that vocal as well in our visible selection
so that we can actually hear what we are harmonizing.
| | 03:31 | So let's listen to that.
(music playing)
| | 03:35 | Pretty good. The P on
spend might be a hair late.
| | 03:38 | (music playing)
| | 03:44 | I am going to basically check
each of these spots as we go.
| | 03:47 | (music playing)
| | 03:49 | The T on tender and the T on tough I
believe need to be tightened up a little bit.
| | 03:53 | I am just going to catch the stuff we hear,
and if you really wanted to fine tune it, you
| | 03:57 | can also check it a little bit visually.
(music playing)
| | 04:02 | But as always, what really
matters is what it sounds like.
| | 04:05 | (music playing)
| | 04:09 | Check our chorus here, and again, I am not so
worried about the chorus because I don't mind
| | 04:12 | it being a little bit more
raw, especially on this song.
| | 04:16 | (music playing)
| | 04:19 | Important thing is that the feel is right.
| | 04:22 | If the feel is funny or something
feels rushed or out, then I might adjust it.
| | 04:26 | But I am not worried about it
being perfect in this section.
| | 04:29 | (music playing)
| | 04:39 | So there I can hear a little bit of a
flaming effect between the two different words of
| | 04:42 | attitude, so that's
something we may want to adjust.
| | 04:42 | (music playing)
| | 04:53 | I am not quite right in there yet.
(music playing)
| | 04:59 | That's a little bit better, and we can
keep going with this. I mean, this is certainly
| | 05:04 | not perfect yet, it's just
closer to what we are looking for.
| | 05:07 | So really, the choice is yours as
to how far you want to go with it.
| | 05:12 | (music playing)
| | 05:16 | Take a look at those one more time.
(music playing)
| | 05:21 | It's probably cool.
| | 05:23 | So again, I am going to copy and
paste this section, since it repeats here.
| | 05:26 | So I will make our selection, copy, make
our selection and paste, and it can't hurt to
| | 05:32 | just double check it.
(music playing)
| | 05:38 | Yep, and let's just check the end here as well.
(music playing)
| | 05:45 | That was really kind of on their own, so we don't
have to worry about timing those against another part.
| | 05:50 | And then essentially, the process is to
include more and more of the tracks as we go.
| | 05:55 | So now we are looking at
the first double of this part...
| | 05:59 | (music playing)
| | 06:01 | ...and just correcting the timing
on all of these changes here.
| | 06:04 | So we have got no changes that happen differently
with the breath here. The end of this line that's
| | 06:09 | actually coming in just a hair later on the
other tracks, so we'll probably want to tighten
| | 06:13 | those up a little bit more.
(music playing)
| | 06:17 | Oh, that might have been too far.
| | 06:20 | It's getting closer but still flaming.
(music playing)
| | 06:23 | Closer, still flaming.
(music playing)
| | 06:26 | The idea is just to get it right so
they don't sound like two separate breaths.
| | 06:31 | That's close enough for now. You can always
keep going and fine tune this more if you want.
| | 06:36 | And again, just be careful. Every once in a
while you can accidentally switch tracks by
| | 06:39 | selecting another track, you don't always want
to do that so it's just something to be aware of.
| | 06:43 | (music playing)
| | 06:46 | I still hear a bit of a flam there,
so I might try that one more time.
| | 06:50 | (music playing)
Getting closer, but it's still bugging me.
| | 06:53 | So that's the kind of thing, hearing it more
than once can often help you catch something
| | 06:56 | you might have thought was okay before.
(music playing)
| | 07:01 | Jump ahead here and grab this next part.
| | 07:03 | You can also use visual cues like this. You can
see here where something is actually a little early.
| | 07:08 | So it's actually a quick and
handy way to make those adjustments.
| | 07:11 | Obviously, you got to make sure that it
sounds right, because that's really all that matters
| | 07:14 | at the end of the day, but having that
ability to see it is sometimes very handy.
| | 07:19 | Melodyne is very useful for that as well.
| | 07:22 | (music playing)
| | 07:31 | So we are basically making the
same adjustments we made on BG 1a.
| | 07:35 | (music playing)
| | 07:38 | Just making sure that
they all sound good together.
| | 07:43 | (music playing)
| | 07:53 | Getting tighter and tighter,
we will move on to our chorus.
| | 07:56 | (music playing)
| | 08:01 | So there's a couple of Gs in the girl that
are not quite syncing up, so we can adjust those.
| | 08:05 | And again, depending on how fine-tuney you
want to get, and you can choose to ignore
| | 08:09 | these or to actually adjust them.
| | 08:11 | But for a pop song, it's usually
better to keep things really tight.
| | 08:16 | (music playing)
| | 08:20 | So those are definitely closer, but there is
a bit of flaming going on in there between
| | 08:24 | the Gs, so I am trying to
tighten them up a little more.
| | 08:27 | (music playing)
| | 08:31 | Better, but not perfect. I
am going to move on for now.
| | 08:34 | (music playing)
| | 08:37 | Tightening up the attacks of the Gs
and the release of the last got there.
| | 08:42 | And we have also got a little bit of this
attitude here, and I think we could tighten up better.
| | 08:47 | So notice when you make a note separation,
it's going to change the pitch between the
| | 08:52 | two-note separations. They are not going
to stay centered all the time, so you got to be
| | 08:55 | aware of that and make
any necessary adjustments.
| | 08:59 | (music playing)
There we go.
| | 09:06 | I want to go back to 1a just pull that one
up just a hair so that we are able to match this.
| | 09:12 | (music playing)
| | 09:14 | Switch back to 1b, check this next spot, and
then we can copy and paste the repeated part.
| | 09:18 | (music playing)
| | 09:22 | So we will make our selection, copy,
and make our pasting selection and paste.
| | 09:27 | I notice that that shifted later, so that
means it didn't quite paste into right place.
| | 09:31 | So let's make sure we are pasting it
in the right place before we do this.
| | 09:34 | And in order to do that, I want to make sure
I am actually selecting the entire section
| | 09:37 | that I want to copy and paste. I might have
made a weird selection. Let's try that again.
| | 09:43 | I see what's going on here, so it's actually
shifting later because I made some edits within that.
| | 09:51 | In other words, I pulled it earlier,
the section that I am copying.
| | 09:54 | So what that means I need to do is either
make the entire selection of what I just pasted
| | 10:00 | and shift it earlier by the same amount, or
I can simply copy and paste smaller sections
| | 10:05 | of it and undo the paste. Okay,
so we are back where we started.
| | 10:08 | And then what I am going to do is do this
in smaller sections just to make sure I am
| | 10:12 | actually getting this where it's supposed to be.
| | 10:15 | So one way to do that would be to start it
section by section, I could just select a
| | 10:20 | smaller section of what
I want to copy and paste.
| | 10:23 | So in other words just a girl, girl, got, got,
attitude, attitude and see if that will work.
| | 10:30 | Now this looks like this will be a little
bit tighter. Let's listen, though, and make sure.
| | 10:36 | (music playing)
| | 10:40 | Yeah, although the end of this may be just
a hair early and then we can grab the second
| | 10:45 | part, and we'll try copying the
second half and just make sure that works.
| | 10:52 | And here's where we're definitely a little
off in our timing by pasting this. You can see
| | 10:56 | that it's shifting certain things.
| | 10:58 | We just have the double check them, make
sure that everything is going to work the way we
| | 11:01 | want it to, the way we're expecting.
| | 11:03 | You can see these are all a bit early, so
we can simply shift them back where they are
| | 11:07 | supposed to be, check that.
(music playing)
| | 11:13 | Now you can hear the rest of that is early, so
let's shift that back to where it's supposed to be.
| | 11:18 | (music playing)
| | 11:20 | And then just double check the last bit.
