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Vocal marriage correction

Professionalism comes over the years, but I want to sing well now.

And now the vocalist (this is at best) is already at the microphone, the red recording lamp lights up, and the song is pouring?

Ah, if what was recorded would sound the same as in his own head. In practice, this is far from the case. In some cases, the result is poor. It was noticed that even good vocalists, putting on studio headphones, turn into current black grouses, who can neither hear themselves nor the phonograms (the sound engineer must ensure that the vocalist can hear himself in the headphones!). Simply put, a recorded track is a marriage. The vocal part is sung out of tune. There are overstated or understated notes, and not so much timbre. And with a rhythm like that? Well, in general, it would be necessary to re-sing. Sometimes it turns out to re-write, and sometimes those present in the studio understand that the track that was considered defective at the beginning of the session is the best in comparison with other takes. You can, of course, recall catchphrases like “? as friends you don’t sit down .. ”, but you can take advantage of the achievements of the scientific and technological process.

Editing a vocal track can be divided into the following components:

1 – Listening to the material, the allocation of false places. Such places are conventionally called an overstatement or understatement of notes, a timbre marriage (sung “in the nose”, for example) and rhythmically unsuccessful places (delayed words relative to rhythmically supporting places).
2 – Editing material. In my opinion, it’s best to first correct the rhythmic kicks, then the fake notes and, last but not least, correct or mask the timbrally bad places.

Depending on the equipment available, the process may have individual characteristics. But in general, the proposed scheme is quite universal. Editing a vocal track within this article will be done exclusively by software. That is, without the use of external “iron” devices.

I also note that within the framework of the proposed material, all methods report only a general direction, since, depending on the tasks at hand, there can be many different paths leading to the intended goal.

Using Cubase as an example
1 – We open the Cubase program and in it the earlier recorded project in which there is a phonogram and a vocal track.

2 – We carefully listen to the phonogram and note for ourselves unsatisfactory places (timbral and rhythmic). You can mark them not only in the mind or on paper, but also directly on the vocal track.

3 – We move pieces of tracks in such a way that (if possible) to minimize rhythmic blemishes. With sufficient dexterity, this will turn out well. You can make a very tight cut and shift not only phrases or individual words, but also syllables, and even letters. Here you can cut out places where the vocalist is silent, but should not be abused. Sometimes it is necessary that in pauses the track “breathe”, otherwise some kind of mechanicality will appear.

In addition to the simple movement of words, you can apply special effects, such as Time Stretch. This plug-in allows you to process the phrase in such a way that it will sound faster or slower. The tonality will not change.

Having completed the above procedures, we have available a sound file that has already been corrected rhythmically and with marked timbre and tonal kicks. As a rule, a person standing at the microphone does not sing all the words by, though there are exceptions. Therefore, it would be logical to process not the entire track, but only the necessary places.

Note: before processing the batch with any effects, it is highly advisable to perform the “Normalize” operation. It was noted: the quieter the track sounds, the more incorrect the processing device is.

4 – Put the left and right locators at the beginning and end of the phrase that we are going to correct, select the desired part of the track and select the necessary processing.

In this case, it is Antares Auto-Tune

The selected processing device can be completely different, so working with a specific plug-in will be described briefly.

In the window that appears, in the windows intended for this, select the desired key corresponding to the key of the vocal part, and click the “Preview” button. Sometimes it’s very useful to play with the instrument’s handles (such as the choice of soprano, viola, tenor) and listen to how this affects the result. Antares Auto-Tune is designed for high-altitude correction of sound material. Depending on the type of music and instrument settings, the result may look different. If the vocal part that sounds from the monitors is still fake or has acquired an unnatural shade, you can try another way. In Antares Auto-Tune, select the “graphical” mode, and get the opportunity to manually edit the vocal part.

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