Recording Rock Vocals

Lesson 19 of 26

Advanced Tips for Editing Raspy Vocals

 

Recording Rock Vocals

Lesson 19 of 26

Advanced Tips for Editing Raspy Vocals

 

Lesson Info

Advanced Tips for Editing Raspy Vocals

This is a really advanced thing in melody line whenever you get into like if you do raspy vocals over here okay, so this here is thie is the final result after editing and then I'll show you what way so that's what I mean when I'm talking about raspy vocals the's are super super raspy all right, so we're gonna the's are the unedited focus here uh and we're actually gonna do we talked about cross fades we're gonna do this I'll just do this quickly so we can move on to mila dining you guys know all this, huh? All right, so we're just going to use those cross fades for announced for time say yeah now obviously there are six tracks of this they're not going to do them all because this is really difficult and time consuming uh, but we'll put him in valentine oh, here we go. All right, so what? Mila dine uh, make a new session in pro tools or whatever you're using connect the tracks. You know what? I'm just gonna load those three there's no reason for these. So based on that last song just m...

onitored for us any vh five one five zero eyes asking is that master because it sounded awesome yeah, that uh it's not it's not mastered mastering is they might mean mixed but that did have a lot of, like stuff on it that I think sounds good. I'll show you what I did and how to do that, but I'm glad they thought sound good? Yeah, so that was basically everything that was done there was you wasn't a final, like sent out brought back in, you're referencing it again? This is all just protect track straightened the new mix. It yep, yep. Alright. So here's what we got, teo so as you can tell, it sounds a lot different. All right, so this is for anybody that does this style of music. This is like, this is like running through mud just going to say that right now, this is really difficult, but there are some tricks and shortcuts to fixing this kind of stuff. So as you can see, I loaded up into melon and melon line doesn't even think this is a melody and I am offended uh, it's tze it's just do putting it on one track. So, uh, well, now what I do, I'll show you exactly what to do. Um, first we loaded into melody line on then the show play algorithm parameters is also option come in. Oh, okay, so what that does is it shows you the mode mine's like I'm pretty sure this is percussive like drums or something like that but you say no it's not it's melodic and that's that's what? I just, uh the dialogue that I just brought up, which is these so it's it's not there by default so you need to know toe to bring that up otherwise things are going to get real weird. All right, so we also wantto go to definition reset detection too melodic mode. So oh, hey, look, they're some notes in there. Leave that. Thank you, milady. Let's see what our other tracks look like? You got to do this for all your tracks, all right? Or I guess you could uh oh, just going a definition reset detection, too. Melodic mode does the exact same thing without bringing this up, but I do like this dialogue here because it has other things in it that I will also be demonstrating later. All right, so take these other ones out of here. So we're just working with one eye have come undone, so we see that some of these notes aren't even registering. Uh, and this is where skill kind of comes in because you have to sort of know about pitch and fine tuning, so okay, we got that view sharpish petition make sure this guy's clicked in view show pitch notation on selected track otherwise it won't select uh separate all that stuff just in case anybody does want to try to sing like this. Um uh this was so difficult for me that I had to sing one take on then wait a week and then saying another take on like wait a wee and sing the last one and wait maybe not weak like a few days but you don't normally see you don't seem like this on a regular basis so ah lot of work went into this stuff and that's what it takes and whenever you are scheduling and if you are doing something this and vocalist isn't used to this that's the kind of thing that you do ugh it's like you want this sound there's a way to get it but you have to know and you have to plan and that's what we talked about yesterday so so how many weeks did it take you to do this? Told I mean, this was probably two weeks or something like that so it's just I had to do one take and wait a few days because my voice would be completely messed up uh maybe there's a right way to do this but it's unknown to me uh just kind of sing really hard and loud that's uh what comes out okay so our little shortcut that we know about yesterday was command shift d that is detection correction mode. Now, sometimes all you gotta do is jiggle the note. Emily I was like, oh, there's a note it's supposed to be right there. So you just kind of jiggle it a little bit, and sometimes it gets it sometimes it doesn't hopes, and this might be where most people give up because these notes were kind of coming a little bit easy for us. Sail that one just wants to run away. Well, okay, if you're lucky, this is what happens and it just gets it, man. Okay, this one might be of pain. Okay, so we can see that the beginning of this note is appearing, but then the rest is just not there. My drug. So in that mode, there's another pitched, uh, pitch detection mode and it's I don't know, you know what it means, and I don't