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Recording Rock Vocals

Lesson 16 of 26

Editing Female Vocals Part 1

Andrew Wade

Recording Rock Vocals

Andrew Wade

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Lesson Info

16. Editing Female Vocals Part 1


  Class Trailer
Now Playing
3 Soundproofing Duration:24:20
4 DIY Acoustics Duration:12:34
5 Signal Chain and Microphones Duration:21:12
6 Preamps, Compression & EQ Duration:23:20
7 Working with a Vocalist Duration:36:53
  Class Trailer
Now Playing
1 Editing Overview Duration:34:31
2 Fades and Basics of Melodyne Duration:13:53
3 Editing Female Vocals Part 1 Duration:27:39
4 Editing Female Vocals Part 2 Duration:09:51
5 Editing Vocals with VocALign Duration:17:34
7 Editing Screaming Vocals Duration:28:18
8 Vocal Effects Part 1 Duration:33:20
9 Vocal Effects Part 2 Duration:32:18
10 Intro to Mixing Duration:18:07
11 Mixing Softer Vocals Part 1 Duration:32:42
12 Mixing Softer Vocals Part 2 Duration:14:21
13 Mixing Screaming Vocals Duration:32:11

Lesson Info

Editing Female Vocals Part 1

Each channel if I lose anybody that doesn't know mel time bridge our melody line please stop because I know this very well and it's hard to know what you don't know what you guys don't know okay so uh we're going to connect to track one two and three from mela dine usually when you bring a melody in bridge melody I will pop up automatically but you might not that might not happen so loaded melody I'm bridge just open melody line and you can just make a new session and it will automatically sync up theirs there's not really much much too it there ok so all right here's some basics of melody line we're gonna go over this have navigate zoom uh there's quick menu uh how to select all whatever correct page dialog correct detection okay so these are some shortcuts you want take a screenshot of this whatever I'm uh I am all about four cuts so hey uh anyway where are we here all right so all you gotta do in pro tools is hit play through this money for us and ah whoa so right now it's just load...

