Segment 25 - Vocal Editing Questions

 

Studio Pass with Tommy Rogers and Jamie King

 

Lesson Info

Segment 25 - Vocal Editing Questions

Wonder if is ah, any questions about this stuff from blowing people's minds you're seeing gas housing, we have a question about whether or not you are familiar with the wave tune plug in you? Yeah, you like it don't like it I've missed with I it doesn't sound is natural to me is ah, as the interiors auto tune, but I use it every once in a while because it tends to ah, it seems like it picks up thea um, the screaming stuff a little better and everyone so all can use it tio to do that. Got another question why you continue to work there? Would you talk about differences and thickening and doubling vocals? What do you do in terms of panning, splitting and levels? Because you have to you that's up the panning, splitting the levels I'll talk to kind of make six. Yeah, exactly. Ok, but yeah, like said and just a rule of thumb. I usually double track everything just in case. Yep, we're going to hear that. Uh, like said I normally just track doubles, just tow have him, you know, a lot of times...

if the part is really personal, has a lot of character, like a versus, you know, softer, dynamic part. You know, a lot times I won't use a double there because I want to preserve the character in the voice, make it more personal sounding yeah, I mean, in the mellower stuff. Yeah, like tommy's to help build pseudo dynamics. Whatever like said we'll do the, um we'll have used a personal, singular voice and, like senate intro or, you know, soft on him again troll reversed and in the pre course comes in or of course, whatever you add someone extra layers to make it sound fuller, thicker because, you know, is just ah, just a tool to bill helped build dynamics. Awesome. Joe had a question to you in the dense mix. Would you turn up continents little like, maybe automate those for better pronunciation? Or do you what do you do? Have you ever done that? I just compressed the crap out of everything. Okay? Yeah. And I'll show you that here in this part of the ongoing yeah, it just ah, I do a lot of people gonna freak out when I start, when I process my dynamics for vocal little is horrible, but it works for me. Like said, I use this is limiting or whatever and oh, and yeah, and, you know, I don't do the whole traditional create vocal rides and do a bunch of automation uh, I use either did you design or having maxim which comes with pro tools or, you know, waves that one a little too, which is also some limiter uh, so I'd, um those don't change the character of the voice and they really even stuff out and they make the pronunciation really clear and even without a bunch of work and it just it really works for me like a say is exponential amounts of time that's a little one of my little personal things that, you know, uh feel like a lot of people could possibly benefit from using that's what I'm doing make any sense time, face it basically made me realize anything you can do this with other I know you can what you do most yourself in logic, right? You're getting I do not expect I'll explain why later, but the one thing about pro tools it's awesome to me is you khun do this process thing, you know, and melody I and you have to like important thing and exported into all this junk and it's just like this is so much quicker to me um, I just, you know, and it might just be I haven't had a lot of work there that's your fun voice there I think it's also what you get used to know what you're comfortable with, you know yeah, I mean, they're learning these programs it's like I mean it's like a video game you know? You have to figured out each one so different you know, whatever clicks with you is what should work everybody needs a good friend like jamie just a call when you're like oh that's gay love always the three of you for me and every day I'm like jamie look what that is but it's not loud enough for those you guys washington like said I mean tommy knows I'm pretty ah attentive to my email and stuff people in contact me you know with proof of purchase respond only ninety nine minutes no, I really like said I'm really getting all you know, you know, a lot of the people watching there so people are watching this probably done my you know, education sessions with me and and I know I mean it's kind of like, uh I'll answer their questions and because I know a lot of stuff you're not going to remember all this stuff and your stuff you know, we have it, you know, going over just because it's not applicable to this song that I could talk about to your stuff with synthesizing, you know, with metal just stuff is, you know, particularly a specific to meddle in you are still working on that. Nick has a question this one got four votes when doubling vocals how do you prevent too heavy of a chorus effect that sounds clearly lack two voices instead of a one thicker sound uh again and maxine yeah it's in mixing the folks well that's easy answer there I mean just I usually take have a primary and I just lightly blend the double toe where you yeah so where is not to like you know because I used I