(music playing)
| | 11:24 | And you can hear that they're essentially
slapping or delaying with that flam sort of sound.
| | 11:30 | So we are going to move that back as
well until they are little tighter again.
| | 11:34 | (music playing)
| | 11:37 | Now of course, instead of actually copying
and pasting, you can always just make a manual
| | 11:41 | edit and actually manually make
these changes on the second half.
| | 11:46 | There is many other ways that we could
handle this other than copying and pasting, so we
| | 11:49 | are just kind of going with
the flow of what we started here.
| | 11:53 | (music playing)
| | 11:56 | So at this point, we have really just gone
through our first part, and we have gone through
| | 12:01 | the first two doubles and
not the triple or the quad.
| | 12:04 | Our next step could be to move on to 2a and
tighten that up, and we can also include B,
| | 12:09 | and we could go to 3a and 3b, 4a and 4b.
| | 12:13 | And then we have got all the
harmony parts all tightened up.
| | 12:15 | So the goal here really is to get the
rhythm tighter between all the different parts.
| | 12:21 | And in this case, we are starting really close
to where we want to be because our vocalist
| | 12:24 | is really talented, so it's not a lot of work that
we need to do. It's just a lot of little detail stuff.
| | 12:29 | So taking all of the stuff into consideration,
go ahead and go through the remaining background parts.
| | 12:35 | Go through 1c, 1d and all of the parts,
2, 3, 4, and tighten them up and get them to
| | 12:40 | where you think they sound right.
| | 12:42 | When you open the session file for the next
video, I'll have done the same thing, so you can
| | 12:46 | always take a look and
compare your work to that.
| | 12:48 | And granted, we are just going to do a quick
and dirty pass in the one that you'll open,
| | 12:51 | but it will still have addressed most of those
little timing issues that we need to look at.
| | 12:56 | In the next video we'll look at some
techniques that we can use to actually create harmony
| | 12:59 | vocals if we hadn't recorded them.
| | 13:01 | And we will look at using the material that we have
already recorded to create different parts.
| | 13:06 |
| | Collapse this transcript |
| Creating new background parts| 00:00 | Now what if we didn't record a part but
decided that we needed it now, or what if we didn't
| | 00:05 | have time to finish recording all the parts
we wanted to record but really had to finish
| | 00:09 | adding certain parts to complete the arrangement? Let's look
at how we can use Melodyne to essentially create new parts.
| | 00:16 | Now you have to have something from which
to create that part, so in this example we're
| | 00:20 | going to use our Lead
Vocal to make harmony parts.
| | 00:24 | Now there are pros and cons to doing this,
I guess the upside being, saves you time
| | 00:29 | in that you don't have to record the part
again, but the downside is you don't get the
| | 00:32 | full sonic thickness of actually recording
multiple tracks at the same time and playing
| | 00:37 | them back with actual different performances.
| | 00:39 | There's a thinner and more kind of fake
quality to using this technique, but it's actually
| | 00:44 | kind of useful for pop if you want that sound.
| | 00:46 | So, knowing the pros and cons by just
experimenting with it can really help you decide whether
| | 00:50 | or not this is something you would ever use.
| | 00:53 | But let's go ahead and
take a look at this technique.
| | 00:55 | So first thing, let's select our Lead 1a
COMP track, and let's make a new track.
| | 01:01 | You can choose File > Insert Empty Track, I'm
going to choose to insert a track below the
| | 01:06 | selected track, and we're just going to add 1.
| | 01:08 | I am going to open my editor window
making sure that my Lead 1a_COMP is selected.
| | 01:12 | I am going to choose Command+A
or Ctrl+A to select all.
| | 01:16 | And if you want to see it just to make sure
we're doing that, you can choose Zoom to > Full
| | 01:21 | Song using that marker we selected earlier.
| | 01:23 | So now you can see that
the entire track is selected.
| | 01:25 | We'll copy and then we can switch to our New
Track that we created and use our key command
| | 01:31 | to paste that track there.
| | 01:33 | Now, you can see that it's going to paste
it wherever your cursor is, and in this case,
| | 01:37 | it pasted it in a different
location than where I copied it.
| | 01:40 | So I'm going to want to change that cursor
location so that I'm pasting it in the right place.
| | 01:44 | So I can place my cursor at the same place
where I want it to be pasted, which is the
| | 01:49 | same place where I copied from, and
now we have got it in the right place.
| | 01:52 | Now that we have a copy of our Lead Vocal
track, we can choose to alter that track--making
| | 01:57 | a different melody, essentially--to create a
harmony part that will harmonize in perfect
| | 02:01 | rhythm with our Lead Vocal because it
is the exact same rhythmic material.
| | 02:06 | So I'm going to zoom in a little bit just
to see one of the phrases a little closer,
| | 02:09 | and let's take a look at doing this.
(music playing)
| | 02:16 | So perhaps we wanted to take the
line let it be known and harmonize it.
| | 02:19 | We can select the whole thing...
| | 02:21 | (music playing)
...and move it up.
| | 02:23 | Now granted, that may be an in-harmonic move,
essentially meaning that removing it by specific
| | 02:28 | relationship of half notes and whole notes in
relation to the original which may not fit the keys.
| | 02:34 | So we'll have to listen to it.
| | 02:36 | (music playing)
Yeah, it sounds a little funny.
| | 02:38 | So for example, these bottom notes,
we would need to move...
| | 02:38 | (music playing)
| | 02:42 | ...to fit the key, and these notes we
probably also need to move as well.
| | 02:45 | Let's listen to that.
(music playing)
| | 02:48 | Little bit more tension than we might want, so
maybe we want to make the entire part a little higher.
| | 02:52 | So let's undo a couple steps, try
moving the whole thing up a little bit
| | 02:58 | and listening to that.
So now we need to address these top notes.
| | 03:03 | (music playing)
There we go.
| | 03:08 | (music playing)
| | 03:09 | So we have basically created our own harmony
part that didn't exist before, and the downside
| | 03:14 | like I said before, is that this may sound a
little bit thinner than actually recording
| | 03:18 | a separate vocal, but the positive side is
that you didn't have to spend the time--or
| | 03:23 | if you didn't have the time--you now have
a harmony that you didn't have before, and
| | 03:27 | it's perfectly rhythmically in sync, so it's
a really good technique for a pop song like
| | 03:31 | this where you really want
everything to be perfectly tight with itself.
| | 03:35 | If you like, go ahead and play around with
this technique, and you can even try to recreate
| | 03:38 | the parts that we have already recorded for
the song by making them from scratch using
| | 03:43 | one of the Lead vocal tracks.
| | 03:45 | As you can see, Melodyne gives you all the tools
that you need to easily reshape a vocal performance.
| | 03:50 |
| | Collapse this transcript |
| Creating effects using the Pitch Modulation tool| 00:00 | In this video let's look at using the pitch
modulation tool to create an effect in Melodyne.
| | 00:05 | So for example, we can get that familiar
auto-tune effect, and we can also use the
| | 00:09 | Formant tool as we looked at
earlier to create another effect.
| | 00:12 | So let's look at how we
can apply these to the song.
| | 00:14 | I am going to open my Editor window, Shift+Command+E,
Shift+Ctrl+E, and I am going to view the full
| | 00:20 | song, Zoom to > Full Song, and let's
start with our Lead 1a_COMP track.
| | 00:26 | Now I am going to keep it set to Play
visible so that I am not hearing all the tracks at
| | 00:30 | once, and we are going to have to apply this to
multiple tracks to actually hear it in context.
| | 00:34 | So let's listen through and find some
places where we might want to add this.
| | 00:37 | I am just going to take a quick listen
starting at the beginning of this verse.
| | 00:41 | (music playing)
| | 00:52 | So already, I am getting an idea of what I
might want to do with this song as far as effects.
| | 00:57 | And because it's gotten A and a B part in
the verses, a good approach might be to use
| | 01:02 | that effect on one or the other.
| | 01:05 | So in this case, my thought is to make the B line
use the effect and let the A line be more natural.
| | 01:10 | The A line is what we are hearing in the
Lead 1 part, and the B line is what we would hear
| | 01:14 | in the Lead 2 part.
| | 01:16 | So let's have a look at this Lead 2 part here.
(music playing)
| | 01:23 | So a cool use of an effect might be to make
those B lines have that auto-tuned effect,
| | 01:28 | especially in a pop song like this.
| | 01:30 | So let's take a look at doing that. Quick and
easy way to do it is just to select everything
| | 01:35 | that you want to effect, switch to your pitch modulation tool,
and double-click the notes, and you can see that the line for
| | 01:42 | the pitch modulation becomes perfectly flat,
which is essentially centering that pitch
| | 01:48 | on the pitch center for
the duration of each note.
| | 01:51 | So let's have a listen to that effect.
(music playing)
| | 01:55 | So it has that robotic auto-tune effect.
| | 01:59 | So if we decide we want to apply that to
this part of the song, we will need to apply it
| | 02:03 | to each of the other Lead 2 tracks.
| | 02:05 | Lead 2 B, C, and D before we will
actually be able to hear it in context.
| | 02:09 | But before we do that, let's move on and
look at other places in the other B lines that
| | 02:13 | we might want to use that effect, and
then we can do all of them at the same time.
| | 02:17 | (music playing)
| | 02:20 | So we might want to use this B line
as well--except I like the vibrato.
| | 02:23 | So I would leave the vibrato where
it is and tighten up everything else.
| | 02:27 | Now here in this example, you can see that
the pitch did not snap straight to the center,
| | 02:31 | and that's probably because I have
already edited the pitch modulation.
| | 02:35 | So the way we can work around this is to
reselect this whole section--basically, the whole phrase--
| | 02:41 | and use our reset pitch option, except this time we
want to reset all pitch related changes to original.
| | 02:47 | So now that we have done
that, we can retune our stuff.
| | 02:50 | Let's make sure that the S hasn't been tuned,
and then we can select the sections that we
| | 02:55 | want to affect, switch to our pitch
modulation tool, and try again, and now you can see we
| | 03:00 | are getting what we are looking for.
| | 03:02 | So let's have a listen to that.
