Editing: Adding Glitches and Compression
Editing: Adding Glitches and Compression
8. Editing: Adding Glitches and Compression
Studio Walk-Through14:00 2
Choosing Gear and DAW Discussion42:05 3
Prep: Strings and Tuning30:44 4
Prep: Picks and Playing Position18:10 5
Editing: Melodyne and Quantize33:22 7
Editing: Noise Gate20:00
Editing: Adding Glitches and Compression22:20 9
Amp Sims and Impulse Responses38:25 10
Real Amps and Mics27:57 11
Reamping Overview11:31 12
Reamping Demo: One Mic20:03 13
Reamping Demo: Two Mics13:12 14
Axe-Fx vs. Kemper21:25 15
Making an Impulse Response16:08 16
Axe-Fx Tones18:50 17
Mixing Overview24:44 18
Mixing Demo15:01 19
EQ and Compression38:08 20
Editing: Adding Glitches and Compression
I want to show you guys something cool that a lot of that I get a lot of questions about as guitar glitches I don't know if this is ah, yeah chops, chops and glitches so that was editing. Please, everyone do that. If you're gonna send me some dice, do it will make sure everything is in tune and the d ies are what these are one of the biggest things that they're going to shape your tone in the end when you're actually trying to send something through an amp or mess with guitar simms or anything like that, this is what is going to make or break your sound. Okay on two chops and glitches, this is very simple it's very easy, very fun to do um, if you have a mini controller or even if you have a microphone handy ah, and you want to be musical with thes chops uh, it's kind of fun, so if you can hear me, I'm going to make the sound that I that I want to create. If you have something you can sing in two a little something like that, you can see exactly what you're supposed to do, but I know ex...
actly what that looks like because I've done this so much, but if you want to do a cool glitch, you can, uh, or chop you can map it out because sometimes it's complex rhythms like papa papa about baba pep up you know something that you might not understand right away but it's really easy to do so if you have a mini controller you can actually hit the midi note or whatever just so you can see it so let's throw this way have one question for you which is why is the right guitar pen ninety two percent and left one hundred percent? Is that a stylistic thing or just a no that's an arugula there keeps going back to ninety two don't I don't know why it could just be some random automation that I didn't see causing that actually fixed that one time and it just went back so I don't know if that was an accident sometimes a school tohave it hard pan left and right sometimes cool toe have ah guitar parts of mixed together there's different effects for that um I just prefer them to be hardpan left and right. However you do get a weird effect in headphones whenever just one guitar is playing on the left or something like that. So I either like to center the guitar that's just playing by itself or put some kind of very subtle reverb and I'll go over this again like some kind of room sounds so you hear the guitar on one side and then you kind of hear the reverb like like it was in the room on the other side and it's even cool even cooler to do if you actually have room reverb that you can record why you're ramping or playing or something like that but it would just be a very subtle thing okay uh just gonna put these on uh different track you could put these on the same track as the guitars if you want for this demonstration I'm just gonna have him on a separate track ok, so all I did was take a little piece of the guitar different pieces and different notes sound a lot different so I'm just going to take this is exactly a sixteenth a sliver of the note I'm just going to repeat it and pro tools that's uh command d so let's hear what we have cool now let's take another sound to see what we can make out of this sometimes cool just mess around with with different ones just see what you'll get so all I did was take the little sound and copy it over one sixteenth at a time sometimes to make even crazier sounding stuff you'll go to thirty seconds or sixty fourths um and I actually do that often okay, so what's have ah for the last thing we'll have like a diving sound and I'll take the sustained note because I wanted to be exactly that length which is a quarter note and pro tools has a cool little uh plug in built in called verify and we'll just hit that and what it does is it gradually slows down the pitch of thie the guitar so so now let's see what we got for a transition so you some kind of cool glitches stuff like that it's it's also really cool to mess with take some out so you've got a panic that's basically glitches so if I wanted that first glitch to hit better I would just straight up delete the end of that guitar that's hanging over okay now um another way to enhance this guitar sound after we have edited and this is nearly impossible if you have a sloppy d I think I have visa and that's compression if your guitars are not matching up right when they hit on the beginning of each phrase here here etcetera your compression is not going to sound good at all it's basically impossible to do so let's uh sl compressor by waves is pretty cool I'm gonna use the digit design uh regular built in compressor because I think most people have this all right just wait all right so this attack is is going to have to do with the beginning sound of every phrase so maybe around