don't want hey this the multiple multiple vocal sometimes I do want a multiple focusing if I wanted to sound like a game vocal part uh then I then I will turn the double of higher tio purposely get a more um course he so completely it's completely depending on your opinion on what you want with the client wants the kind of deal probably tune and they're all wrong that it probably should be listening it's just see how wrong the fact you're talking just talking and be great it's like all half step off now it's starting to feel like home because we cannot be seriously when we work probably get anything done on what's amazing to me you can carry on a full conversation why he's doing this? We'll find help maybe that is what we hear you you put your hands that one or two euro skeptic yeah yeah yeah so you could hear that? That one harmony part? Yeah, yes, is a hair shirt and this is a good way from vocalists. Really think badly about themselves, I think it's great. Yeah. It's a great feeling. There's a good tool. I think I recommend vocalise. Hey, sit down with vocal team, you know, track and then look at it and go oh, I'm seeing that sharp because as a drummer, you know, I'm a drummer, you know, from from the beginning when I started playing with a click and like looking at my playing with the click of like, oh, I'm like russian. I didn't realize that I thought that was, you know, it felt right lot of thing would naturally do yeah, find out and you can kind of make a conscious, you know, subconscious even, you know, being adjustments, practice and, uh, in andrew waits course you're on creative live. He came in and said that you you actually learn from singing along with your auto tuned. If you're auditing, you vocals and sing along with I've done that green kind of yeah, I mean, sometimes even to get a better take, sometimes we'll get really close taken and sing with that and that. And then that will create a better taking itself. Yeah, because if you have a good year, you get blocks under that pitch. But when you when you practice of the traditional they used to play the millet e on the piano riff your guitar player, you khun mess around and find the militant keyboard. Do that play along and sing along and it will help you practice your interval changes and things go from, you know, half steps, whole steps. Um, you know, fifth things like that, a lot of people I've seen your special, particularly harmonies. You have to be able to master being a little too seeing half steps is tough. A lot of people, they want to go a whole step no matter what you know or more until I use a lot of times in the vocal booth have a guitar if harmony especially is kind of tricky and isn't very natural for me, I'll learn a guitar and just sing with it till it kind of turtle ized drain in my in my head. Yeah, it's tough for a lot of people to naturally what you got a primary vocal melody in your hit to hear the harmony, a lot of the harmonies. We're by so yeah yeah, those of you saying no that's kind of be weird in a lot of money at me yeah, yeah there's something that is used to a certain you know, some harmonies will start off on the upper third and go to the lower third and it's like weird by itself, you know? But you have to be ableto use learn that melody and internalized wait thiss housing way I shall with my shawl with it that was good for her that oh, and this really shows how I was getting the mixing necks but how important mixing is always think this way, please. Yeah, I mean, just the levels just once you start getting things in the ballpark and adding affects the certain thing that it really changes the song and makes it a lot better. Yeah, either good or not doing a good enough eso wait, we'll check please stay tuned and I didn't know so that's what you get if you don't pay attention to what you're doing wait, wait I had to change that input said because it did that one word thing was weird again it is so that was a auto tune glitch it does that sometimes and that's why I saved but the unedited version that's one reason why you should not talk and check the parts you know so now that we've gone through the process, maybe this and maybe there's a good point tio break and then come back for mixing absolute okay, just got a little bit left toe to do here. It's been cool to see the process, though of yeah, this happened having tommy warmup and then tell me in the in the room tracking it and now here's the sort of finish program and we're ready to go into mixing up after the break, see if this does it correctly. Ok, that's, good, awesome, good way. Didn't kwan ties all the guitars? I think they're close enough. Honestly, they wouldn't even need to be kwan ties for the most part, but normally I would go through in quantas, all the drums, all the guitars off base quantifies the vocals, tuned vocals, line of the doves basically, all this production inning before we go to mix and then all the editing is doing and you referenced it let's, do it! One hundred percent didn't mix and start mixing awesome!

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.

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