(music playing)
| | 03:06 | And I actually like the closeness of
having the auto-tune right before the vibrato.
| | 03:11 | So that might be a good way to go.
| | 03:13 | Let's look at the rest of the song and
see where else we might want to use this.
| | 03:16 | (music playing)
So probably do the same thing here.
| | 03:20 | Let's see if this will work or if we
are going to have to reset it as well.
| | 03:23 | Yeah, so let's reset it.
So I am going to select the whole phrase.
| | 03:26 | I haven't set a key command for Reset All
Pitch Related Changes to Original, but if
| | 03:31 | I was going to be doing
this a lot, I definitely would.
| | 03:33 | So I am going to retune and again exclude any
parts that I don't want to be tuned, recreate
| | 03:39 | my selection and try it again.
(music playing)
| | 03:43 | Now we have got to fix a few
things that didn't get fixed.
| | 03:47 | In fact, I want to make the vibrato start later.
| | 03:49 | So I am going to separate
that here and fix this note.
| | 03:54 | Actually, it's this note.
(music playing)
| | 04:01 | Cool! So I am actually happy with that idea,
and I think the rest of this may or may not
| | 04:05 | needed, but let's listen.
(music playing)
| | 04:12 | So we could actually use
the effect on here as well.
| | 04:15 | Looks like we didn't do anything
to that before, so we are safe.
| | 04:19 | (music playing)
| | 04:21 | We'll check the next section.
(music playing)
| | 04:29 | Cool! So I am going to go ahead
and add the effect here as well.
| | 04:33 | (music playing)
| | 04:37 | And we can either copy and paste these, or
we can just quickly apply the effect again
| | 04:42 | to the repeated section of the chorus, and
you will notice there that double-clicking
| | 04:46 | essentially does the same thing as resetting
a pitch modulation, and then double-clicking
| | 04:50 | again like I just did flattened it all the
way down to as close to the center as possible.
| | 04:57 | (music playing)
| | 05:00 | So we have basically kind of set our
template for what we are going to do with the rest
| | 05:04 | of the lead vocal 2 tracks,
since they're all singing the same part.
| | 05:08 | So in going back here, I am
looking at the beginning here at bar 12.
| | 05:12 | (music playing)
| | 05:14 | Actually thinking that might be a good
place to try our tuning effect as well.
| | 05:17 | And since we didn't do that
the first time, let's try it now.
| | 05:21 | So first, I am going to center everything.
| | 05:23 | Then I am going to tune everything,
but we are going to reset that.
| | 05:26 | So we can try resetting it by double-clicking.
That's not working, so we will have to do a reset.
| | 05:30 | In fact, we probably should select the
whole phrase just to make sure, and we'll choose
| | 05:34 | Edit, reset all pitch related changes to original, and
we will basically re-create those steps, and there we go.
| | 05:41 | (music playing)
| | 05:43 | So I actually kind of like
adding that affect there too.
| | 05:45 | So we will go back and do the same
thing on the first track. Lead vocal 2a.
| | 05:51 | (music playing)
| | 05:54 | And back to B and moving on
to the rest of these parts.
| | 05:59 | (music playing)
| | 06:03 | So we will get the same
auto-tune effect on here.
| | 06:05 | It looks like it might be time for
me to assign a shortcut for this.
| | 06:08 | (music playing)
| | 06:10 | I am actually not so worried right now
about moving the esses, but if you want to you can
| | 06:16 | select them and exclude
them from the pitch changes.
| | 06:20 | (music playing)
| | 06:23 | So before we move on, I am just going to set
that our shortcut since I keep using this.
| | 06:27 | So I will go back into my Preferences,
Switch to my shortcuts, and it will be under Edit
| | 06:31 | commands, and under Edit Pitch we can choose
some sort of shortcut key for reset all pitch
| | 06:37 | related changes to original.
| | 06:39 | So maybe we will try Shift+Ctrl+P, or F80,
as the computer seems to be calling it.
| | 06:46 | So let's try that and retune the part and
deselect the vibrato, since we don't want to affect that.
| | 06:53 | (music playing)
And that's right.
| | 06:56 | We have pulled this note up here before.
(music playing)
| | 07:05 | So let's try it again.
(music playing)
| | 07:10 | Cool! And just grab these last ones as well.
| | 07:12 | It looks like we can probably
just get ahold of them in one pass now.
| | 07:17 | (music playing)
| | 07:22 | So now you can hear a little bit of the
phasing between Lead vocal 2a and Lead vocal 2b once
| | 07:27 | they're so perfectly tuned to that center pitch.
| | 07:30 | And that's actually kind of part of
that effect that we are going for.
| | 07:33 | It just helps strengthen it.
| | 07:35 | So we can move on and do the same thing with C
and D now that we know exactly what we're doing.
| | 07:39 | We can just select the
entire chorus all in one go.
| | 07:43 | So it's not selecting.
So I am going to have to switch tools here.
| | 07:45 | I am using the Edit Pitch tool and then I can
switch tools back to remove any note modulation
| | 07:51 | and then to reenable it.
| | 07:53 | But in this case it looks like I may
have edited the modulation on this track.
| | 07:56 | So I am going to have to reset it, and now
that I have reset it, and now that I have
| | 07:59 | reset it, there's a couple of
notes that looks like I had changed.
| | 08:01 | I need to correct those again, and
then we can try this one more time.
| | 08:07 | Let's have a listen.
| | 08:10 | (music playing)
| | 08:20 | Cool! I actually want to
leave the vibrato on too.
| | 08:23 | So I am not going to mess with that.
I am going to grab the first part here as well.
| | 08:27 | (music playing)
| | 08:30 | So first I will reset the whole phrase...
(music playing)
| | 08:35 | ...and grab the next one as well, and I am just
trying it first just in case for some reason
| | 08:40 | I hadn't made those changes, because if I hadn't,
I wouldn't have to do the full reset every time.
| | 08:47 | 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.
| | 08:59 | I am not sure if that's the S or--
(music playing)
| | 09:02 | There we go, it's this.
(music playing)
| | 09:06 | There we go. Just the beginning of love.
| | 09:08 | I thought I was editing 2c, but it looks
like I jumped over to 2b when I was looking for
| | 09:12 | that little part that was jumping out at me.
| | 09:14 | So now I am going switch back to 2c and
just make sure everything is right here.
| | 09:18 | (music playing)
| | 09:20 | Then we'll move onto 2d.
(music playing)
| | 09:24 | And essentially, we would do the same thing here.
(music playing)
| | 09:35 | Okay, so now I am noticing...
(music playing)
| | 09:39 | ...it's actually not too bad, but it may just
be a little bit too much of that auto-tune effect.
| | 09:43 | So what maybe we would do instead is tighten up this
section rather than making all four perfectly auto-tuned.
| | 09:50 | So another alternate would be to undo what we'd
just done, get back to where we just started,
| | 09:54 | and instead of completely tuning these to
that auto-tune effect, we can just tighten
| | 10:00 | these up so that they're closer
to the pitch center than natural.
| | 10:04 | (music playing)
| | 10:07 | And to me, that actually enhances the effect,
because it makes it not overdone, and it kind
| | 10:12 | of brings out a little bit of the vocal itself in a
different way than just making it sound completely robotic.
| | 10:18 | (music playing)
| | 10:20 | So let's test this theory by going back here
and undoing the auto-tune effect and splitting
| | 10:26 | the difference, essentially.
(music playing)
| | 10:31 | Now to me, that's better.
| | 10:32 | Obviously, this may be a
different choice for you.
| | 10:34 | So feel free to go ahead and fully
center the pitch modulation if you want to.
| | 10:38 | (music playing)
| | 10:40 | Now what I am going to do is actually apply
that same technique to the rest of the song
| | 10:44 | here, so I am going to just select basically
the rest of the song, the end of this chorus.
| | 10:49 | I am just going to tighten this down,
instead of actually making it perfect.
| | 10:54 | I am going to make it really close to perfect
but not perfect and then do the same thing
| | 10:59 | on my lead vocal to 2b track.
So I could then get that piece selected.
| | 11:02 | No, I did have it selected.
