Lately ive been trying to figure out how every song i hear has super perfect timing somehow with Gtr/ Bass but i cant acheive this when i record other bands and sometimes even myself. I used the search bar and i still cant find the answer. Ive tried chopping/moving parts around, but it just messes it up and it doesnt sound natural. I usually use Reaper but i tried cubase once because there audiowarp seemed like a solution, but it just made things worse. So any help appreciated, thanks.
Editing Guitar/Bass Timing
- Thread starter Botnickstudios
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Skinny Viking
¯\(°_o)/¯ How do Lydian?
try using this for your search, better than the inbuilt one
http://www.ultimatemetal.com/forum/andy-sneap/607678-sneap-search-function.html
http://www.ultimatemetal.com/forum/andy-sneap/607678-sneap-search-function.html
amarshism
Member
Thanks for the search bar, ill deff use it. And some people that ask me to record them arent always 100 percent perfect, especially when double tracking, so i was just looking for somewhat of a solution
UncleBob
Member
- Jul 14, 2010
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They can't all be perfect like me.
Anyway.
One lame trick is to halve the tempo, record the riff at half speed, then chop it up and get it all aligned, then set your metronome back to the original tempo and all the chopped up bit's will be double time now and perfect, or you could just record it at half speed and then drag the clip so that it's twice as fast (this is easily done in Sonar, cntrl plus drag at the bottom of the clip, and Cubase was easy enough if I remember and I presume every other daw as well)
Also just get them to practice harder along with there overly complicated riff they wrote in Guitar Pro at twice the speed and technique that they're actually capable of playing for real.
Anyway.
One lame trick is to halve the tempo, record the riff at half speed, then chop it up and get it all aligned, then set your metronome back to the original tempo and all the chopped up bit's will be double time now and perfect, or you could just record it at half speed and then drag the clip so that it's twice as fast (this is easily done in Sonar, cntrl plus drag at the bottom of the clip, and Cubase was easy enough if I remember and I presume every other daw as well)
Also just get them to practice harder along with there overly complicated riff they wrote in Guitar Pro at twice the speed and technique that they're actually capable of playing for real.
If you're gonna record the riff at a slower tempo, I suggest you don't use half since the more you strech it, the more obvious it'll sound. If the real tempo is 180, try doing it at 140 or something.
Are you editing the distorted signals? DI's rock because they're a LOT easier to edit. Just slip edit everything tight and then reamp the edited DI.
Are you editing the distorted signals? DI's rock because they're a LOT easier to edit. Just slip edit everything tight and then reamp the edited DI.
darthjujuu
Member
Skinny Viking
¯\(°_o)/¯ How do Lydian?
setyouranchor
Celestial Recordings
It pains me a little to hear of speeding up the guitars.
For me, I'm already using drum samples and synth samples. I do cheat with these and quantize and tidy them up a bit, but only because I'm not an amazing pianist, and well the drums... they should be in perfect timing!
The guitar and bass for me is the only truly "real" aspect in my music.
I guess most keyboard players and drummers must cringe at the thought of MIDI quantize also.
For me, I'm already using drum samples and synth samples. I do cheat with these and quantize and tidy them up a bit, but only because I'm not an amazing pianist, and well the drums... they should be in perfect timing!
The guitar and bass for me is the only truly "real" aspect in my music.
I guess most keyboard players and drummers must cringe at the thought of MIDI quantize also.
UncleBob
Member
- Jul 14, 2010
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Sign of the times.
Maybe, however, all these young kids practicing along with all this super tight super fixed up stuff who don't actually know how "fake" it is will push hard to emulate it for real and so push musicianship to a whole new level/place.
Or not..........maybe it will just get lamerer.
Maybe, however, all these young kids practicing along with all this super tight super fixed up stuff who don't actually know how "fake" it is will push hard to emulate it for real and so push musicianship to a whole new level/place.
Or not..........maybe it will just get lamerer.
As a rhythm player who sucks balls at teh shredz, I occasionally write a great part that I literally can't play - not just really sloppy, but something that I can't even attempt at tempo. In these cases, I'm fine with slowing down the mix until I can play it. For my rhythm parts where it's just a matter of tightness, though, I try and get the best take I can and then use slip-editing to fix the odd slip.
tempe
Captain Midnight
I've had great success with Polyphonic mode in Logic's flex time just make sure you treat it like slip editing and make lots of small slices, otherwise you'll end up stretching the DI to much and it just sounds really naff.
DanLights
Santa Hat Forever
darthjujuu
Member
darthjujuu
Member
but FWIW, even though OP said he uses reaper, EA editing in protools on DI's is an incredibly joyous and satisfying experience. Some will argue that a long stretch and muck up the attack of a good pick transient, but switching around from rhythmic algorithm to x-form depending on the edit/material straightens that out. But it really depends on how it was tracked.
If i'm tracking and i know i want that super-tight modern sound, I just track everything slipped in place.
if I track in a more realistic way, but still need to edit, I go back and work through the whole track with elastic audio.
If i'm tracking and i know i want that super-tight modern sound, I just track everything slipped in place.
if I track in a more realistic way, but still need to edit, I go back and work through the whole track with elastic audio.
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