![]() I thought 'Pitch Correct' is the best used to tweak voices but I wasn't very impressed.maybe i didn't do enough. I know i could start a new thread, but I thought to just use the chance to ask here. You've got to get down and dirty to do this stuff.Ĭrye, post: 401373 wrote: Thanks a lot, Remy, very informative, and we often ignore what brought us this far in tech. And it still had the sound like a contemporary hit record even though it was only a jingle which we called " 60 second musics ". And not at the end as we so commonly due to day. Because these weren't covers and you had no idea what these things in the end we're supposed to sound like? You just knew ya had to make all of your decisions as you went. It required preemptive telepathic mixing skills. So you were recording while also mixing and bouncing mixing and bouncing while recording and recording other things while mixing and bouncing. ![]() And these were union jobs where you had six musicians to do six jingles at 3 to 4 passes each, alternate takes, all within three hours time. And over and over again for each 60 second jingle of which I recorded a slew of every couple of months for a year and a half. ![]() It will only take you minutes that which took me hours and hours to do. You only heard that on the drum count in, which was edited off with leader tape. And no open spaces within the music to ever hear that. And whatever noise you might hear is a soft flowing creek of pink noise way off in the background. There was no noise reduction utilized that said noise reduction on the box. And you know that means a lot of noise and hiss. And everybody loved the stereo tracks even though at that point they were largely six or more analog generations down. So I had to go back a few steps and basically repeat the whole process all over again in different ways. But after the sales force heard what I had done, they wanted stereo versions to present to prospective clients. And I was given a directive during the original production of tracking, recording and mixing that none of this will ever be released in stereo. Then I had to go into essentially the same thing all over again just for the vocal tracks. And I repeated that process over and over again until I had well over 30 bounced tracks on the 8-track master tape. Then we would load up our original multitrack music track tape and with the drummer counting song in, you would mash the play button on the two track machine (having learned its transport ballistics) to lay in, on-the-fly, to a single empty track on that multitrack music tape master reel. With that original rough mix rhythm track to the other channel of the two track machine. When completed, we would mix down those layered tracks, as a singletrack to the two track machine. And then we would start cutting all of our layered overdubs. We would then load up a fresh multitrack reel of tape and transfer that " Lay Up ", singletrack from the two track machine to an empty track on the multitrack fresh reel of tape. We would create a rough mix of music tracks that we had to a single track of a two track machine. Or severally layered vocal harmony tracks. ![]() I mean there was the day ya know when we didn't have drum machines and we needed clap tracks. And you can apply the same techniques and then some today in software as Steve described. Although ya can still do it with the AC motors as it was done years earlier. And DC servo controlled capstan motors without flywheels. Because that would make the tape drift much more easily. And it was a heck of a lot harder if you are working with older machines that did not feature constant tension a.k.a. Because you had to drag your finger on the flange of the reels of tape between two machines. This same technique was utilized many years earlier for an effect called flanging. If that started leaning to the right? I would drag my finger on the reel of the other machine. And so if it would lean one way, I would drag a finger on the reel of one machine. That ain't listening to it in stereo to make sure the stereo image wasn't leaning to the left or to the right. I did similar things back in the days of analog tape and I had no synchronization capabilities other than my index finger. And then you mix that down to a 2 or three channel mix of those to import into your current multitrack music production so as to minimize the amount of tracks you have to work with. What some of us do is to create that crowd track as a separate entity production of its own.
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