Recording Rock Vocals

Lesson 17 of 26

Editing Female Vocals Part 2

 

Recording Rock Vocals

Lesson 17 of 26

Editing Female Vocals Part 2

 

Lesson Info

Editing Female Vocals Part 2

And we're luckily we're going to be doing more melody line in different situations I know like obviously you're not having did it get there so you're gonna have a lot of different situations and that's what I want to go through mila dying a lot because we're not going to run into every single problem with this vocal because you know she did a great job and this isn't like maybe typical of a lot of the viewers because you know they do more heavy vocals so here it is just stretching the middle there oh my you never know a final goodbye no uh okay cool all right so we'll just do two tracks um for now this guy's muted uh we'll just say make that an active alright so all you gotta do to import into pro tools is select the section that you want and then oh very important now that this is not uh whenever you first install melody line this is not the actual preference you have to go to preferences than other and then down on the bottom it says enable spot to pro tools and that's how you can ge...

t to go automatically over the pro tools otherwise you got to go find it imported put in the right spot blah blah blah that's a lot of work especially when you have a lot of work to do okay so to enable that that's that's how you do melody line preferences other than enable spot to pro tools so now to get it out of melody line, we save the audio we're not using track three, so on check that make sure it's in your, uh, whatever audio format preference wave, whatever your file format is b be very careful. Make sure this is at whatever uh great you're doing, make sure it's not lower sixteen bit before, for one will sound worse and you'll hear it immediately. So, um okay, this is kind of weird. I just save things like this, uh, because it just makes a temporary file too import into pro tools. So andrew, up to that point you weren't, you weren't working with essentially a destructive track, he weren't doing anything destructive through bridge. It was basically just referencing it in your pro tools session until you saved as you that it wasn't recreating that. Yeah, well, what happens is because whenever you load it into melody line, it makes temporary audio files that aren't in, uh, pro tools it's just in another folder when you install it on, you'll see it it's um, it saves them in a temporary folder, and then when you save your session, it'll I guess it makes a copy and whatever the the anyway, melatonin makes its own files and its editing those but it's not even destructively it is referencing referencing files and just making the changes so yeah it's not destructive and that's what I really like about it. Okay, so for whatever reason so we do owe range for range click entire arrangement that's uh that should be on okay, I'll show you why I do that. Uh funny okay okay, so after you haven't pro tools this is a very, very, very, very important step your vocals will disappear if you don't do this and you'll be like what just happened consolidate them, please everyone make a note, consolidate them after they're in pro tools because that puts it in your pro tools folder otherwise they're in random folders on your desk top or or wherever you save these just consolidate option shift three just select him hit option shift three that consolidates it puts it in your session folder super important I have lost so many vocals this way by accident and when you tell a band that you lost vocals, they're not very excited about it. So what I did was those are basically the junk folders were they it saved those temporary files are on the desktop usually just delete those um those don't matter to anything as long as you have consolidated its in your pro tools folder if you delete those and it's not, they're gone and there's a problem so please consolidate those files uh keep them in your protocol for so uh we uh next next his vocal line cooper good. All right let's have some questions. Yeah there's so many questions studio audience ah couple things just for a newbie like meat of the program what's the general price range of this the studio is about six hundred dollars. Okay they have I mean, if you get like there's like an editor to stand alone version you can't go in between pro tools but you khun import an instrumental version into that one and use that as a reference it's not as time efficient because you can't go back and forth as fast okay but it's a lot less it's like several hundred dollars less ok, but does the studio version include the bridge three o version includes bridge okay, so it probably worth the investment just oh yeah I'm I'm telling you, man if you don't buy anything else for vocals you buy this yeah like this's considering how natural minor shift sounded um after a sessions done and you suddenly go oh wow I'd love to have like a maybe a third or a fourth harmony um can you use this and just double a track and then pitch the next track everyone someone show you howto do that um I want to show you how to do that but, yes, you could do that. Some people do it. I'm not a fan at all, but I will show you how to do it. I'll show you the best. If you're going to do it, I'll show you the best way to do it. Okay, great. Yeah, because there's a right and a wrong way to do it. It's a very valuable program. Oh, yeah, we have another question from the chat rooms brick is asking sometimes mila dine does weird things with breath the esses and the tea's would you recommend splitting them and on hitching them? Yes, sometimes it does do were sounds with the breaths, but what I like to do if if I can't figure it out, if I can't like, reset the pitch to the original, like so it's basically unedited, completely um, I'll actually imported into pro tools and take the original file like, if I if I know it's it's rare, that happens, but if it does happen, I'll take the breath from the original file and put it in over top of it. E I mean that's the last resort that is rare that that I have to do that, but that is definitely a workaround um, sometimes it you can't just fix that in melody, but good good question one more question before we wrap up the segment stevie nicks would like to know if you suggest people learned at it manually first and then rely on things like strips out um I guess maybe I guess maybe the question is do I do I learned the analog version before I go digital start messing with the tools that'll make it easier is it best to learn the basics? I guess yeah yourself yeah I'd say at it yourself kind of understand it and uh you'll naturally want to pick up speed and seek out these methods and I've revealed them to you so yeah, I guess it might be easier to do it and do it slow when you don't have you know you have time on your side and you have to rush but I can still get good results obviously if you do go fast and use these tools perfect, thank you so much, it's awesome getting into editing and mela dying today basically what we're going to be doing in our next segment is editing male vocals and it's going to be a little bit different from what we had in this section do you want to speak a little bit to what we're gonna be covering that? Yes uh well now vocal line so we're gonna kind of start with the session again I'm going to go over vocal line uh roughly but bo klein is super important. So we're going to go over vocal line and something that a lot of people struggle with is editing raspy vocals. Uh, which is very, very challenging. Some people think it's impossible. But it's not well, show you how to do it.

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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