Join Evan Sutton for an in-depth discussion in this video Editing audio, part of Learning Bitwig Studio.
- The next thing we're gonna do is cut up these audio takes that I did and create something cohesive and something that sounds like a really solid performance that we can use in our track. So let's go ahead and listen to what I've got. Sometimes it's nice to listen to a metronome as well, so that you can really hear the rhythm. Especially if you're soloing the percussion part you just did. (metronome noises) By the way, I just turned off Recording so that I don't accidentally record over it.
Also, it'll let us see what's going on in the meter. So we've got some nice stuff there. I'm gonna go ahead and put a cut right here at the beginning of bar nine, because that's when I switched up my pattern. And I'll just set that to the side for now. And let's go ahead in here and we'll zoom a little bit. We'll just pay attention to where the most rhythmically sound claps are. (metronome noises) So I really liked everything from here to here.
So I'm gonna go ahead, let's just give that a little cut. Right there. I can use Command-E or Control-E on a PC. That's gonna split these regions apart. Works just the same as with a MIDI region. I could also use the knife if I want to. Okay, so we've got that. This one was pretty good, but it had that one kind of funny one. Also, the first clap is a little bit wimpy. I don't know if I was really feeling the musical pursuasion right at that moment. So what we could do, if we wanna layer these and get something that's kind of, I don't wanna say sloppy, but sort of intentionally human.
We can actually take some of the other claps that I did and layer them underneath, and then make an edit so that things are a little bit more on the grid. Let's rename these Command-R, Clap 1. Control-R on a PC. Clap 2. And let's go into this guy and just put some of these claps a little bit more on the grid. So what I'm gonna do, is I'm just gonna get rid of him, but perhaps.. I wanna select this area.
And I can just hit Command-C or Control-C. And then at the beginning here. It's gonna be a little long, but we can make it fit. We can move it around. I'm gonna hit Command-V or Control-V. We just wanna put it right in the right place. I'm gonna cut it down using that bracket on the top right. And let's see how this sounds with the metronome. (metronome noises) And this guy is a little off, so let's jump in there. I'm gonna use my knife, but what I'm gonna do is turn of snapping for a second so I can just put a cut right before that one clap.
And I'm not trying to be too exact with these claps, because you know what? I want them to be ever so slightly off so that we get a nice layered sound. I'm gonna go ahead and move that. And we can see how it sounds with the claps doing the fill on the top and not having a fill on the bottom. And we can change it if we want to. Maybe we can have different fills, like they're different people. (metronome noises) Okay, now let's hear both of the claps together. (metronome noises) That's kinda nice, I like that.
There are a lot of different things that we could do to create some depth of field within these two claps, such as panning things like that. And we'll talk about that a little bit later. One of the other things I wanna do is do some non-constructive editing, I like to call it. So for every technique that we talk about, just about, there's a practical use, and then there's a practical misuse. So what we're gonna do is do some practical misuse of audio editing. And we're gonna create something sort of glitchy. So when we got to this breakdown section, I wanted to move into something more double timed to fill in the space and to make it feel a little bit more tense, even though the drums are slowing down.
(metronome noises) And let's actually grab that double-time part I'm talking about. Put this guy over here. This is the breakdown. (metronome noises) So, I really like that. I'm gonna leave it for now.
We can do some rhythmic editing later on. That's actually a pretty simple thing. Bitwig has some really great tools that we can use to do that without making slices. But what I wanna do, is actually do some cuts and create like a glitch stutter edit. So what I'm gonna do is just select a very small piece of the audio. Maybe right here. And we'll zoom in a little bit. And what I'll do, is I'll select it. And I'm just gonna hit Command-D. Command-D is duplicate, that's gonna copy it and then it's gonna paste it so that it's right next to the originally selected area.
And I can do that again, and again, and again, and again, and again, and again, and again. I can do it a lot of times. And boy is it fun, because we can wind up with something... That sounds kind of interesting. And maybe I've done it a few too many times, but I can also Option or Alt-Drag to bring it backwards. Duplicate is always gonna move forwards in time. I could bring it backwards if I want. (metronome noises) Okay, so we've created some really fast claps.
Now let's make them even faster as we get toward the end here. And what I'm gonna do is just chop this down like this, hit Duplicate a few times. Oh, it duplicated. It jumped because I had this little area selected. So I'm gonna undo that. Command or Control-Z. Let's do that. And let's just select that region. Command-D, there we go. (metronome noises) And then you can go really crazy with this if you really zoom in. Jump in one more time.
And we're gonna get kind of a zipper sound. (metronome noises) Here we go, we're coming up on it. (metronome noises) And that's a good way to build up tension. We created a nice little fill. I certainly couldn't clap that. Maybe you're a lot more talented than I am, but I couldn't do that in the real world. It's kind of fun chopping up audio. You can create sounds that you might've never thought of when you start to put these glitch edits in there.
And we're gonna talk about stretching and other types of edits as time goes on. Just remember that many of these editing techniques really do have a practical purpose that will come in handy when you're trying to get the best performance out of something, even if you're trying to make it really sound true and organic. But they also have their counterpart, which is this sort of creative misuse that I find to be a lot of fun.
- Setting up
- Recording and overdubbing MIDI
- Editing MIDI
- Sampler and synth programming
- Editing audio
- Making songs out of loops
- Adjusting volume and panning
- Basic mix techniques using EQ and compression
- Creating scenes for live performance