- #FATTENING VOCALS IN LOGIC PRO X 10.3 HOW TO#
- #FATTENING VOCALS IN LOGIC PRO X 10.3 FULL#
- #FATTENING VOCALS IN LOGIC PRO X 10.3 SOFTWARE#
#FATTENING VOCALS IN LOGIC PRO X 10.3 SOFTWARE#
Why? Because not doing so sometimes causes audio hiccups-clicks and pops you don’t want in the session.ĭepending 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.ħ. 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. Does the tune feel more like a D’Angelo song-and is the singer rushing? Well, now you know what to do. 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. He’ll often anticipate a beat to create urgency. For the other side-for anticipatory phrasing-many famous tunes by Eminem fit that bill. 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. 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.ĭevelop an innate musical feel for what works by listening to great songs and identifying what the vocalist is doing. This is where the utility of editing meets the creativity of music. Position phrases for the best timing (if need be) Wherever you cut, do make sure that the intention and tonality of the following region matches its antecedent.Īs 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. 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. Do not cut on a vowel if you can help it-it’s hard to get a good result. Instances of sibilance sometimes don’t match in intensity between takes, so you have to be careful when selecting those. Fricatives (F or TH) are slightly less secure, but you can find a good place therein. When you do this, look for a hard consonant-a plosive (P) or dental consonant (T, D) are both good candidates. Sometimes you’ll have to cut between two takes in the middle of a phrase. This may work better for you, if you need to step away from the computer to make everything work. 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. Fill in the green and orange bits as need be. The take with the most red? That’s your master track. 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.
#FATTENING VOCALS IN LOGIC PRO X 10.3 FULL#
This means listening to every take in full before proceeding, separating the good regions from the bad. The easiest way, I find, is to identify the best overall take and fill in the lesser bits with other takes. So, it behooves us to ask, how do we go about comping? However, a lot of times you are the producer. Pick the best compĬomping might fall into your editing purview, though mostly it falls to the producer. So, that’s exactly what we’re going to do today: we’re giving you eight simple yet effective tips for vocal editing.
#FATTENING VOCALS IN LOGIC PRO X 10.3 HOW TO#
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.