Melodyne, Waves Tune or Auto-Tune? | FAQ Friday - Warren Huart: Produce Like A Pro

[Music] hello everybody hope you're doing marvelously well we're back with another back Friday and then people love it when I say fact that is frequently asked questions as ever please if you haven't please subscribe and hit the notification bell and then you'll be notified when we have another video every Friday we do the frequently asked questions the fact Friday and it's fun because a lot of these questions get asked frequently they get asked over and over again and a couple of them don't get asked that's why I pick them out because I think they're very very important questions to answer there's a lot of questions that get covered in a multitude of repetitive videos and stuff out there because there's so many videos on the same subject but what I love about this forum and about this incredible community that you all of you out there have created is there's questions that come up that are really important in everyday recording situations questions about getting great performances about how to work with artists about how to maintain work and career with family and with friends this is just as important because if you can't get up in the morning and feel excited about what you do in any way of life then how are you going to get the best out of a situation I need to come in in the morning and work with an artist and feel excited about working with them if it's just coming into like a drudgery then I'm not going to get the results I want so thanks for all of these amazing questions because you touch on all of this kind of stuff let's get started question one is melody n-- or waves or auto-tune what would you recommend that's an amazingly good question because I do have all of them I have Melodyne I have an Taro's auto-tune and I also have waves tuned and they all do the same thing technically but they all have different kind of algorithms or different ways of doing that let demonstrate what I like about each of them melodye n-- obviously has a functionality which I believe is second to none in its ease of use it has that ability when you just collect the blocks and you can just push them up it's really super quick I personally find a lot of my friends who aren't musicians but our engineers love melody know once they identify the key they'll just quickly use it and I think that for a kind of one size fits all does the job Mela dine is pretty darn amazing it also is really quick and easy to use for building harmonies because if you can see the scale and you've got these blocks you can move them up to the next note and build a harmony from the original really really great tools and I do believe that merdeen sounds fantastic when used sparingly all of these are really good when they're used sparingly unless you want to go for complete over the top you know t-pain kind of vocals then we're talking about a whole different thing that's about taking a vocal which maybe is monotone and recreating or creating from scratch more likely a vocal performance auto-tune is the one I use predominantly I use autotune to fix vocals in a graphical mode what that does is like I'll take a whole performance and I'll see like one or two elements only in a whole performance and just take the graphic mode and just subtly redraw in just the single piece of vocal that went out there might be a whole phrase matter to matter their ghetto dad and I'll take that down and I love the tonality of the singer and I'll just tuck it in to the note I want it to be just lightly that is my choice to use autotune for that now of course Melodyne does that as well however I grew up using the auto-tune function ality and I like the graphical mode both of them do that now waves tune is something I use as well I have found waves Tunes algorithm is particularly good on rock vocalists that have a a lot of grit I was working on a rock album with Mike Clint you know Mike link the producer of Guns and Roses very famous for doing that and he had a singer that had that super growling eyes like that and he said to me oh there's a bunch of tuning issues here and he only had like a specific one or two vocal takes to work with so we couldn't compound it so he asked me to go in there and fix a few notes I tried also chewed it didn't pick up the crowd there was so much growl in there it barely had a note melody and the same thing now bear in mind this was five years ago both of those software may well encompass that but the waves tuned immediately found the note in that super super growly vocal and was able to fix it my point is if you can and you have the ability to have multiple versions of it I believe auto-tune Melodyne and waves tuned are all really really good for multiple different instances they can do all the jobs but if you have the flexibility to use them you can choose what is best for you and what is best in a specific situation that is what is so good about having the access to multiple tools I can't say whether one is better than the other because I use autotune a lot but I also use Melodyne for a lot of other stuff it's really good on instruments it's really quick and easy when you use that block it's but auto-tune also has a functionality very similar to