ing the audio tracks go ah like a weight wait that's it okay? I made a mistake that we did there was something that we did correct but you know what? I'm gonna put it back for this uh I don't know if you guys remember earlier, I noticed that one of the tracks is way off, and I thought we corrected that we did actually just didn't move to take down in the right in the proper spot, but I'm going to leave it because sometimes this happens after the vocals leaves you miss something, you didn't realize that it was so off beat, and I will show you howto correct that, okay, so we got we got all the stuff. They're melody line um now a few things that I like to start out with, you want to be able to see the pitches on each of these notes, so it's always show pitch curve, and that will show you exactly, uh, what's going on that shows you exactly what's going on in each pitch so well that I kind of take all these blobs, melody and kind of separates him by actual audio blob and different note, and then it kind of averages is what you're trying to do and, like, guesses what notice like this? Obviously, this is vibrato, and so they have is an automatic detection where instead of cutting it up into a bunch of notes, it's just until it geant correction, our gas that is just one note with four brought it win in, so milady is really smart, um and super easy to use ok, so let's go back to the shortcuts uh what we want to bring up is the correct pitched dialogue which is option command p oh, there we go. So what that does is I just hit control a first selected all the audio in the song and then I automatically corrected everything now this might not be what you want to do at first especially if you're not very familiar with the melody because sometimes melanin will guess what note is putting on and you don't know what the singer was actually going forces sometimes you might wanna listen to that original take but for me and for time's sake uh we're just going to correct them all like that uh has there's two different settings here correct pitch center which is basically how far it will put the average of the note onto the correct note and then crack pitch drift sometimes you maybe she was a she's saying pretty well so it's actually not making the biggest difference in the world but as you see right if you can see right here there's kind of ah okay so if you look right here this is what the pitch drift is she hit the note but she kind of curved up in them back down what that does is it takes the average of what the overall curve was and corrects that now there's another mode that get in even finer where you khun flatten all that stuff if you wanted to but I don't like to do that I like to keep it a little little more natural so let's listen to what we got here I'll treat this money for sometime I'll take whatever I can find it's like taking in for goal so that she was pretty close to these pitches so these are gonna be right pretty close anyway all right, so what I'm doing is I noticed here that she hit it just like digging in for good she she hit a uh just a tiny quick note and this is the first note was a little bit flat so the way to fix that because it's actually two notes is to just separate it which is if you can see here it's just a very subtle move this is how you move the note and then this is how you actually separate the note you just got to, like move it above the note if you move too far it disappears so you just gotta find it it's kind of weird to me it's it's really natural like I know right where it is without having to do that so whenever you're in mel dying especially we're gonna long sessions or important sessions you want to save him so call this okay so take it slow vocals I'll trade this money for sir now let me point out something really quick this is something that a lot of people when their pitch correcting do wrong uh and I'm sure we're gonna see a lot more of this but the beginning of this note is actually coming up from below on purpose some people correct that they'll take this and though I move it all the way up so there's like so it starts just completely not that's not exactly flat but I'll trade this money for you like you're getting your doing some weird stuff but I hear people do that all the time um they think that it's important to flatten that stuff out you're actually completely ruining the vocals and after you do that if you don't have the original vocals you've ruined your stuff and these were all these little things are the things that I have memorized so uh you know as you get more experience, you don't have to, you know, worry about messing that kind of stuff but okay here let's talk about vocal timing this is a lot different than like drums or guitars or anything that whenever you're correcting vocals, what gets the beat is the vowel, not the constant the continent does not get the beat the valve gets to be the continent will usually come in like early or something like that so like I see here this is a continent because there's no pitch you can see when you say yes there there is no pitch with a so the where the val comes in that's what gets the beat so we would move it here uh I wasn't guessing what works you're saying but that's time so even though the team's kind of a hard sound the sound is going to kind of cut through the mixed the most and sound off beat is going to be the valve so that's super important when you're correcting vocals now I'm uh insane when it comes to fixing vocals and I like every word to be on beat so you can see here anywhere you see the pitch start is where you need to move this stuff on so just holding in option on mac enables you to slide it without it snapping to the grid otherwise it's like like that just chopping uh okay, so I'll trade this money for so let me show you melody line this is a here's a example former corrections so so you could move a note I'll drink this money foursome and it still sounds relatively natural you could uh thiss money but also that she went falsetto, which is insane that that zero important trait this money fulsome I mean this is why I like you really you've got to get craig you've got to get really crazy for its own whole drapes money for awesome, you know that one's going platinum andr so uh whenever you move things down though this is ah paladin chip save long sessions