And let's do the same thing here.
| | 11:08 | (music playing)
| | 11:12 | It still sounds auto-tuned, but
it has little bit more life to it.
| | 11:16 | So again, just a personal choice.
| | 11:18 | So now let's move on, select our background 1a
track, and take a listen to the first section here.
| | 11:24 | Now since this is a harmony to
something that we have already altered--
| | 11:27 | (music playing)
| | 11:28 | Actually, we didn't alter that one, but
that one sounds pretty good as it is.
| | 11:31 | (music playing)
Here we go.
| | 11:34 | These are the parts that we altered.
(music playing)
| | 11:38 | We'd probably want to do the same thing
here to keep the effect consistent against all
| | 11:43 | the different vocal parts.
(music playing)
| | 11:48 | Again, letting that vibrato happen naturally.
| | 11:51 | (music playing)
| | 11:54 | So one other thing we can do here is on top
of actually making this auto-tune effect, we
| | 11:59 | can actually choose to alter the melody in such a
way that we are creating another layer of the effect.
| | 12:04 | So for example, here....
(music playing)
| | 12:08 | ...we could make that actually a climbing line.
| | 12:13 | (music playing)
| | 12:18 | See if this works, we are kind of climbing up and
then climbing back down just staying within the scale.
| | 12:22 | So you would probably want to
change that to actually make it work.
| | 12:27 | (music playing)
| | 12:29 | Something like this, maybe.
(music playing)
| | 12:33 | I am not sure if I like that or not,
but we can play around with the idea.
| | 12:37 | One other place we can look at doing
something like this where we might actually have more
| | 12:40 | room to actually get away
with it is on the B line.
| | 12:43 | So it could be in a different part.
I believe that would be 3a on this section.
| | 12:50 | (music playing)
| | 12:54 | So if we were going to do the same effect here
that we did on the leads, we would essentially
| | 12:59 | apply our tuning and then
just make that change the melody.
| | 13:03 | (music playing)
| | 13:09 | So we are basically kind of
rewriting that melodic line.
| | 13:13 | (music playing)
| | 13:14 | We can actually go a little
crazier with it if we wanted.
| | 13:20 | (music playing)
| | 13:24 | So I am not going to keep that in the song,
but that's just an example of how you can
| | 13:27 | alter the melody and use an effect
the same time to create another layer.
| | 13:31 | I am going to go back to
where we started with it.
| | 13:34 | And now go ahead and go through on your own and
finish tuning out the rest of these background
| | 13:39 | parts, following the same format, or even
doing something completely new on your own.
| | 13:44 |
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| Creating effects using the Formant tool| 00:00 | Now let's take a look at how we can use the Formant
tool in Melodyne to create another special effect.
| | 00:04 | I am going to open my Editor window, Shift+Command+E
or Shift+Ctrl+E, I'm going to Navigate the
| | 00:09 | full song, and I'm going to show my Lead 1a and
Lead 2a tracks and find a good spot to apply this.
| | 00:17 | So I think maybe if we zoom in
here, this would be a good spot,
| | 00:20 | basically starting in the chorus on the B
line, and what we are going to do is we're
| | 00:25 | going to use the Formant tool to
essentially affect the sound of the vocal.
| | 00:30 | So we can select the section, and you can
either move the formant up to make it sound
| | 00:35 | like it's coming from a smaller source.
(music playing)
| | 00:41 | Or we can move it down to it sound as like
coming from a larger source, or larger throat.
| | 00:47 | (music playing)
| | 00:52 | And if you want to get a familiar sound that's
used often in hip-hop and other types of pop music,
| | 00:56 | we can also add the change of octave to
that to get that more pronounced effect.
| | 01:02 | (music playing)
| | 01:05 | So essentially, by moving that part up an
octave and then altering formant we will get a much
| | 01:09 | more noticeable effect.
(music playing)
| | 01:16 | So this is a cool effect that
you can use in any other project.
| | 01:19 | It's not really right for this song, so
we're not going to use it in the song, but feel
| | 01:22 | free to play around with it.
| | 01:25 |
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|
|
4. Bringing the Audio Back to the DAWExporting your edits from Melodyne| 00:00 | Once we have gotten our vocals
to where we're happy with them.
| | 00:03 | The next step is to
bring them back into our DAW.
| | 00:05 | Now since we're working in a stand-alone
workflow we'll export these audio files so that we
| | 00:09 | can re-import these edited audio files into
our DAW and proceed with our mix from their.
| | 00:15 | So from the File menu we can choose Save Audio,
or you can use a key command that you specified
| | 00:20 | in the shortcuts by default its Command+E, or
Ctrl+E, and from here we have a little control
| | 00:25 | over the settings for our exported audio.
| | 00:28 | So we can choose the format, in this case we're
going to use a WAVE file, with the sample rate
| | 00:32 | of 48 kHz and a 16 bit, bit rate and
Interleaved stereo although we're actually not going to
| | 00:38 | be exporting anything stereo.
| | 00:40 | If you have a stereo track in your session
you'll have this option, because they're different
| | 00:44 | ways that you can export that stereo track,
but if all your tracks are mono that option
| | 00:48 | won't be available.
| | 00:49 | Under the Range we can choose essentially
which section in the timeline of our tracks
| | 00:55 | that we want to export.
| | 00:56 | So you can either choose the entire
arrangement, or just what's between your locators.
| | 01:00 | You can choose A Reference Track, or From Start of
Reference Track until the End of the Arrangement, and
| | 01:05 | in this case, we're going to
choose Individual Range for each Track.
| | 01:08 | Now some of the other options are the
Individual File for each Marker Region, so for example,
| | 01:13 | if you admit a marker region for your verse
and a separate one for your pre-chorus, maybe
| | 01:17 | a separate one for your chorus, you could
export just those sections in each pass, and
| | 01:22 | if you're using Melodyne to make samples of
some sort you can export an individual file
| | 01:27 | for each note, but again we're going to using
the individual range for each track and under
| | 01:31 | Channels you can choose to export a
stereo mix or save each track as a single file.
| | 01:36 | The stereo mixes can export exactly what
you'll hear through Melodyne's mixer, so any level,
| | 01:41 | panning, inserts, or effects that you have
made in your mix any compression or reverbs or
| | 01:46 | EQ that sort of thing that will all get
printed exactly as you hear it to a stereo mix if
| | 01:50 | you check this option.
| | 01:52 | But we're going to save each track as a
single file, so that we can actually complete our
| | 01:55 | mix in our DAW, and we can also have the
option to Write MDD's, which is going to write MDD
| | 02:01 | file for each track, and that file is going
to store all of the vocal edits that we made
| | 02:06 | in Melodyne for that track, so that if want
to come back and continue editing from where
| | 02:10 | we left off at a letter date
all that information is stored.
| | 02:13 | Under the Tracks we can see all of the
tracks that actually exist in the session.
| | 02:17 | So we're going to want to export all of
our vocal tracks, but we don't need to export
| | 02:20 | our instrumental track so I'm going to uncheck
that box and the last option here is the Spot
| | 02:25 | To Pro Tools option.
| | 02:27 | Depending on your settings this may or may
not become available, but what it does is
| | 02:31 | it allows you to export your audio with the
user timestamp the Pro Tools is going read
| | 02:35 | to help you spot your audio to a
specific point in the Pro Tools timeline.
| | 02:40 | Now we don't necessarily need that for this
session since all of our audio files start
| | 02:44 | at the same point and time.
| | 02:46 | So now that we have got everything where we
want it, let's go ahead and Save As, and I'm
| | 02:49 | going to call this Exported Vocals, and I'm
going to save it inside the Melodyne folder
| | 02:54 | in our Exercise Files folder and then
Melodyne is going to start exporting each track into
| | 02:59 | that folder along with the MDD since
we have the right MDDs option enabled.
| | 03:04 | Now we can go check and make sure our
exported audio is all there and sure enough there's
| | 03:08 | our exporter vocals all of the
files and the corresponding MDD file.
| | 03:12 | So now that this is done the next step
will be to import it back into our DAW.
| | 03:17 |
| | Collapse this transcript |
| Importing your edits into the DAW| 00:00 | Let's locate the corrected files that were
exported from Melodyne, and now we're going
| | 00:03 | to import them back into our DAW.
| | 00:05 | But before we do that, I want to rename the
files so the Pro Tools can distinguish them
| | 00:10 | better from the files that are
exported before they were edited in Melodyne.
| | 00:15 | So here's our exported vocals. You can
find them wherever you chose to save them--may
| | 00:19 | not be in the same places I have them here.
| | 00:21 | You can name these however you want to distinguish
them from the file that was not tuned in Melodyne.
| | 00:27 | One way that a lot of people like to do is to
mark the final file with the dollar sign.