fifteen twenty millisecond attack will be a pretty substantial sound I'll go through the other parameters in second so I use compression it on lee in a way on the guitars that it doesn't mess with the tone because you khun squash the low end and really mess up the guitar so this has a cool uh built in low low pass filter so you can bypass the lows if you've never seen this before little side chain filter guy so this is what we're this is what is being compressed the sound theo and the rest it doesn't even register dancing so wait there we go sorry this has to be turned off and that would be ah so different compressors have different sounds to them when you use them experience with different ones but what I really I'm interested in is this little area of how much is being compressed it's only about maybe two d b now and we lost to t b so I'm going to turn it up by that about that much but each phrase as it hits has more of an impact now more of an aggressiveness because of the compressor now if you were tuned in with us earlier you saw my awesome solo skills and let's throw that guy back in there throw some bass drops in there I do have a tutorial on youtube the bass drops if you wanna watch that oh how terrible so there is a wealth of knowledge for you I got to ask are you using real base there or is it programmed no actually I will mention that for people using pro tools that base is programmed sounds really good until you hear it but there's certain qualities and that's it why it sounds good because I emphasize the certain qualities that sound good in the mix and we will be going over that tomorrow this is what the bases you sure that's not a real base it sounds so lifelike so uh actually if you don't mind I'll just show the setting for that let's take a second so this is built into pro tools this base and its this is the base that I use when I'm programming it's cool to have things that sound kind of good so you can feel the vibe of your song is not just totally ruining everything but I just mixed the full pick base this is expand uh it's called the full pick base and then also combination of the slap slap bass in the slot basis turned down how do you do this for everything that you record every time you go through and do a song you always program the basin what like for final track and I can do it very fast so men that would that would be rough yeah yeah I I like doing this so I mean that's why I'm doing this class uh yeah I do it for every single every single band every time, every song well so and I'm it's I admire your persistence thank you because that takes a certain kind of person to sit there and do that I know that it's annoying going back to re recording guitars because they were a little bit office didn't have a reference yeah for sure seconds that extra step could make a big difference I think absolutely I know depending on the band or what you're recording I mean that could be a lot of notes toe program in yeah oh I know, I know I try to do it as quick as I can so that's that think takeaways um with modern music yeah that's the thing when you heard me over at the guitars at the end that's amore modern sound I'm not a huge fan of that but if a band really wants that I would do it but I try not to but that's how you get the really modern edited sound um yeah and a lot of people expected um editing it's really important for people like me that are mixing your albums to get great d ies I waste so much time editing the tracks that I get that I'm not spending that time getting great tones you know? So um if you're ever going to send anything out maybe sent it to your friend to revamp or someone professional have this stuff perfect before it goes out and don't overdo it sounds in my opinion but whatever uh if you if you read it too much you sound motto and uh I don't know anybody who wants a mano guitars through their recording so um and also s so you probably notice uh these sessions are really weird my mane's air clipping on pro tools it doesn't normally do that so that's just a thing because I'm doing this strange set up that I'm not used to so while some what's ask couple questions and I know finn touched on this earlier but maybe we could get into this uh t f w m had said in regards to the sharp cord that you had for referred to earlier when you were going through they say if you're not gifted with the ability to spot that, could you throw in the melon dine at that point to find it not a full chord if it's a single note because a lot of bands now the heavier bands are just doing uh monta phonic riffs which is single notes you could start into melody but chords that are out of tune if it sounds out of tune without any reference then it's out of tune and it has to be hasn't be retract okay, all right cool and darth vader nice name said are you going to go over editing stroman e r strumming non chugging guitars because the transients are very different strong slow strumming over editing, strumming non chugging guitars? Oh are you going to go over ending those at all? Those are usually not very edited I try to make those that's just how I work I try to make sure that strumming because of how simple strumming is usually that those are right like if that can't be right I will play the guitar those transients are different and if you have to edit it's much much simpler because it's usually just quarter notes or eighth notes and