Segment 3 - Editing Acoustic Guitar with Elastic Audio
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. 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. 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. 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. And I'm going solo them just you can kind of hear that really quick. Wait. For the most part, it's a pretty consistent performance. But if you hear you, can you right at the beginning again think about meter and tempo. You can hear that. It kind of rush is right at the beginning, just a little bit. So we want to try to fix that a lit...
tle bit. We're gonna use the last thing I do. You clean that up a little bit. Um, so this is how we're gonna do that? I'm gonna go ahead and make these tracks a little bit bigger. We're gonna do them one at a time. So I'm gonna solo this one and panic back to the center. 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. 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. So I'm gonna go ahead and just grab this first section that I'm gonna edit. I'm gonna isolate that out, actually switch to grid mode to make sure it's exactly on that beat. And again, I'm in command E. And now this is separate and many of the same thing I did with the piano part. I'm gonna go to Polyphonic and make sure Texas turned on. And now when I pull up, wait for men to switch it toe warp. You can see that it's scene where those beats are supposed to be. You see that again? There's a couple different ways to do this because this is supposed to be in time. It is pretty easy to be able to go up to event. We're gonna go event operations and it Kwan ties, and I want to snap these two. 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. I wanna have it just a little bit off. Um, so I'm gonna bring the strength down to 90%. Can you just type in 90? I'm gonna hit, apply. And now if you listen better, right, I can hear that track a little bit more. 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. But this beginning part is a little bit better. 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. So if you see, these are a little bit ahead of the beat. So again hold down shift so that I'm not editing the whole thing. And I'm just gonna slide these notes over and actually have to switch the grid mode back to 16th notes, slide these to the great a little bit and again, it's a little mechanical. So maybe I want to turn off grid mode just for a second, go back to sleep mode and just slide them over a little bit. So they're not super exactly on the be. It just sounds a little more human, and it retains a little bit of the performance. Um, And again, this is totally something that you just sort of develop a feel for as a producer. And you start to figure it out again. It feels like it slows down a little bit in here. You can see some of these were behind the beat. So again, I'm gonna slide these up just a little bit. Gonna keep it consistent once I'm done with that unsold that do the same thing with the next one again, I'm gonna solo the next guitar part Panitz center. Bring that back down 3.2 or it waas remove the fate of the beginning on the select the region time that I'm editing. So I go ahead and hit command E and separate that and again, I'm gonna go up to, uh, turn on polyphonic mode, switch to ticks and switched a warp mode, and the same thing's gonna happen. And now it's actually easier If I really want these tow line up. I can go back to sleep mode and just started, like, manually line these up to see, make sure that they're in time because there's a double part and I wanted to be as close as possible in holding down shift the whole time so that each of these parts are as close as possible together. And it sounds, um, consistent. So let's not hear those two parts together. I'm a pan these a little bit left and right. It's pretty easy. Once I had this all figured out. I've got all of those tracks kind of fit in, and often if you have different takes that you've done, you can try bringing and takes that are better and blending those together on and then using elastic audio lineup your favorite take and yeah, that's basically how to edit acoustic instruments using elastic audio
Learn the ins and outs of Avid's Pro Tools HD, the recording industry’s most comprehensive DAW, with Zach Varnell. Zach is an industry veteran, who has worked in dozens of studios throughout Seattle. In this comprehensive guide to Pro Tools, he’ll share the best practices he's picked up over the years.
In Pro Tools Essentials, Zach will walk you through the entire mixing platform including the intricacies of bussing, VCA groups, key input, HD functionality, and notable plug-ins. He’ll also show you how to create custom impulse responses from time-based outboard gear and rooms.
You will learn about Elastic Audio and Beat Detective along with a comprehensive workflow and track management process and how it can be applied to a studio session with a band or film scoring with triple-digit track counts.
If you are ready to take your Pro Tools game to the next level or just want to brush up on some time-saving techniques, don’t miss Pro Tools Essentials with Zach Varnell.