is important to be familiar with the melody obviously like I said, whatever you're doing doing this stuff you don't want to put the pitch is on the wrong in the wrong spot so we got uh what I was going to say is these these are really important when using melody whenever someone sings if they're going if they're off they're gonna be off and you know it encourage them or guide them to b flat instead of sharp because if they're flat melody line specifically sounds more natural when you go if they hit the note flat you've got to move it up versus them hitting over shooting it and then moving it down I'll drink this money but even though that sounds natural ah other people's thiss money for so as you get lower and melody line it kind of sounds like they put their hands over their mouths trade this money for us if I tried this one so it's like it's important to know all all these tiny things whenever you're using melody and stuff yes, I'm so in terms of like timing when you're trying to determine where to put the vallis sound do you is there is that on a grid or yeah this grid I didn't mention this but this grid syncs up with the tempo of pro tools automatically okay, so this grid is correct like all these bars and beats are in the right spot so I know I mean maybe this is just because I've been doing so long but I know where all these notes are supposed to be um sometimes you're wrong about it but when you actually as you can see where I just move that this I kind of wish there was a line there might be a way to make the grade a little bit finer but, uh this line is right in the middle and that's where this needs to be it's really easy to ignore those little notes in between and, um also I feel like I used to version of this where like the instrumental could be like in there as like a guide do you ever load instrumental in tow? Listen uh no that's what's also about thiss money ah yeah it goes right with pro tools that's what's cool about marilyn bridge forgot to mention that. Yeah, so whatever you do in here uh goes tio this money goes to pro tools immediately I'll take whatever I can find is like so if I didn't like the way her timing was uh like if I wanted her to do a different cadence you could switch I'll take whatever I can um I wouldn't want to do that, but that's it's pretty easy to to change actual time if I can find is like dig like she rushed that words he's to move us on just like dig in drago always this is what I do I go through every single note yes noticing you're making these timing corrections on one track is this automatically going toe link the other two takes of this too the same edits no, but I will look into that in a second okay, yeah uh I'm just going to get through this really quick so we can my was air on them so we can actually look at the other things were going to be using this for mixing or maybe not hopefully I get through it uh okay, this is a good spot where you would want to separate the notes here kind of looks weird I don't know what's going on and I gotta let him go I gotta let him go. All right? So after you after you separate the notes you want to bring up the correct pitched dialogue again and just re center those notes to the correct which is inside a gun. Okay, so right here. Okay, let me talk about slurs for a second if you guys don't know what a slur is uh whenever you have a note that versus uh uh it's easy when you're doing pitch question teo just totally get rid of those by accident so in melody in if you did accidentally do that you can go too far uh edit at a pitch reset all pitch related change to original so if that was like a really weird hard at it, you would be able to get that right back to where it wass so also something else I did that I did without even thinking so it automatically cut this here the way you want to think about it is you have the note than the slur than other note so that's not two notes that's a note, a slur and a note so you need to think of it like that so you want to split it where the slur begins and ends now you can see here there's kind of like a ah hard drop that's not that wasn't natural that was that's not how she saying that so you reset that you got a nice natural looking curve there and then we'll reset the top and bottom note you can if I if you don't like that slur is you could move it up or down said I got and I got maybe you didn't like the way she did it the best way for me to edit a slur like if it's too fast or something like that is just chop it up and I mean this is really meticulous if there's a a better way to do that I don't know, but um anyway, for the most part probably gonna let him go let him go let him go let him go scared? No. Yeah so those were different notes scan know all these better all these matters so this guy knows getting so this is a little rushed can ah that's what's supposed to be and that's why I'm saying it's important to be familiar with the melody and how what it's supposed to be on beat make sure you get involved vocals and when you send out vocals will be corrected by somebody else you're going to find that they do mess things up because they weren't there and they don't know what the plan was sometimes somebody does hit a weird note a purpose and don't mess it up or there's a slur that was supposed to be there in the get wait you want meant to be we want man to be alone we weren't meant to be s o this right here is a little more complexes and m sound, which you can't really see uh that obviously we weren't meant to be. But when you say meant the mess that e which is the valve gets the sound the m still does have a tone, something ends and something that but it's the vowel that gets the beat we weren't meant to be a like l has that to lost though would get the beat you remember also we want men to be a uh huh oh yeah this dialogue that I bring up is right click and hold and then you can just go to these different the pitch modulation and pitch drift were you can edit that I just bring it down saying like it so you do like super auto tune stuff if you want take it slow ah because you mrs this they go but I just want oh uh say there's like some kind of crackling sound in this that is it shouldn't be there I don't know what it was but uh just so you guys know that I know we know that's not supposed to be there some technical glitch if this