Using a couple different tricks to be able to create some cool back on vocal effects again using elastic audio so I'm going back with the original track we started with and we're going to listen to some of these solar vocals special right at the top and kind of see how these air produced in what they sound like really quick he's just they are also going to get rid of the track is just a phase way change way shy as the moon so let's just take these first two we've got a vocal and we've got a harmony track and let's just look at this first phrase I feel like it could be a little bit salt more on he's just phased kind of there and she kind of fades off here let's see if we can fix some of that he's just a phase hands early we want to go to that s that's not right there I can either chop it off and try to hide it in the mix or one thing we can also do is try elastic audio so I'm gonna bring up again you can use model phonic for this we'll try it with modified I can see how many artifacts w...

ere there and then we're going to warp and warp instead of being beat oriented because it's not rhythmic it's going to find transients or words and again holding downshift I'm sorry yeah, shift, weaken, stretch out parts of the song or parts of the track. I'm gonna remove this point right here and we're going to make this whole thing a little bit longer and we go and the match up these little sections right at the beginning groups about shift and slide this over a little bit and I basically just visually it's sort of lining up where it seems like these hits are a little early is just a phase it's a lot closer now and see if you're going to get closer than that is just fay it's. Almost perfect. So I could go through the whole back on vocal like this and create those, um, try to match them up as much as possible and obviously, you want to try to get as close as you can live with the singer, but sometimes it's really hard to try to match double vocals, and this allows you to create a new track and then go back through an edit it word by word and align it with whatever they saying. Wait. So the change right here is a little late groups again. You want to make sure you hit shift so that you're not altering the whole performance, way shot. And that naturally kind of decades right there pretty well so I'm not too worried about that. Um like I have seen with these doubles we'll go up here and check out the double here put it on mom phonic mode it's pretty good. So hang on in you see? So the good thing is it's actually kind of a bad example because she's actually really good singer connection they all most of these so there's not much editing that needs to be done, we'll try to find a couple more spots as examples two two and you will just leave that for this part to soothe you so well together is no doubt in my mind. Okay, so this is a good example, so this is kind of the harmony part she does here and maybe I really want to emphasize this part we can use elastic pitch to be ableto add some sort of like crazy harmony parts so fall along with me here I'm gonna add two new, uh tracts and call this harmony left perhaps on how many right I'm going to take the same spot I'm holding down option in command to the copy instead of just moving her vocal take it's that same thing I didn't mean to put on this one will put these up here, and so now this is the exact same performance aziz this as that one except I'm gonna bring up elastic audio on this modified like on both of these I'm gonna bring up elastic properties and I'm gonna pitch shift this up way too big on ticks it's here put in polyphonic mode um and we're gonna pitch if this up five and this down five and create groups so now each of these and then what I'm gonna do is take volume, bring it panning a little bit right and left with that and bring the volume down just a little bit so it's not too loud we'll try listening to that is no way that's that's a little extreme we could try some seventeen c with that sounds like together is no down and you could try just different pitches or even just different semi tones. Maybe I don't wantto bring it up an entire notes, so keep it there, but I'll just bring it down like five cents and create kind of a course effect no, I mean you could maybe send some of those two reverb there's lots of cool tricks you could do with elastic audio to take pitches and just create kind of bigger landscapes to put emphasis on certain songs and really it's just about being created it's about finding ways that you can take those sort of like pitching time based tools to be ableto produce more interesting vocal tracks there's also a lot of plug ins to do this automatically. Melody line is a really great one that not only tunes vocals, but allows you to build harmonies and change the pitch of certain harmonies. Also create doubles that aren't exactly perfectly on time. They have some time based tools as well, it's all sort of in that same sort of world of bending pitches by using wave forms. So, yeah, I mean, at the end of the day, like the goal is to be able to use these tools to build really cool vocal takes. And I don't feel like there's any one specific way. These are just a couple tricks. You can use a cz, you kind of go forward.

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Zach Varnell

Zach Varnell has been recording since he was 13 years old, from a 2 track reel to reel in his parents basement in Denver to studios like London Bridge and Bear Creek in Seattle. In 2000, Zach was hired as

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Segment 12 - Editing Background Vocals

Segment 12 - Editing Background Vocals

Lesson Info

12. Segment 12 - Editing Background Vocals

Lessons

Segment 1 - Creating a Loop with Elastic Audio

FreePreview: Editing Piano with Elastic Pitch

Segment 3 - Editing Acoustic Guitar with Elastic Audio

Segment 4 - Editing Drums with Elastic Audio

Segment 5 - Edit Window Overview

Segment 6 - Recording and Editing MIDI

Segment 7 - Composing with Pro Tools

Segment 8 - Audio to MIDI Mapping of Drums

Segment 9 - Setting Up for Recording

Segment 10 - Tracking and Comping Vocals: Part 1

Segment 11 - Tracking and Comping Vocals: Part 2