| | 00:31 | You can use any symbol or anything, you can even
say finished, whatever it is that you want to use.
| | 00:36 | And just for consistency, I always
like to make the MDD file match.
| | 00:41 | You can rename these manually, or if you want
to save some time, you can use one of the batch
| | 00:44 | editing utilities that are available.
| | 00:46 | Once you have all of these files renamed, the
next step is to open your DAW and import these
| | 00:51 | back into the original session.
| | 00:53 | So let's open the Girl Got Attitude Pro Tools
session, and let's import our corrected audio.
| | 00:58 | Now if you want to save your uncorrected
audio as well, you can always choose to Create a
| | 01:03 | playlist by simply choosing New or Duplicate from
the little pop-up menu to the right of each track name.
| | 01:09 | We're not going to worry
about that for now, though.
| | 01:11 | So let's import, Shift+Command+I or Shift+Ctrl+I, and
then let's locate our exported audio files from Melodyne.
| | 01:18 | So here's our Exported Vocals folder, and we
can simply select every single one of those
| | 01:23 | files, and you can either add
them or copy them into the session.
| | 01:27 | In this case, I'm just going to add them
since the files are directly compatible, they are
| | 01:30 | at the right sample rate and the right bit rate
and the file type is compatible with the session.
| | 01:35 | So I'm going to hit Return to add, Command+W
or Ctrl+W to close the window, and then I'm
| | 01:39 | going to choose the Clip List so that these
are imported into the Clip List rather than
| | 01:42 | a new track being created
for each of these tracks.
| | 01:46 | So once they're imported, let's go to the
Clip List, and we now have a list of all these
| | 01:50 | audio files, and you can see which ones are
the new ones by the dollar sign or whatever
| | 01:55 | you use to differentiate
them from the other file.
| | 01:57 | So let's do a quick search in Pro Tools, Shift+Command+F
or Shift+Ctrl+F, and enter whatever it is that
| | 02:03 | you use to differentiate those files.
| | 02:05 | So now only those files
show up in the Clips list.
| | 02:08 | So now that we're only seeing the files that
we actually want to work with, it's a little
| | 02:11 | easier to drag them back into our session.
| | 02:14 | So that we can select all of our lead
vocals and simply drag them over and replace the
| | 02:18 | older lead vocal that has not been corrected,
and if it's locked it will prompt you to allow,
| | 02:23 | and we can scroll down, and let's do
the same thing with our Adlibs track.
| | 02:29 | And then let's select all of our backgrounds, and we'll
drag those over to all of our background and harmony tracks.
| | 02:35 | So now in our Pro Tools session, we have
replace all of the uncorrected vocals with all of
| | 02:40 | the work that we have done in Melodyne.
| | 02:41 | Now if you want to clear the Clips list sort
that we entered earlier you can use the key
| | 02:46 | command, Shift+Command+D or Shift+Ctrl+D, and
I'm going to go ahead and close the Clips list.
| | 02:51 | So now let's just take a quick listen and make
sure we actually did get the audio into Pro Tools.
| | 02:58 | (music playing)
| | 03:03 | And we can definitely hear that
those changes have been imported.
| | 03:07 | Once your corrected vocals are back in your
original session, you can move on to any other
| | 03:11 | edits that you want to make
or go ahead and start your mix.
| | 03:16 |
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|
|
5. Additional UsesRevising your edit| 00:00 | Let's take a look at making further changes.
| | 00:02 | Perhaps you realized that something was
missed or maybe you want to change some part of the
| | 00:06 | melody to make it something
different than what you originally intended.
| | 00:10 | There are several ways we can do that, one of
which would be to use Melodyne in stand-alone
| | 00:14 | which is what we're going
to look at in this video.
| | 00:16 | The easiest way to do it in this case is to
open up our Melodyne session, just make the
| | 00:20 | changes, and export the new corrected file.
| | 00:23 | I'm going to close Pro Tools, and I'm going
open our Melodyne folder, and I'm going to
| | 00:27 | open Girl Got Attitude_05_01, and this is
basically where we left off, and I'm going
| | 00:32 | to go into our Lead vocal
1a and look at the verse.
| | 00:36 | So let's say there was a part of this
verse that I actually want to change.
| | 00:40 | (music playing)
| | 00:43 | So let's say I wanted to make this
particular major third actually be a minor third.
| | 00:48 | (music playing)
| | 00:50 | And let's say I wanted to make the last part of the
phrase either a different note we could experiment with...
| | 00:56 | (music playing)
| | 00:59 | ...which I don't actually want to do, or let's
say we wanted to make the auto-tune effect
| | 01:03 | actually apply to that note.
| | 01:04 | So we can try to apply it, and if need to
reset we can reset using the key command we
| | 01:09 | set before, and let's hear the change.
| | 01:12 | (music playing)
| | 01:14 | So let's say I wanted to do that, and I also
wanted to make the same change on the second half.
| | 01:18 | (music playing)
| | 01:21 | So we're going to make the same
alteration here to a minor third.
| | 01:26 | (music playing)
| | 01:29 | And we're going to make the same
alteration with the pitch modulation tool.
| | 01:33 | (music playing)
| | 01:35 | So now we have really only
made a few minor changes.
| | 01:38 | There is a couple ways to get these
out of Melodyne and back into our DAW.
| | 01:42 | You can either just re-export the entire
audio file, or you could just export a clip, and
| | 01:47 | we're going to look at both ways, but
before we do that we need to make sure and alter
| | 01:50 | any other tracks that also contain that same
melody, since in this case there are multiple
| | 01:55 | tracks singing that part.
| | 01:57 | So let's take a quick look
at our arrangement window.
| | 01:59 | I'm going to use our Navigator, Zoom to > Full
Song, and I can also see that Lead 1b is also
| | 02:04 | doubling what we just did.
| | 02:05 | So let's go back and make those same
changes to Lead 1b before we move on.
| | 02:09 | So now we have made those changes.
| | 02:10 | We can close our Editor window and open
our Export window with Command+E or Ctrl+E,
| | 02:15 | or whatever key command you assign in
the shortcut section of the preferences.
| | 02:19 | And if you wanted to export the entire new
track, you would follow the steps we did earlier
| | 02:23 | making sure all of your format settings are
correct and your range, individual range for
| | 02:27 | each track, save each track as a single file,
and just deselect all the tracks that you
| | 02:32 | don't want to export.
| | 02:33 | If that's the case, you're going to have an
entire new audio file that you'll import back
| | 02:37 | into your DAW which will
replace the first version.
| | 02:40 | Now let's say that instead of exporting the
entire track, we just want to export a little
| | 02:44 | patch with only the
section that we made a change to.
| | 02:47 | If we want to do that, a quick and easy way
to do it is to simply locate the start and
| | 02:52 | end locators around our change.
| | 02:54 | So in this case beginning at bar 10 and bringing
our end locator to the end of our section at bar 15.
| | 03:02 | So our first change is here
and our second change is here.
| | 03:05 | So we're just going to export a small patch
audio file that encompasses those two changes
| | 03:10 | and anything else that might be in between
those boundaries, and again, we'll open our
| | 03:14 | Export window and make
sure our settings are correct.
| | 03:17 | Only this time we'll change the range to
between locators, and this will only export what's
| | 03:22 | between bar 10 and bar 15.
| | 03:25 | So we'll deselect all the
tracks that we don't want to export.
| | 03:27 | In this case everything but Lead 1a and b.
| | 03:30 | Once we have deselected everything but the
two tracks that we want to export between
| | 03:34 | our locators, we can save as, and we can
also experiment with our spot to Pro Tools which
| | 03:39 | will write and use a timestamp and make it
really easy to spot these directly into the
| | 03:42 | right place in the Pro Tools timeline.
| | 03:44 | Let's go ahead and Save As, and I'm going
to call this Lead 1a patch, and I'm going
| | 03:49 | to go ahead and save it in
our Exercise Files folder.
| | 03:52 | You can save it wherever you want and name
it whatever you like, and once that's done,
| | 03:56 | we can save our session and close Melodyne,
and here is our Lead 1a patch, and inside
| | 04:01 | of it are the two files
that we have just exported.
| | 04:03 | So again, let's rename this so that we can
distinguish them from the original untuned vocal.
| | 04:08 | You can name them however you like.
| | 04:09 | I like to distinguish the name so that I know
that this is the patch and not the full file,
| | 04:13 | even though the file size gives that away.
