JGauthier wrote on Sun, 28 March 2010 20:35 |
Tomas Danko wrote on Fri, 18 December 2009 08:46 |
JGauthier wrote on Thu, 17 December 2009 16:13 |
Tomas Danko wrote on Mon, 07 December 2009 03:29 | I guess the reason why I actually prefer the stand-alone version is that I never use it in automatic mode. Instead, I overhaul the vocals manually and tweak things until I think this will be the vocal tracks in the song and be done with it.
So practically speaking, I put on my scrutinizer hat for a while and alter pitch and timing across all vocal tracks. From there, I just update the audio files in the song project and go back to arranging and mixing etc.
I like to commit to the source material, and not deal with pitch issues or comping etc once I'm doing the final mixing.
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See the problem with this is pitch variation. If you track to a LIVE orchestra, combined with other instruments, you get a sort of RELATIVE pitch. Theres NO WAY to use it as a stand alone if the pitch is squirrley OVERALL...
And if you record mostly live players and acoustic instruments, pitch is a completely different game...
Its impossible to pitch vox correctly with out relativity. I hate to poorly quote Fletchers quote but, "there are no emotions on a grid"...
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Which is why you render out the rest of the music into a separate file and put it on a track inside Melodyne for reference.
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Seriously? Yeah, thats not a crapload of extra steps... These orchestral shows are 60 minutes of music. Im supposed to bounce 60 minutes of music just for pitch reference? What world does that work in...
You CAN make it work but this is not how it was intended. And your work around requires a bit more thinking than a single pitch reference when tracking orchestra sections. You would need to bounce MULTIPLE references and in protools thats all real time bouncing...
Come on- for professionals remember... That means the minimum requirement is "it works"... If you have to flog it into submission thats a load...
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Most of us here don't do 60 minute songs.
Some of us here prefer to wear different hats during different periods throughout a project.
I like to sit and focus on fixing small pitch- and timing anomalities and not consider anything else.
I like even more to reimport the fixed audio files into the song/mixing project and get on with more important things and forget about tuning.
The step to render out a song and drag the file to the Melodyne project, while dragging the other files needed, is not even a minor inconvenience or time consumer as far as I am concerned. It's easy to find a few minutes where you don't absolutely have to be near the computer, or use Pro Tools/Logic etc.
To me, this works really well and I prefer this workflow to other methods.
But then I do not do 60 minute songs!