We often talk about editing vocals, but we haven’t written a step-by-step guide for how to edit vocals in a musical context. So, that’s exactly what we’re going to do today: we’re giving you eight simple yet effective tips for vocal editing.
1. Pick the best comp
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Comping might fall into your editing purview, though mostly it falls to the producer. However, a lot of times you are the producer. So, it behooves us to ask, how do we go about comping?
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The easiest way, I find, is to identify the best overall take and fill in the lesser bits with other takes. This means listening to every take in full before proceeding, separating the good regions from the bad. When doing this, I like to color-code the results—red regions for the best, green for usable, orange for passable, and purple for all out horrible. The take with the most red? That’s your master track. Fill in the green and orange bits as need be.
You could also listen to each take with a pen and paper before hand, making a graph for verses and choruses and checking off the best ones as you go. This may work better for you, if you need to step away from the computer to make everything work.
2. Learn where to make the cut
Sometimes you’ll have to cut between two takes in the middle of a phrase. When you do this, look for a hard consonant—a plosive (P) or dental consonant (T, D) are both good candidates. Fricatives (F or TH) are slightly less secure, but you can find a good place therein.
Instances of sibilance sometimes don’t match in intensity between takes, so you have to be careful when selecting those. Do not cut on a vowel if you can help it—it’s hard to get a good result.
Djay pro 2 mac free download full version. Sometimes, over a sustained vocal, you can slowly crossfade from one take to another and fool the listener, but it’s not wise to seek these instances out. Wherever you cut, do make sure that the intention and tonality of the following region matches its antecedent.
As you’ll have to make cuts between takes and regions sometimes, it’s best to keep this guide in mind for the inevitable comping session.
3. Position phrases for the best timing (if need be)
This is where the utility of editing meets the creativity of music. Moving a word in a phrase forward (i.e., later in time) can create a more relaxed atmosphere, a kind of “leaning back” effect that’s often called “behind the beat.” Placing words earlier in time could create a feeling of rushing, which may be in order.
Develop an innate musical feel for what works by listening to great songs and identifying what the vocalist is doing. For instance, if you need a reference on what vocals sound like when they’re very relaxed, check out D’Angelo’s Voodoo or Black Messiah; no one slinks behind the beat (which ironically means later in time) like D’Angelo. For the other side—for anticipatory phrasing—many famous tunes by Eminem fit that bill. He’ll often anticipate a beat to create urgency.
When you tend to your vocals, keep the song in mind, and you’ll know if you can help things along by positioning phrases or words. Does the tune feel more like a D’Angelo song—and is the singer rushing? Well, now you know what to do.
4. Use fades judiciously
A.B.F.—Always Be Fading.
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Seriously, you want to make sure that all your vocal regions have fades at their onset, fades at their endings, and crossfades stitching them in between. Why? Because not doing so sometimes causes audio hiccups—clicks and pops you don’t want in the session.
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Depending on how CPU-heavy the session is, and which software you’re using, you could be especially susceptible to audio problems when you’re applying heaps of processing without fades.
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