Then let's go back to our DAW.
| | 04:17 | We're going to open the Girl Got Attitude
Pro Tools session, and we're going to re-import
| | 04:21 | the changes that we just made.
| | 04:23 | So let's import, Shift+Command+I or Shift+Ctrl+I,
locate two files that we just exported, and
| | 04:29 | you can add or copy whichever you prefer,
and let's add them to the clip list.
| | 04:34 | Once that's done, let's go ahead and open our
clip list, and the two selected files we are
| | 04:38 | simply going to drag back out on to our
timeline and put them in the right place.
| | 04:41 | Now since we use Spot to Pro Tools for
Melodyne, let's put Pro Tools in Spot mode--
| | 04:46 | you can do this by pressing the F3 key--and
then we can simply drag these two selected
| | 04:51 | audio files that we just re-imported back
on to our Lead 1a and Lead 1b tracks, and
| | 04:55 | you can let go of them at any point and simply
click the arrow to the right of user timestamp,
| | 05:01 | which will move those
files into the correct place.
| | 05:04 | If the regions on your audio tracks are
locked, Pro Tools will warn you that this command
| | 05:08 | will affect one or more locked clips.
| | 05:09 | In this case, the track that we are
putting the patch on top of has a locked region.
| | 05:14 | So you can go ahead and allow, and you can
now see that our patch has been dropped in
| | 05:18 | at bar 10 and goes through bar 15.
| | 05:21 | Now one thing to note is you should double check
that the user timestamp that comes out of
| | 05:24 | Melodyne is correct, and if for some
reason it doesn't match your Pro Tools timeline,
| | 05:29 | you know that it needs to go to bar 10.
| | 05:31 | So you can just manually drag it to 10
with Pro Tools in grid mode, which you can set
| | 05:36 | with the key command F4.
| | 05:38 | So using the stand-alone workflow, it's
pretty simple to just make the desired changes and
| | 05:42 | re-export your new audio, whether you want
to export just a patch or the entire track.
| | 05:47 |
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| Making further edits using the Melodyne plug-in| 00:00 | Sometimes the change that you want to make
is so small that it's easier to just make
| | 00:04 | it without leaving your DAW, and you can also
work with Melodyne in the same technique rather
| | 00:09 | than using Melodyne in
stand-alone as we have done.
| | 00:12 | So let's take a look at how
we can use Melodyne's plug-in.
| | 00:14 | I'm going to select my lead vocal track here.
| | 00:17 | I'm going to ungroup so I
can just select the Lead 1a.
| | 00:20 | And I'm going to switch to the Mixer, and on my
Lead 1a track I'm going to enable the Melodyne plug-in.
| | 00:26 | Melodyne plug-in basically opens Melodyne
Editor or Melodyne singletrack within your DAW.
| | 00:32 | We can now locate our Pro Tools session
right before where we want to make our edits, in
| | 00:37 | this case I'm going to select Bars 9 through
15, and we can click Transfer, and play back
| | 00:42 | from our DAW, and this will transfer the
audio from our Lead 1a track into Melodyne.
| | 00:47 | (music playing)
| | 01:00 | And Melodyne will detect the pitches.
| | 01:02 | So one thing that I should point out is
that in the Settings, you can choose where you
| | 01:05 | want to store the files that
are transferred into Melodyne.
| | 01:09 | So in this case we're storing them on our
Desktop, within our exercise files, in the
| | 01:14 | folder called Plug-In Settings/Melodyne/
Transfers, and you can change the setting if you want
| | 01:19 | to save them somewhere else.
| | 01:21 | Once the files are in Melodyne, we can simply
zoom in and edit just like we were doing before.
| | 01:26 | So let's have a listen to
what's in Melodyne here.
| | 01:29 | (music playing)
| | 01:33 | So let's say I want to make the same change to
our melody that we made in the previous video.
| | 01:37 | I can simply make that change right here in
the Melodyne plug-in without ever having to
| | 01:41 | go back to the stand-alone version of
Melodyne Studio that we were using previously.
| | 01:45 | Another thing to know is that the shortcut
keys that we were using in Melodyne Studio
| | 01:49 | will not be available in the plug-in, so
you can change your tools by clicking up here
| | 01:53 | or by using the right-click menu.
So I can select and make my same edits.
| | 01:58 | If I want to make a note separation, I can use the Separation
tool, and everything functions just like we're used to.
| | 02:05 | So the first change.
(music playing)
| | 02:11 | And let's say I wanted to make the same Pitch
Modulation changes to this section of the audio.
| | 02:16 | I can just simply select those same
pieces of audio and make the same changes here.
| | 02:21 | And let's have a listen to that.
| | 02:22 | I'm going to switch back to Pro Tools
and start it right on Bar 10.
| | 02:26 | (music playing)
| | 02:28 | And we'd have to make those changes on Lead 1b as
well, since the same melody is doubled on Lead 1b.
| | 02:34 | Now, once you have made the changes, you can
close Melodyne, and you can either just leave
| | 02:38 | it enabled to allow Melodyne to playback the
altered audio, or you can actually print it
| | 02:43 | back into your session.
| | 02:45 | The way you can print it in Pro Tools is
by bussing the output of your track to a new
| | 02:49 | track and simply rerecording the altered audio
onto a new track, therefore creating a little
| | 02:54 | patch audio file that you can
use in place of the original audio.
| | 02:58 | And for a recap on how to do this, take a
look at that video in the Melodyne Studio
| | 03:02 | Essential Training Course
right here on lynda.com.
| | 03:04 | And just like we did earlier with
MelodyneBridge and ReWire, you could choose to use Melodyne
| | 03:09 | plug-in on each track in your session to
make the changes on a per track basis right in
| | 03:14 | your DAW and never even use Melodyne Studio.
| | 03:19 |
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| Using Direct Note Access (DNA)| 00:00 | Let's take a look at how we can use Melodyne
Editor's revolutionary feature, Direct Note Access, or DNA.
| | 00:07 | From our File menu we can choose Open or use
the key command, Command+O or Ctrl+O, and let's
| | 00:12 | locate the DNA Examples folder within our exercise
files and choose Girl Got Attitude_Abridged_Ex1.
| | 00:19 | If you don't have the exercise files, you
can use any stereo recording that has a single
| | 00:23 | vocal, or possibly even a couple of vocals.
| | 00:26 | The idea here is that we're going to be
editing a vocal within a finished stereo file.
| | 00:32 | So let's open our file, and Melodyne will
detect the pitch and the content of that file.
| | 00:36 | And we can see here Melodyne has displayed
the different pitches that are detected in
| | 00:40 | the file, and you can also see
that it's detected a tempo of 122.351.
| | 00:46 | Under the Algorithm menu,
you have a few options.
| | 00:49 | We can choose Melodic detection, which is
really intended for monophonic melodic recording,
| | 00:55 | such as a single vocal.
| | 00:56 | You have Percussive, which is really intended for
percussive or rhythmic material, and Polyphonic,
| | 01:02 | which is what we're using, which is intended for audio
that contains multiple pitches playing at the same time.
| | 01:07 | So now let's take a look at our song.
| | 01:09 | I'm going to go ahead and scroll over to I
think it's about bar 16, where our pre-chorus
| | 01:15 | starts and take a listen.
(music playing)
| | 01:24 | So you can see in the content displayed in
the Editor window the bottom is mostly the
| | 01:30 | rhythmic material, the bass line and the
various elements of the track itself, and on the top
| | 01:35 | you can see the melody itself.
| | 01:36 | So let's zoom in a little bit and center ourselves
around the two pitches that we're going to work with.
| | 01:41 | I'm going to zoom in a little bit more vertically,
so I can see that part of the melody within the track.
| | 01:47 | (music playing)
| | 01:50 | Using DNA we can edit within a stereo file
just like we would within a monophonic file.
| | 01:55 | We can use the same tools that we're familiar
with, only we're now editing the vocal that's
| | 01:59 | already part of the final mix.
| | 02:02 | And this is just an example, this isn't actually a
final mix, but it serves the same purpose for this course.
| | 02:10 | So we can just tighten up the notes just like
we would if we were editing them separately.
| | 02:16 | And do our same note separations.
