Pro Tools Essentials

Lesson 2 of 31

FreePreview: Editing Piano with Elastic Pitch

 

Pro Tools Essentials

Lesson 2 of 31

FreePreview: Editing Piano with Elastic Pitch

 

Lesson Info

FreePreview: Editing Piano with Elastic Pitch

The next part, what we want to do and this is a little bit trickier, as we want to now go in and use a melodic part or actually polyphonic part it's a piano part that we recorded in a completely different song and see if we can use elastic pitch to be ableto align it to the correct pitch of the song and allowed it to the correct tempo. Somebody go upto file again and go to import audio, and I've actually pulled out a specific folder of loops that I've created for this, so we're going to find solo piano again. I'm gonna add it to the t to the session it's of the same sample rate, so I don't have to worry about converting it ongoing click done and again it's gonna ask me if I want to bring it up is a new track. We'll put it in the clip list, I'm gonna go ahead and put him in the news of new track. You know, this is a long piano part, I'm going solo because it's not at all conform with the song yet, so we're just gonna listen to a section and kind of see what it sounds like, and if you li...

sten to the rest of the performance, you can kind of hear after that intro. The song is actually in sixty eight, so it's a different tempo, but the current songs in four four and this is in six states, so we're gonna have to do a little bit of work as faras emphasis we're going to change the tempo and the pitch so let's get started. The first thing I'm gonna do is I'm gonna go ahead and, um, separate out this region right here, and I'll show you a couple of ways to do this, but right now, one of the easiest ways I'm going to select the region of time that I want and I'm just gonna command e and that will create a separate region now and then over here, I'm not sure what I'm gonna do with this yet, and I don't want to get in the way someone who in command and which mutes that track so that region right here excuse me, meets that region is no longer playing on go and just listen to thiss piano part, we're going to line that up to where it starts and see if we can bring this in, possibly with the rest of the song before we get into loot mode, I want to just go back to standard mode, and we're going to trim this out a little bit. I have no idea where it starts and begins its not conform to the song yet, so I'm not so much worried about grid mode as far as keeping everything sticking to the beat. Um, let's see if we can bring this in right at the top and the first thing that we're going to do, I want to make this a little bigger, so we can kind of see as we're working with it, the first thing we're going to do is we want to worry about the pitch, we're going to focus on the pitch first from a little bit smaller there, um, so I'm gonna listen to this, I'm gonna go ahead and mute the drums as well with her vocals so that I can make sure that this isn't the right pitch and it's going to take a little bit of trial and error, it helps a lot if you know exactly what key it was recorded in and what key the song is in that you're moving it to you can do the math and just figure out exactly how many semi tones you need to move it by, but for right now we're going to try to just do it by ear, so listen with vocals, he's just a phase. It's obviously not in key it's, not the correct pitch. What we're going to try to do is use elastic pitch to be able to change the pitch of the actual part, to be able to more fit in line with song and again, use your ears, be musical about this, try to find a way that you can make it work, so I'm gonna go ahead and go over here to polyphonic again remember the switch, two ticks and the first thing I'm gonna do is right click on the region and bring up a dialogue called elastic properties. Now the last thing properties is going to show me a lot of stuff. The only thing we're really concerned about right now is this bottom part right here, the pit shift, their semi tones and sent and every semi tone is equal to one half step on the piano, so we're gonna go and bring it down by let's try negative three we'll bring that step and a half and see what that sounds like he's just a phase change every year. So now it's getting closer to the song, I feel like it actually fits the song itself a little bit, but I don't feel like it's the right notes, we're going to try and negative six and see what that sounds like, he's, just a phase change began its totally just using your ears and making it matched to the song so I think like the pitch is fine, we're getting close to the pitch second thing we need to do is now we'll focus on the tempo and this is what gets a little bit trickier somebody going move this out of the way so we can focus on this very first thing I'm going to do with the beginning is I'm going to make sure that this downbeat the transient is as close to the greatest possible I wanted to line up as close as I possibly can, so let's zoom back out and I want to leave space at the top for the region to be able to start so it's going to save me a lot of time in the future if I snapped this region right to the beginning of the session that's going to help a lot we can always do that later too, but it helps a lot right at the beginning. The other thing nominated two is well, I'll leave that here for now I'll leave the end of the session here for now, so we've been edited the pitch using elastic pitch now we want to try to make the tempo fit a little bit with song so I'm gonna go ahead and click on wave form right here and I'm going to switch to a wart mode and now if you see what's happened in war motives, that's gone through and analyzed every single downbeat of this piano part and put a little marker for each downbeat and where that it thinks that down be it is this is where it takes a little bit mohr hands on work to be able to get this tow line up, so I'm going to go ahead and, um, there's two different ways to do this the first ways using what's called the quanta eyes operations, so I'm gonna pull it quantifies and I'm going to tell it where I want to use to line up with whether it's eight notes or sixteenth notes and we'll see