that for me I'm blessed that I have access to all three and I can choose which one to use and you know me I only talk about things that I use I don't have opinions on things that they don't use and that to me is really really important so if you can try each one out and see what one works for you do you ever use albums to reference when you're mixing if so what was some of your favorites to use that's a great question I think we could do a whole week on reference mixing I love using references however I don't use them exclusively and I don't use them all the time I tend to use them personally because I've been doing this a long time when I may be working outside of my comfort zone so for me if I'm doing something of a different genre but this way I do a lot of rock a ton of rock I do a ton of pop I do a ton of organic stuff you know acoustic guitars and piano vocals and all those kind of stuff but if I was to do something super super heavy and I wanted it to compete with that I would find the best possible reference I could and make sure I'm always up to it if I am going to do something which is really really sparse and beautiful vocal acoustic I might find something very popular in that genre and aim for that I tend to use references in production a lot a lot like I'm working on this artist dustin Thomases record at the moment and Dustin is a very organic you know acoustic guitar vocalist and I am referencing the best music in that genre not necessarily the most modern but the most inspiring and for me for instance John Martins Solidaire is one of the best acoustic or piano stand-up bass one of the most beautiful sounding records it's not the most modern but I'm not listening to it for frequencies boosted and cut I'm not listening to it for compression ratios I'm not listening to that and listen to it from a point of view of inspiration so when I'm recording music I'm listening to it to create that same feeling that I get when I listen to an album as good as John Martins Solidaire so there's lots of different reasons to listen to reference mixes it's not all just mixes it is the production it is the overall feeling now when I'm listening to stuff that has to compete in a certain genre I'll listen to the biggest and best that it has to compete against so if I'm doing a modern rock song I'm going to listen to the best sounding modern rock music but I might also listen to some of the classic stuff to make sure I'm getting that same feeling this is really really important to me that I get everything in there so I do reference brand-new slamming loud crunchy tracks to make sure I'm competing on that same level at the same time as listening to stuff that's classic and feels really exciting to me and brings a feeling that is bigger and better than just the Sonics alone music is not just all about boosting and cutting frequencies it's not all just about compression ratios and limiting and all of that kind of stuff it is bigger and better than that and we have to remember that so be inspired don't just listen to music and reference music just from the point of view of EQ points and stuff listen to things that excite you and inspire you just as much as listening to it from a point of view of being current there's a lot to do with music and remember creatively there's current music and there's older music and there's everything more importantly there's on reside of your genre that you bring to your music that will keep you excited and inspired you mentioned putting the MV 2 on the end of a bass sub what do you mean compressing the sub frequencies a question ok so where I grew up there is buses auxiliaries and subs there's a subgroup an auxilary and a bus they're all the same thing to me now there may well be differences of opinions from experts you know as to what all of those individual things are but when I say sub I meant a group or an auxilary what I mean is like if you have multiple sources to say you have a DI and amp maybe a sansamp maybe a different way of miking an amp like I quite often like an amp speaker with another speaker to get super sub frequencies when you have these multiple things I might EQ and compress them independently and then bussed them into a subgroup an auxilary or a bus that's what I mean so we're taking multiple sources and putting them all onto one fader so whether it be on a console on a fader or more importantly in your da W on one fader that is my subgroup that is my bus that is my auxilary so at the very end of any EQ and compression I've done I'll put the waves MV to it is a plot a go to plug-in for mine it's a goat or plugging from it's a go-to plug-in for me and has worked miracles on bass guitar you hear me talk about it a lot and you also know that a lot of people have responded by saying that once they put it on their bass they couldn't believe how much it does for them it's a really great way of combating some of the high notes that get lost and or some of the low notes that were played too heavily and bottom doubt and it will bring that low level information the high level information and bring them together it controls a dynamic on a bass guitar in particular and allows that bass to sit very evenly in the mix on keeping a copy of everything you work on do