(music playing)
| | 02:24 | That note is a little sharp,
put it where it should be.
| | 02:29 | And the word use is a little
sharp, put that where it should be.
| | 02:34 | In other words, we're basically making the
same choices that we might make if we were
| | 02:39 | editing the vocal by itself, but given the
power of DNA, we're able to do that within
| | 02:44 | a finished mix or within a file
that contains other audio elements.
| | 02:50 | (music playing)
| | 02:52 | One thing to note when using this is that
if you make really drastic changes--or even
| | 02:56 | sometimes not so drastic changes--phasing
might be introduced, because when you change
| | 03:00 | the pitch of one element within the file,
it's actually changing overtones or harmonics
| | 03:05 | from other elements within the
file that share those same harmonics.
| | 03:09 | Now if we're going to use this to actually
make changes to an audio file, you can simply
| | 03:13 | Save As to save a copy of your exported work,
you can save a Melodyne project document if
| | 03:19 | you'd like, an AIFF or WAV of your finished
work, or if you wanted, you can export a MIDI
| | 03:23 | file even, which you could then import back
into your DAW, which would give you a MIDI
| | 03:26 | output of the pitches and
rhythms that were detected in the file.
| | 03:30 | Let's go ahead and close this,
and let's open a different file.
| | 03:33 | I'm going to click Discard, since this is
just for an example, and now let's open Girl
| | 03:37 | Got Attitude_A Capella_Example2.
| | 03:41 | And again, Melodyne is going to detect the
polyphonic pitches within this file, and this
| | 03:45 | file is essentially
going to serve as an example.
| | 03:48 | Let's say, for example, you are recording
live to two, and you had three or four singers
| | 03:53 | all around the same mike, and you
wanted to be able to edit that performance.
| | 03:58 | This is obviously the same song we have been
working on, and that's not how it was recorded,
| | 04:01 | but let's just use it as a fake
example of perhaps that was the case.
| | 04:06 | So we can take a listen here.
(music playing)
| | 04:13 | So we can not only hear, but we can also see the
different pitches being sung by the different singer.
| | 04:19 | We're just imagining it's a different singer,
because in this case we know it's actually the same singer.
| | 04:23 | But again, the point here is that we can
edit those pitches, even though they're combined
| | 04:27 | into the same recording.
| | 04:29 | So we can just snap them into the new center, we can
just change the pitch that they're supposed to be on.
| | 04:34 | (music playing)
| | 04:36 | So if, for example, we wanted
this to be a different pitch...
| | 04:39 | (music playing)
| | 04:40 | ...we can just move it within
the recording, and there we go.
| | 04:43 | (music playing)
| | 04:45 | And that's not what we're going to do, but
the point is that you can and the power to
| | 04:49 | be able to do that is extremely useful.
| | 04:51 | We can use all of the same tools we're used to if
we want to flatten out the modulation of the pitch.
| | 04:57 | (music playing)
| | 05:01 | Or if we wanted to apply the same auto
tune like effect that we have been using before,
| | 05:04 | we can do the same thing here.
| | 05:06 | (music playing)
| | 05:11 | It's a very simple matter, and we're basically using
the same tools that we have been using the whole time.
| | 05:16 | Only this time we're using it on
multiple pitches in the same recording.
| | 05:20 | (music playing)
| | 05:24 | So if we moved on to a little
bit later in the song...
| | 05:26 | (music playing)
| | 05:30 | ...you can choose to play around with this
and edit the lead vocal and the harmony vocals
| | 05:34 | throughout this little example.
| | 05:36 | Feel free to play around with the rest of
this song, and if you want, you can go ahead
| | 05:39 | and edit the pitches of the lead vocal and the
harmony vocals that are contained in this example.
| | 05:44 | Another thing to note is that you can use
the plug-in, which is essentially Melodyne
| | 05:47 | Editor in a plug-in form to achieve the same
result and directly in a DAW, without having
| | 05:52 | to import and export the files.
| | 05:57 |
| | Collapse this transcript |
| Changing the tempo of your audio| 00:00 | Now let's take a look at how we can use
Melodyne to change the tempo of your audio.
| | 00:04 | Now you may have started your song at one
tempo and decided that somewhere along the
| | 00:08 | way, you needed to change it and make it
a little bit faster or a little bit slower.
| | 00:12 | If this decision happens after you have
already finished recording and perhaps after you have
| | 00:16 | already started editing in Melodyne, you can
really easily use Melodyne instead of your
| | 00:20 | DAW to change the tempo of
your audio in a very natural way.
| | 00:24 | In Melodyne Studio we can do this by going to
our Transport bar, Shift+Command+T or Shift+Ctrl+T
| | 00:30 | is the default key command, and we can simply click
the Autostretch button and type in our new desired tempo.
| | 00:36 | So let's say, for example, we want to
speed up the song by four beats per minutes.
| | 00:39 | You can just typing a new tempo and hit Return
and Melodyne will adjust the tempo by stretching
| | 00:44 | the audio to match the new tempo.
So now we can have a listen to that new tempo.
| | 00:48 | I'm going to zoom to my full song
marker so I can locate closer to the vocal.
| | 00:53 | And let's listen to that new tempo.
(music playing)
| | 01:04 | You can hear it's a pretty natural tempo change.
| | 01:06 | If you make a tempo change that's more than
a few beats per minute up or down, it's going
| | 01:10 | to be more noticeable, and it's also going
to sound a little bit less noticeable if you
| | 01:14 | make the tempo faster rather
than making the tempo slower.
| | 01:18 | If you're working in Melodyne editor, you can
make the same change there by simply entering
| | 01:22 | your new tempo and hitting Return.
| | 01:24 | You don't actually have to check an
Autostretch box in Melodyne editor.
| | 01:27 | You certainly don't have to use Melodyne to
make tempo changes, but the tools provided
| | 01:31 | are really simple to use, and more
importantly, the result sounds good.
| | 01:36 |
| | Collapse this transcript |
| Using Melodyne with instruments| 00:00 | Melodyne is not only useful for vocals, you can also
get great result with instrumental material as well.
| | 00:06 | So for example, perhaps you want to
change the notes in an instrumental performance,
| | 00:11 | maybe you have a guitar solo or some sort of
instrumental performance that you want to alter.
| | 00:16 | So let's take a look at doing that.
| | 00:18 | For this example I'm going to open our Girl
Got Attitude_Abridged_Ex1, and I'm going to
| | 00:24 | change our Algorithm to Melodic detection.
| | 00:27 | Even though this file itself contains
polyphonic material, we're just going to work with the
| | 00:31 | first couple of bars and edit
the bass synth that opens the song.
| | 00:35 | So let's take a quick listen to that.
(music playing)
| | 00:41 | So let's pretend that that little
instrumental riff is what we are going to be editing.
| | 00:45 | You can simply edit it just like you would
a vocal. You can choose to change the notes.
| | 00:49 | (music playing)
| | 00:52 | You can separate notes if you want to. You can
change the volume on notes. You can basically
| | 00:56 | do everything you would have done before...
(music playing)
| | 01:00 | ...with an instrumental.
(music playing)
| | 01:03 | So I have adjustments some changes that I'm
not actually going to keep. I'm just doing
| | 01:06 | them as an example so we
can hear what we can do.
| | 01:10 | (music playing)
| | 01:13 | So you can imagine how useful this could
be if you wanted to edit perhaps a couple of
| | 01:17 | notes in a bass performance, maybe just a
single note was performed wrong and the rest
| | 01:21 | of the take is great, or maybe you have a
guitar solo or a single top-line piano part,
| | 01:25 | and you're just trying to fix a little thing
or change a little thing, Melodyne can help
| | 01:28 | you do that, and it's especially useful if
you aren't able to get the musician back into
| | 01:32 | rerecord it or perhaps you
don't have time to do that.
| | 01:35 | We can also use DNA like we looked at in a previous
video in this course to actually edit instrumental tracks.
| | 01:41 | So for example, if you recorded a guitar
and perhaps one chord was performed minor
| | 01:46 | instead of major, you can use the DNA
technology in Melodyne editor so that you can use that
| | 01:51 | chord by just editing it to
make it what you want it to be.
| | 01:54 | If you want to see a quick example of that,
check out the Melodyne Studio Essential Training
| | 01:58 | course right here on lynda.com.
| | 02:03 |
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| Using MIDI to edit or perform a recording| 00:00 | Another great use of Melodyne is combining its
audio capabilities with its MIDI Capabilities.
| | 00:06 | In order to use MIDI, we first
need to setup our MIDI preferences.
| | 00:09 | If you have an external MIDI controller, such
as a keyboard of some sort, we'll need to hook
| | 00:13 | that up and then connect it so
that Melodyne can communicate with it.
| | 00:17 | In the Melodyne Preferences, we can go to our
MIDI Ports tab and assign your Default Input
| | 00:23 | to the port through which your MIDI
keyboard is communicating with your computer.
| | 00:27 | Once your MIDI keyboard is communicating with Melodyne,
we can now use the MIDI functions in a variety of ways.
| | 00:32 | Let's look at MIDI In Plays Notes. So simply
select that Option if it isn't selected, and
| | 00:37 | I'm going to navigate to my Full
Song Marker and open my Lead 1a track.
| | 00:42 | If you're using this feature while
Melodyne is not playing back, simply touching each
| | 00:46 | note on your keyboard is going to move step by
step through each note in your Melodyne editor window.
| | 00:52 | So let's take a look at this.