how well this is this this sometimes works, it depends on how close it is to the actual tempo. We're going to set it to eighth notes and when that apply he's just a phase change way, so it starts off ok kind of understands a little bit about what's going on, but it's not exact and I think it could do a better job just trying to line it up myself so we're going to go ahead and do it I'm going to stretch this out because I know that it's going to be slower, so we'll turn off grid mode and I'm going to stretch this whole section at a little bit I'm give me more space and now what I'm going to do is I'm going to grab this last note right here and try to stretch it and if you see as I grab it all the notes are going to start stretching along with it and that's an important thing to realize right off the bat as far as how elastic audio works because we're going to be careful with that in the future something to stretch it out to their kind of see what that sounds like he's just things changed way I'm getting some of the downbeat but I still have some work to do the next thing I want to do is I need to get more specific with the grids I'm gonna go up to the nudge and I'm going to switch to eighth notes that I can see in the grin itself the actual eighth notes that amusing and I could try to start to line these up now the key is every time that I adjust one of these beats its going to adjust relative to the rest of the track except if I hold downshift while I'm editing it it just isolates that one specific note and there's a really easy way to do this too if I switch to grid mode and I set my grid to eighth notes it will automatically lock each note troops to the specific note that I want to use now keep in mind this isn't a different meter then the song it's in sixty eight and the song is in four four so it's not going to line up perfectly we're going to have to remove some notes to make it fit a little better is just a phase change. So right off the bat I have a couple extra beats obviously it's not going to line up, but it starts off okay, I'm going to turn this up second here a little better. I feel like the downbeat should be here again something backto wave form view and I'm gonna actually just going to get rid of this note right here and slide this back. Then I'm gonna select these two and I'm gonna go to edit and say, consolidate clips of those air back to the same clip again I'm gonna go back toward mode he's just so I feel like now it fits a little better with song if you noticed the down beats are on one two on the half be of two on four and won again if I go to the second parts one and a half feet of two on four and won again. So I have one more to remove, which is right here so we go back to away from view select this one note to slide this back and again consolidate that's clip um so we'll just wait so I feel like now it's getting a little bit closer we confined to this a little bit if I really want to go into war mode I could go back to slip mode and I want it having me so it's not so great it out I'm gonna grab some of the again remember toehold on shift that you're only moving one note some of these notes I'm gonna move a little bit further ahead of the beat so that I can hear just a little bit more sense of urgency in the performance so it doesn't sound so mechanical and again we're back at the same point we're getting to the point now where we have kind of a loop we want to make sure that it's exactly two bars long from bar six to eight so I'm going to go ahead and switch backed away form view I'm going tio switch to grid mode and lock this back up and then I'm gonna do the same thing I did before I'm gonna grab the loop extender and I'm going toe loop this section all the way to the first verse he's just wait now adjusted the tempo the pitch and the actual meter of the part to fit within the song and we can obviously spent a lot more time to make this fit even better and slide and even more but what we want to do next is we want to make sure that this this second bar is follows the core progression of songs if you notice that changes a little bit of weight the's two bars I'm gonna go ahead and separate out command he separates those regions and then I'm gonna go ahead and bring up elastic properties on this one again, and I'm going to change this to let's go ahead and just move it up. Um, try force semi tones eyes will try to semi tones actually five and then this one will switch to just for that the kind of works we'll switch this to six on this back to five, and if you notice it's because it's not rendering, I'm not altering the pitch back and forth it's just changing and re rendering the same original file so you don't get a lot of that artifacts to get developed over and over again like you do if you were actually processing this using audio suite, it doesn't work at all. Try try five and four three way pretty close on do you get the idea you can start to play with it? You can start to have fun with it a little bit and trying to figure out exactly how you want to make this work and where you wantto use the part, try importing different types of parts and you can kind of see where all that stuff is headed

Class Description

Learn the ins and outs of Avid's Pro Tools HD, the recording industry’s most comprehensive DAW, with Zach Varnell. Zach is an industry veteran, who has worked in dozens of studios throughout Seattle. In this comprehensive guide to Pro Tools, he’ll share the best practices he's picked up over the years.

In Pro Tools Essentials, Zach will walk you through the entire mixing platform including the intricacies of bussing, VCA groups, key input, HD functionality, and notable plug-ins. He’ll also show you how to create custom impulse responses from time-based outboard gear and rooms.

You will learn about Elastic Audio and Beat Detective along with a comprehensive workflow and track management process and how it can be applied to a studio session with a band or film scoring with triple-digit track counts.

If you are ready to take your Pro Tools game to the next level or just want to brush up on some time-saving techniques, don’t miss Pro Tools Essentials with Zach Varnell.  

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