So again hold down shift so that I'm not editing the whole thing. So if you see, these are a little bit ahead of the beat. If I didn't want to do it that way again, I could also just go in and just manually fix just the notes that I want to fix, just like we did before. But this beginning part is a little bit better. There's sort of unending part here that I'm gonna have to fix when I when I when I go back here and have to blend that back in. And now if you listen better, right, I can hear that track a little bit more. Can you just type in 90? I'm gonna hit, apply. Um, so I'm gonna bring the strength down to 90%. Um, let's see, this is gonna be 16th notes, and I'm gonna just the strength because I don't want it to be super mechanical. We're gonna go event operations and it Kwan ties, and I want to snap these two.
It is pretty easy to be able to go up to event. You see that again? There's a couple different ways to do this because this is supposed to be in time. You can see that it's scene where those beats are supposed to be.
And now when I pull up, wait for men to switch it toe warp. I'm gonna go to Polyphonic and make sure Texas turned on. And now this is separate and many of the same thing I did with the piano part. I'm gonna isolate that out, actually switch to grid mode to make sure it's exactly on that beat. So I'm gonna go ahead and just grab this first section that I'm gonna edit. I always try to edit chunks at a time instead of editing the entire section that where you can focus just on sections and it doesn't screw up the song four minutes later. Remove the fate of the beginning, cause at a time that gets in the way with elastic audio and sort of some advice that I would use for lasting audio. So I'm gonna solo this one and panic back to the center. Um, so this is how we're gonna do that? I'm gonna go ahead and make these tracks a little bit bigger. It kind of rush is right at the beginning, just a little bit. But if you hear you, can you right at the beginning again think about meter and tempo. For the most part, it's a pretty consistent performance. And I'm going solo them just you can kind of hear that really quick. This is a good example because these air to acoustic guitar parts that were actually doubled something to scroll down to where these acoustic guitar parts are. How do you add it? Acoustic instruments and make them sound really organic and real without sun making some shopped er or to processed? Um, so we're gonna go ahead and use the tracks that were recorded on this and this. So again, this is a topic that a couple of people actually emailed me about and asked about how they use and edit tracks with the last Goddio. We just covered editing a piano part with elastic pitch in the next section that we want to do is editing acoustic guitar with elastic audio. Segment 3 - Editing Acoustic Guitar with Elastic Audio 8 Segment 8 - Audio to MIDI Mapping of Drums 30:25 9 Segment 9 - Setting Up for Recording 19:15 10 Segment 10 - Tracking and Comping Vocals: Part 1 21:15 11 Segment 11 - Tracking and Comping Vocals: Part 2 17:59 12 Segment 12 - Editing Background Vocals 09:03 13 Segment 13 - Keyboard Command Focus 07:09 14 Segment 14 - New Session Setup and Templates 15:24 15 Segment 15 - I/O Setup 14:57 16 Segment 16 - Five Pro Tools Shortcuts 13:45 17 Segment 17 - Managing Large Track Counts 09:38ĭay 2 18 Segment 18 - Setting Up Tracks for a Mix Session 14:46 19 Segment 19 - Aux Masters and Bus Sends 21:51 20 Segment 20 - VCA Sends for Multiple Tracks: Part 1 20:28 21 Segment 21 - VCA Sends for Multiple Tracks: Part 2 19:18 22 Segment 22 - Master Bus Settings 10:11 23 Segment 23 - Plugin Overview 20:26 24 Segment 24 - Compressors and EQs 31:26 25 Segment 25 - Digital Reverb and Convolution/Impulse Response 18:27 26 Segment 26 - Live Automation Modes 15:52 27 Segment 27 - When to Use Clip Gain 18:36 28 Segment 28 - Purpose of Automation 25:17 29 Segment 29 - Pro Tools Stems 24:26 30 Segment 30 - Pro Tools Collaboration 29:52 31 Tech Rundown and Recap 16:37
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