(music playing)
| | 00:57 | So whichever note you touch is
the note that is going to play back.
| | 01:01 | So we can simply change the melody--at
least in what we're hearing through this tool--
| | 01:05 | by playing different notes on our MIDI keyboard.
(music playing)
| | 01:13 | So that allows us to perform in a step-by-
step fashion each note according to what we play
| | 01:17 | on the MIDI keyboard.
| | 01:19 | Now if are playing back, what we play in the
MIDI keyboard is going to affect what we hear
| | 01:23 | in time, so let's take a look at that, and
I'm going to play a different melody so that
| | 01:27 | we can hear the effect in real-time.
| | 01:32 | (music playing)
| | 01:40 | So maybe not the most musical example, but you
can hear how you can use Melodyne to actually
| | 01:45 | perform a different melody
using your recorded audio.
| | 01:48 | Another way we can use MIDI is by choosing
MIDI In Edits Notes, and in this manner in
| | 01:54 | a step-by-step fashion we can move one note
at a time and make the audio actually snap
| | 01:59 | to the pitch performed on the MIDI
keyboard, so let's take a look at that.
| | 02:07 | (music playing)
| | 02:14 | So you may or may not actually want to use
this because you can see that it's actually
| | 02:17 | altering every single section, including
the breaths and sibilances, but it can be
| | 02:22 | a really powerful tool if you know what the
melody that you want is and you might be able
| | 02:26 | to perform it faster on a MIDI
keyboard than you might be able to edit it.
| | 02:30 | Now if we're actually playing back and
using the MIDI keyboard, we're going to get the
| | 02:34 | same result as what we heard before, only
this time it's actually going to record the
| | 02:38 | MIDI notes and affect the audio,
essentially editing our audio with MIDI.
| | 02:43 | So let's take a look at that.
| | 02:47 | (music playing)
| | 02:54 | So again, you can hear that whatever notes
are performed on the MIDI keyboard are changed
| | 02:58 | in Melodyne, but with MIDI In Edits Notes
selected those Edits are actually reflected
| | 03:03 | in your Melodyne Editor Timeline.
| | 03:05 | One more great way that we can actually use
MIDI in Melodyne is to use an audio recording
| | 03:10 | to create a MIDI file.
| | 03:12 | In order to do that, all we have to do is export
our Track as MIDI. We can do that by selecting
| | 03:17 | Save Audio to MIDI from the File menu.
| | 03:20 | Under the Save MIDI dialog, you can choose
the Format to be As Specified in Tracks which
| | 03:25 | will literally match what your audio
performance is, including each separation, so that each
| | 03:30 | separation will be exported as a new MIDI
note. Or we can choose Quantized for Notation.
| | 03:36 | So before we export this, let's take a
look at what Quantized for Notation means.
| | 03:40 | We can choose to Display our Notes, you
can also use the key command Command+Option+N
| | 03:45 | or Ctrl+Alt+N to toggle this view, and what
we see here is going to be what we actually
| | 03:50 | export when using this feature.
| | 03:53 | So if we wanted to zoom in, we can actually
see a little bit better than notational aspect
| | 03:57 | of what it is that would be exported.
| | 03:59 | Now if we want to actually edit that notation
so that we have a little more control over what
| | 04:03 | is exported as MIDI, we can actually edit the
MIDI that we want to be exported by choosing
| | 04:09 | Open MDD Editor from the Definition menu.
| | 04:12 | That will open the selected file, zoom in,
we can actually drag the note down using the
| | 04:17 | same Move Notes tool that we have been using
to Edit our audio, and you can see that it
| | 04:21 | reflects the note change in
the Notation above the note.
| | 04:24 | Now this won't actually affect
what we hear, only what's notated.
| | 04:28 | So in this way you can perfect the rhythm
so that when you export your MIDI it matches
| | 04:33 | more closely what you're looking for.
| | 04:35 | Alternately, you can of course edit the MIDI
once it's been exported, but it may save you
| | 04:40 | a little time to do it in Melodyne.
| | 04:42 | So once you're ready to export the MIDI,
you can close this window, you can save it if
| | 04:46 | you want but for now I'm not going to save it,
and we're going to back in and save audio
| | 04:50 | to MIDI, Quantized for Notation, and you can
choose the Range just as you did when exporting audio.
| | 04:56 | And just as before, you can choose to export
All Channels, or as in this case we'll just
| | 05:00 | save each track as a single file and only
export the one file that we're actually going to use.
| | 05:06 | So I'm going to deselect all the other ones,
and once you're ready to export you can choose
| | 05:10 | Save As, and let's name this MIDI and Save
it wherever you want to save it, so now we
| | 05:16 | can locate that MIDI file in the Finder.
| | 05:18 | And if we want to hear quickly what
we have exported, we can take a listen.
| | 05:24 | (music playing)
| | 05:29 | And you can hear that there are quite a few
unnecessary notes in there because we didn't
| | 05:32 | actually finish editing
the MIDI before we exported.
| | 05:36 | But now you have this MIDI file that you can
then import into your DAW or use for whatever
| | 05:40 | your purposes are, and it's all based on the audio
that you recorded and converted to MIDI through Melodyne.
| | 05:47 |
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| Using Melodyne to trigger an instrument| 00:00 | In this video we'll look at how Melodyne can use
an audio track to trigger an instrument channel.
| | 00:06 | The first thing we need to do is
enable an instrument in Melodyne.
| | 00:09 | So let's go to our Preferences and our Plug Ins.
| | 00:12 | If you want to use your custom effects,
you just have to enable them here.
| | 00:16 | You can enable any audio units or
VST Effects that you have installed.
| | 00:20 | For now I'm just going to use the
Podolski that comes with Melodyne.
| | 00:23 | The next step is to go to our
mixer, Shift+Command+M or Shift+Ctrl+M.
| | 00:27 | I'm going to Add Instrument Track from the
Configure menu and choose the Instrument that
| | 00:33 | I want to enable on that track.
| | 00:34 | So I'm going to go and choose a
sound that we'll use for this.
| | 00:37 | I can close that instrument track.
| | 00:39 | I'm going to go to my
Editor window, Shift+Command+E.
| | 00:43 | I'm going to select my Lead 1a_COMP and
center the view on some of the audio that we will
| | 00:48 | use right here at bar 9.
| | 00:50 | Under the View menu I can choose to Show Audio-to-
MIDI Parameters or use the key command, Command+Option+M
| | 00:56 | or Ctrl+Alt+M, and we have some control
over the parameters that we're going to use.
| | 01:01 | So we can use our audio as a Realtime Midi
Send, and we can send it to any external synth
| | 01:06 | that we have connected, or in this case the
internal instrument 1 track that we created in the
| | 01:11 | mixer right in Melodyne.
| | 01:12 | So now what we're doing is we're sending the
MIDI output that's created by this audio track
| | 01:18 | directly to that channel in the mixer, and
I'm going to go back to the Mixer and mute
| | 01:22 | our Lead 1a track so that we can hear just the
instrument without hearing the vocals as well.
| | 01:27 | Let's take a listen.
(music playing)
| | 01:33 | Using these Audio-to-MIDI settings, you have
a little bit of control over how the audio
| | 01:37 | is actually converted to MIDI.
| | 01:39 | This feature in Melodyne gives vocalist a
unique way to record and perform instruments.
| | 01:43 | So for example, if you're really
comfortable singing, but you are not very comfortable
| | 01:48 | performing on a MIDI keyboard, you can
record yourself singing the line that you want to
| | 01:52 | use for the MIDI synth and then use Melodyne
to convert it into MIDI so that you can actually
| | 01:57 | record that synth sound instead of your voice.
| | 02:00 | In addition to exporting MIDI like we did in
the previous video, triggering an instrument
| | 02:05 | track using your audio is
another really great use of Melodyne.
| | 02:10 |
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ConclusionGoodbye| 00:00 | If you'd like more information on Melodyne,
you can check out my other course on lynda.com,
| | 00:04 | Melodyne Studio Essential Training.
And definitely check out the Melodyne Help page.
| | 00:09 | Among other things, they
have a great online manual.
| | 00:12 | In my opinion, the best way to really learn how to
use any tool is to dive in and just learn as you go.
| | 00:18 | So play around with all the tools and
features, and you'll not only learn how to use them
| | 00:21 | as intended, but you'll probably also find a
few new and unique applications for the tools.
| | 00:27 | If you'd like to check out the full finished
version of Girl Got Attitude, you can check
| | 00:31 | it out on Sound Chemistry's SoundCloud page.
Thanks for watching Melodyne Advanced Techniques.
| | 00:38 |
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