Category Archives: Editing

Going Click-Less

Krist asks:

How do you work with a band or artist that can’t play to a click track? How do you edit if it’s not “on the grid”?

You probably don’t run into that too much at your level, but most of us are working with folks of much less skill.

It’s true. I do get to work with some killer musicians. But that ain’t always the case.

Sometimes people can’t play to a click (i.e. metronome), and the best thing for the song is to kill the click and just let ‘em play.

Come editing time, though, you’re in a pickle.

Fighting New Technology

I received this response from my last email/post (“Why I don’t use elastic audio or beat detective”):

My impression of this email is that it is written for the sole purpose of selling more tutorials, and not for actually offering any constructive advice.

I would much rather see you encourage the proper use of the awesome technology we are now witness to, instead of generating fear, and using that fear to make money.  I hope that isn’t too harsh.  I am still a BIG fan of homestudiocorner, and will continue to recommended you and your ideas to my friends and coworkers.  I was just rubbed the wrong way by your message here.

Here’s my response: (I thought you may find it helpful.)

You’re completely right that there’s nothing wrong with elastic pitch or beat detective, but I’m just giving my honest take on why I DON’T use them. They’re great tools when used properly, but I simply like my simple way of editing better.

Using elastic pitch and beat detective certainly don’t guarantee that you’ll have some sort of adverse results, but if you’re not careful it IS possible. The way I edit doesn’t leave anything up to software. There’s no time-stretching, so the audio quality doesn’t get touched at all.

My way is certainly not the only way, but it works really well for me, and it works well even when I try a different DAW that doesn’t have elastic audio or beat detective.

The point of that last email was to simply explain why I choose NOT to use some tools, even though they’re totally adequate. It’s kind of liberating, you know?

And yes, I do sell a training video on editing. The thing is — if someone was expecting to buy that video and learn how to use beat detective and elastic pitch, they would have been disappointed.

You wrote, ‘I would much rather see you encourage the proper use of the awesome technology we are now witness to, instead of generating fear, and using that fear to make money.’ That’s exactly what I’m doing, encouraging people to use the technology of simple editing to get great-sounding tracks.

If anything, people are really confused and overwhelmed when it comes to fancy editing tools. I’m encouraging them that you DON’T have to be a master at beat detective or elastic audio to get great results.

I think that’s BETTER than jumping on the latest technology just because it’s there.

I teach a very simple, basic, but effective method of editing. It’s not for everyone, but it’s the way I like to work, and I enjoy it.

Thanks for the email!

That’s my honest opinion on the matter. I was editing that way long before Elastic Audio came into existence. And I enjoy it!

By the way, that editing video is here: www.understandingediting.com, if you’re interested.

Happy chopping!

Why I Don’t Use Elastic Audio or Beat Detective

Yesterday I spent the day shooting videos on drum and bass editing for my Production Club members.

With all the advances in editing technology, especially in the last 5 years, you’d probably assume I’m all about using time-stretching algorithms and beat detective to help me “quantize” my audio tracks, right?

Wrong.

Call me old-fashioned, but I’m all about SIMPLICITY when it comes to editing. (Come to think of it, I like simplicity with most things.)

That’s why I choose to manually chop up my tracks and edit them “by hand.” It’s something that’s simple, clean, and applies to all recording software.

I don’t care if you’re using Garageband or Audacity or Logic or Studio One — the basics of editing and pocketing are the same. Whenever I try to use these fancier editing tools, I end up feeling like I’m losing control of the track.

Rather than intentionally pocketing the downbeat of the first bar of the chorus, I’m trying to tell a piece of software to do that for me, all in the name of “efficiency” or the super catchy catchphrase “workflow.”

Inevitably the automagical software will try to “fix” things that don’t need fixing. Or it will stretch the audio and leave noticeable, audible artifacts.

I don’t want to spend hours getting the recordings to sound amazing, only to allow some time-stretching algorithm to come along and degrade the sound.

The way I edit doesn’t allow for any degradation in sound. It’s smooth. It’s seamless, and you can do it on any DAW.

If you want to see my exact process for editing everything from drums and bass to acoustic and electric guitars or vocals, you need to check out Understanding Editing.

You’ll learn my method and then practice on the practice tracks I provide. You’ll be a better editor by the end of the weekend.

Here’s the link: www.understandingediting.com

Have a great weekend, and happy editing!

Step 3 – Editing

EDIT>Pre-Production? Check. Recording? Check. Now what? Mixing? Bzzzzzz. Wrong. :-)

There’s an important step that comes between recording that last instrument and starting the mixing process. It’s called editing.

Editing can mean lots of things. Pocketing, cleaning up, comping, tuning, Beat Detective, quantizing, nudging, “flying,” copying & pasting, cutting out entire sections of the song — all of these could be put under the blanket of editing.

Let’s take a look at what editing is why you should make editing a part of your workflow.

Intro to Crossfades [Video]

Do you use crossfades when you edit? Do you know what they’re used for? This video should help.

Leave a comment below and let us know how you use crossfades. Also, if you want more in-depth editing training, check this out.

Editing Drums – Why You Need to Group ALL Drum Tracks [Ask Joe]

Screen shot 2010 08 04 at 11 29 52 AM

Over the weekend, I got this email from Alan:

Hi Joe, Just purchased your Understanding Editing Tutorials. And I have a question. On the 3rd video, “Drum Editing,” you are discussing about overlapping the wav forms so that the cymbals continue to ring out. Wouldn’t it be easier, if instead of grouping the cymbals with the other tracks to be edited, that you leave them alone? Or am I missing the point? If you are grouping all the tracks together, for editing purposes on the kick or the snare, why include the cymbals?  I am confused as to why one would include the cymbals for a group editing, and take the risk that they don’t continue to ring out as originally played.

Thanks, Alan

This is a GREAT question, Alan.

Day 20 – Don’t Forget to Edit! [31DBR]

Welcome to Day 20 of 31 Days to Better Recordings.

On Days 1-10 we talked about gear. On Days 11-19 we looked into recording techniques. For the remainder of 31 Days to Better Recordings, we’re going to look at what do to with those tracks once they’ve been recorded, things like editing, mixing, and mastering.

Today, let’s take a look at editing.

What is Editing?

That’s a fair question. You may be new to recording, or maybe you’ve just never bothered to think about editing. Either way, I think it’s worth your while to give it some thought. It might be a key factor in making better recordings.

So, what exactly IS editing? I’ve talked about it a lot here on Home Studio Corner (see Intro to Editing), but let’s review.

Is Editing Cheating?

I released a tutorial video series last month called Understanding Editing. On the order page, I basically talk about how cool I think editing is, and what a big difference it makes on my projects.

I even included a before-and-after audio sample right there on the page.

A few days after launching UE, I got an email from a reader who basically posted a parody of my order page on his website.

He was essentially making fun of the idea that editing is a valuable part of the recording process, emphasizing instead that the musicians should simply practice more.

I completely agree that musicians should practice their craft. If you’re a musician, you really shouldn’t walk into a recording session unless you have properly rehearsed the material you’re about to record.

To me, that’s a given.