was a studio that you know I used all the time we really get down to the bottom of it to make sure that those little things aren't there but that's how it is just making is where they go ah take it ah story and it's a beautiful day, eh? Oh my never know a final goodbye. Ah, you'll never know a final goodbye eso after you have the first one uh when you bring up the second one this is what happens you see in the background there's like a little uh like a guide kind of like what you did so you do are quickly shortcut control a option command p enter and that will uh automatically put everything there so you kind of have a guide you can easily oh, you know it's like okay, well that one supposed to be there this is a separate note way went through there we took our time on the first track you can easily uh fix the second one so that everything is you know the same so it goes a lot faster after you get the first one done. Now remember these tiny edits I'm making I'm holding down option and clicking, huh uh I'll take whatever again okay, separate notes just find that little guy and uh double click okay, so this looks uh a lot different, you know? Okay, so this is actually supposed to be pulled back here scared? No, no, this can know so if you see what I just did that it's were it's very small but it's there and I just think those up by, you know, dragging them tow the right spot no. Okay, this is a good ah situation here you got one note she stayed she kept solid and the other one she dipped down so you could make the creative choice if you want one to go down oh, if you want them to both go down or if you want uh them to both be up again ah ah neither one will sound pretty natural so it's not the end of the world when you have little differences like that um yes, with this particular song are you keeping all these takes to lay over each other? Are these takes that you're gonna edit into one single vocal uh these the verse part of this actually that's a good question what I'm doing is I'm taking all the takes and I'm editing, editing them all for the verse the verse is gonna have one vocal in it and that was a creative choice on my part, so what I'm gonna do is I'm going to choose the best takes out of those after it's been corrected um and then in the chorus there's gonna be three and I'm going to show how to blend those in a pleasing way so I like to just correct them all and then and then choose you khun I mean, you could do in the other order if you want but sometimes it's better to see sometimes people hit weird small things that you may have missed so it's like it's better to have more options that's how I look at my clothes are on them I'm I okay, so on this on the end this should be on the end this looks like another transition models are on the ah okay like jose but all right, so here's our other slur keeps the integrity of that by separating into its own hands on guy let I gotta go again let him go so switching between the tracks is clicking on whichever one day that you see I don't go so this may be should be more on go okay and whatever you have okay here's a good example xi I actually don't get a lot of singers I have a ton of abroad oh, so this might be a little weird for the demonstration but whenever you are stretching out a note this isn't a super extreme situation but when you're stretching out of note this is a really good tip uh whether you're using melody line or anything else to stretch it out you want to stretch the middle you don't want to stretch the ends because the ends no matter how long you all out of note you're not going to say it in slow motion you're to say it hold out the middle longer and then the end will still be the same so when you're stretching it uh come on so you just what I'm doing is I cut the end and the beginning so they're the same and I'm just stretching the middle now she's doing some really intense for brought oh so uh that may or may not work out so well oh yeah sounds fine andrew quick question from the chat room how are you toggle ing between the track one of the track too vocal is that a keystroke there? You know, just whenever I see it, like when I see it sticking out like I see a different one just click on it and, uh and I can switch, okay? Yeah, really simple. So I like no line. They really thought of workflow here, so is correct. You know, I like I like looking at this and thinking that it looks like a hot dog with mustard on it. It's fun sometimes. Okay, so I see this one is shorter than the other one, so here we go. I'm going to choose the shorter one same deal, by the way, I just move that out, I move that down so I can see it it's, just something I do without thinking. So, um, well, we'll just keep that they're so what I do is same deal, shorten it the same way. Oh, yes. So when you're shortening it, you're not shortening than the end of the beginning. You you squash the middle just the middle of the actual note part. Yeah, okay, because whenever you're like, if you did saw it down, it might sound I used its have saying were longer, like longer? Yeah, yeah, you know, I'm saying so. It's, the middle part thatyou want longer, not the beginning and the end of the word, which is probably the vowel. Yes, exactly. Yeah.

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.



This is a superb course, was full of great informations and it has inspired me a lot. Learned alot of things, thanks to Andrew for this great presentation and sharing his knowledge and experience with us, also thanks to the people in the audience for bringing up good question and to the creative live team for making this happen. I really hope Andrew will come back to Creative Live someday, perhaps with a full course especially about working out and creating vocal harmonies :-)

a Creativelive Student

Absolutely essential information in this course. Very in depth. Even if you went and interned at a studio with a reputable producer, it would probably take months to absorb all the information so cohesively laid out in the course. I would HIGHLY recommend to anyone looking to properly record their own vocals, or for anyone looking to record other bands (whether in a bedroom, or a million dollar studio). Loved watching, learned a TON (learned a lot of great pro tools shortcuts as well). Well worth the money. Thanks for doing it Mr. Wade.