there's no complexity to it so uh that's such a simple thing that I try to make sure recording wise that is just like perfect as you do it okay do you guys have any questions two of you all right, I think fan has one. Yeah, I have a question which is um I guess I can apply toe both recordings in general and guitars in particular and that's something that we've talked about quite a bit um but maybe you can talk about it as it applies to guitars which is cayenne wants to know uh what are your thoughts and on complaints today of old music coming out being over compressed just make things loud and losing dynamic range so I think that general topic maybe it is somebody discuss another time but what about compression on guitars like how much is too much losing dynamic range stuff like that? Uh yeah like I was showing with these guitars I'm not and this is just my opinion and uh whenever it's compressed past I mean if you're throwing like three d b of compression on a guitar in my opinion that's really squashing it mainly attacks the low end whenever you're compressing guitar unless you have, um a compressor like I was showing built into pro tools where it has the low frequency roll off um otherwise it's going to be attacking the lows and squashing them out so I would say three d b I would I would never go over that and that's just me fair enough another question from snickers bar fifty who is full of great questions today uh how do you approach editing arpeggio hated clean guitars like in the violence pre chorus the notes seem to be of a consistency not achievable with in one take the the violence they say chorus pre course I actually played that part and I played all in one take so the answer is get incredibly talented guitar players such as yourself to do it but is that something that you would add it any differently than what you showed here if it needed to be edited when guitars are clean and the ring together um editing them is nasty it it gets gar billy these you can get away with because it's you know, a lot of bands are playing with just chugs in uh you know, leads where they're playing. One string like this is almost more like editing drums. Yeah, there's. Like any drums or editing a base. It's it's. Very easy to work with. Notes that airs this. This simple. Yeah. Iet's percussive. Almost. So when you're editing something so melodic, like a picked like picking like that when I record, I do not edit those at all that's something that if it's an acoustic guitar, if it's a clean guitar that's something that can't really be edited without it having some weird, mushy low end and hearing bumps in it, uh, it loses its smoothness. So if there is a way to edit those successfully it's beyond me, you can edit them. But they sound very bad, so I try to not do that. This you can get away with this. You could not be the greatest guitar part our guitar player and play stuff like this and you can get away with it. And, you know, this is really popular. So this is what I'm touching on the moon most. And this is what most rhythm is is consisted of these days and it needs the most editing usually.
Ratings and Reviews
a Creativelive Student
Berklee College of Music Graduate here '03. I came across a snippet of this course on youtube and the tip about HP the DI to get low end was enough for me to decide to buy the course. One of the things I found so great about this course is how well creativeLive has put this together. From the high def multi-camera shoot, to the screen capture, to the included downloadable slides and Wade's Mesa cabinet IR, the production is very well put together. Kudos to creativeLive, you are doing the right thing. I was very impressed how articulate Andrew Wade was, not to mention that he was willing to share his production techniques. He really thought this through and takes you from very basic steps for preparation prior to tracking, to editing, all the way through to mixing. Additionally, Wade does this all without ego. What a like-able guy! I'd recommend this course to any aspiring engineer/DIY band member, especially if you are going after super tight, highly-polished guitar tracks we see in today's modern productions. The course is a look inside the mind of a talented and caring audio engineer and his philosophy/full-disclosure-techniques for recording guitar. Awesome. Think of it this way...if you have $99 play money and you're thinking of buying a plug-in over this course, please reconsider. The techniques you learn in this course will last you a lifetime and will improve your sound dramatically. Looking forward to more audio production related content in the future!
This class was extremely helpful! I learned soooo much. Andrew is a pro and it is absolutely worth the money. Specifically the tuning section of the class. Did not think to put this much effort into tuning, but it makes perfect sense! You can have the tightest band, with the best musicians, the most expensive gear, with amazing tones, but if they are even slightly out of tune its literally a bottleneck for the whole sound of the song. Thanks Andrew!
a Creativelive Student
Awesome, I am a big fan of A Day to Remember and aways wanted to know how their songs were made. Now I know some nice techniques by their own producer. I thing this workshop is not only for producers but for every person who play on a band. Now CreativeLive should call Rick Rubin to do the same.