know if that means emphasis or whatever, but it's almost like us, like a more forceful command to melody line say, hey, this note is right here, please listen to me. I don't know how else to describe it, but that's kind of like what it does so first it's like, hey, melon, I'd wake up, uh this no isn't you know this is a note but you need text like okay well here's the note and then it's like is this right and then you're like no it's like right here so then you turned that on and it appears however it's not always right so this is where you kind of have to use your ears but in order for melody in to work with the note it has to be right has to be in the right spot so if this note is sharp which it looks like melody line is detecting that it is sharp that it's kind of in the right spot but if it's flat for instance it should be like you know down here and it's having hard time correcting it to there but this is where your ear kind of comes in and if you don't get these uh correct then it's gonna be almost impossible to actually make these pitches sound good my drugs so it's something my crotch but so see my crutch which is the same note so it is sharp which is correct melody job my um so let's exit that mode and now we're a lot like work with my brush so I'm hearing there's my crush yeah uh sometimes you just kind of got a point my crush so now we have the the correct vocal even though it's like super distorted stillness is my crush job done so see now be careful because this e m p h emphasis I guess I don't know um if you just have it left in all the time and you start to do the little jiggle thing it doesn't work the same it will kind of force like if you move it up to jiggle it or something like that it will it will say hey it's up here melody line and uh you might not actually be trying to do that so I'm just saying turn that off if you're not trying to use it on purpose because you you'll probably mess stuff up so I have a job okay so what do we got here? Whoa I have a job have common god okay alright I have I have common done job by job so that kind of goes flat in the middle so I just separate the note there too so I can instead of flattening it out I'm just kind of correcting the you know the chunks that are off instead of the flattening the whole note like auto tune or something have a shaman done this illness is my crush for his crutch not on my watch serie a sandal so this notice flat sharp reassemble anyway so you can either try tried teo uh put all the get all the notes to detect and sometimes you can just kind of do it by ear but it's it's easier when you have a visual representation because then when you go to the next track you can see where the notes are supposed to be if you have harmonies you can see where it's supposed to be etcetera etcetera so it is valuable to actually be able to make those notes show up and put it all in the right spot um cool that's uh that's really that I it would take me so long to go through all this but hopefully does everyone understand this concept? I don't think I need to actually go through everything any questions in the chat room about this this concept? Well, I think one of the the main questions is are there types of services within your digital audio workstation that you don't have to rely on mila dine or oh no these are there any native ones that come in or is this all basically manual editing if you want to get these kinds of effects no, it really you really have to go out to like mel diner somebody that because of the features like the format correction in the ease of use there are like kind of ways you can do it with shifting the pitch, but you're completely completely messing up your vocals when you do that, so um yeah, you kind of have to outsource it to pro teo to melody line to get that stuff right well, michael was wondering how milla dine bridges in terms of cpu usage. I mean, how many instances do you have running a once so it's it's? Great. Uh, I wonder where our system usages. I mean, I really know fastest computer is, but I have a whole session running here, you know, with effects and stuff and melatonin bridge. I mean it's at eleven percent. So it's, pretty quick and what's also about mill dine is like, you can move it around and it's like superfast. Yeah. So, like when you're playing back the notice here. Eso if I'm playing back that I want three s. So if I want if I want to move it up like it's instant, which I which I absolutely love it's just like working with minnie. Yeah, better a lot better. Some may argue. Um, so yeah, maybe we can, uh, fast forward through time. There we go. Cool, cool. All right. That's, uh, really tedious when you actually have to do tons of tracks like that. But at least you know how to do it now.

Class Description

Every great rock song starts with a stellar vocal. Get ready to learn the fundamentals of recording rock vocals from Andrew Wade, who’s worked with A Day to Remember, Motionless in White, and dozens more.

Andrew will cover everything you need to know about recording, editing, and mixing vocals for modern rock songs. You’ll learn about mic selection and positioning, key mixing techniques, and the secrets of time and pitch correction. You’ll also learn about how to work with each individual artist to get the sound they want.

By the end of this course, you’ll be fully equipped to work with a variety of male or female vocalists to get the results you need, from screaming to cleans and everything in between.

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