you store it in the cloud with a Dropbox or something similar there must be cheaper or more resilient ways than keeping old hard drives around it's an interesting question because there are whole companies that back up stuff and thus far when it comes to often called so many call it the Iron Mountain where they store everything and other record companies refer to the same thing the way they backup is they'll back up onto multiple hard drives and also onto digital tape as well and then they will continually back up I do believe that cloud-based systems are a good way to backup your stuff however I think the only honestly the only answer to that question is multiple sources so backup to hard drives to multiple hard drives backup to a cloud-based system put it on your Dropbox if you want you know whatever you want to do the point is is like ultimately the only real solution is to put it on to multiple sources as opposed to just one system because if your cloud backup went down for whatever reason you couldn't access it when you needed it it would be nice to have it on a hard drive if your hard drive stopped working and your cloud backups working great the point is is that you do want it on multiple platforms because the more ways that it is stored the more likely it is to survive some kind of disaster so that's really my best answer my best answer is to back it up onto multiple ways and that's the only way you're going to guarantee that you'll be able to access it when you need it have you ever thought about running a paid service where you provide Custer there's a song to mix every week or month and then provide them with short reviews about their mix oh yes and I already have it it's called the produce like a pro macadam II I remember seeing this and I answered it it was a great question yes I do I have this thing called the produce like a pro Academy and every month we give out a free multitrack of a great artist recording in all kinds of ways we've done recorded on tape we've done recorded using in the Box drums we've done recorded using four or five mics on drums two mics on drums 24 mics on drums we've done everything we've done EDM we've done organic music we've done I can't think of a genre we have not covered we've recovered em we've covered everything from heavy rock all the way down to acoustic guitar vocals and pianos we cover everything we do male vocals female vocals you name it and we're expanding it at all times and then every week I do mix critiques and I listen to it and critique it and then in our forum and inside of our Academy everybody helps each other out it is an incredibly supportive community it's just like the produce like a pro community we have here but more expansive because people help each other out directly within it I'm starting to see a lot more of that going on in the comments below so please feel free to do more of that here where it's free on YouTube please help each other out I'm seeing a lot of really good stuff going on it's all about communities all about helping each other out so please check out the Academy if you can going to produce like a procom and you can sign up for a free trial of it we do a monthly and yearly and actually we do lifetime access as well have you ever mixed Latin music I mean Latin percussion like cool guys and Tim Bailey's at a brass section yes yes and yes I did I've done tons of it over the years but for instance I did a couple of years ago the Bacardi Sessions and you can find them on YouTube and we did some with wale rapping with with a whole Latin section we had you name it every single Latin instrument brass sections live drums it was fantastic and I recorded the whole thing live and I mixed the whole thing afterwards it sounds fantastic go and find the Bacardi sessions and you'll hear loads of stuff it's really really amazing and then of course I've done tons of brass outside of Latin as well as in Latin I've recorded Tom Scott you name it I mean I've done orchestral stuff brass stuff I record kun gars and bongos and everything every day anyway and djembe so I've obviously done Trevor Hall's records I've done loads of different artists that have used all kinds of instruments brass is a lot of fun to record so check out the Brent Fisher videos you'll see some live not only brass but you'll also see some strings and we talked about the miking there with Matt Brownlee it's a really really good video so check that out there'll be some link around that floating around will do far more videos encompassing all kinds of percussion and everything it's going to be absolutely amazing so please as ever subscribe thank you ever so much for their wonderful wonderful questions I really appreciate it I love doing these FAQ Fridays they're really amazing leave a bunch of comments and questions below and I'll see you all again next week have a Marvis time recording a mixing [Music]

Channel: Produce Like A Pro

Views: 98,459

Rating: 4.8626027 out of 5

Keywords: warren huart, produce like a pro, home studio, home recording, recording audio, music production, record producer, recording studio, FAQ Friday, Waves MV2, Melodyne, Waves Tune, Auto-Tune, Vocal Tuning

Id: R3NV4DquZ7Y

Length: 16min 45sec (1005 seconds)

Published: Fri Jun 01 2018