Ah crap. After doing the pitch the correction on the second track they sound all phasey/chorusy... and not in a cool way. So much for that plan. Gonna have to wait until I mix and bounce the tracks together into a single track. That sucks.

Beepster
This is a long shot but I have two bass tracks that were recorded simultaneously (I did this to have two different and complimentary tones on input). They're pretty tight but they could be a little bit tighter so I want to try out the timing correction in Melodyne. Unfortunately the only way to make sure the end results on both tracks are identical is to apply timing correction to the entirety of one clip, max out the correction slider then do the same for the other (this is how I'm doing the pitch correction which is fine). The obvious problem is doing it all at once and so agressively just messes up the timing to the point it is unuseable.
 
So I want to be able go through one clip properly fixing things as necessary then have those corrections applied to the other clip so they stay in sync.
 
Can Melodyne do this or will I have to use Audiosnap > Merge/Lock Markers function?
 
Thanks.
 
PS: Really impressed how the pitch correction is working for the bass. I stole that trick from Bapu.

What I have done in the past to tighten up two similar parts (i.e. two trumpets) is to use one track zoomed in as the reference and then put the other part that I want to adjust in Melodyne. I put the cursor at the beginning of the note in the reference track and then adjust the Blob of the 2nd part so that it lines up the cursor. Tedious but it works.
 
Another way is to open two instances of Melodyne, one for each track, and put the cursor on the reference note blob and then adjust the second. Of course there is the grid that can be used as a reference, but if the parts are swinging or played with feel, the cursor method maintains the "groove".
 
Works for me.
 
Walt

WallyG

Beepster
This is a long shot but I have two bass tracks that were recorded simultaneously (I did this to have two different and complimentary tones on input). They're pretty tight but they could be a little bit tighter so I want to try out the timing correction in Melodyne. Unfortunately the only way to make sure the end results on both tracks are identical is to apply timing correction to the entirety of one clip, max out the correction slider then do the same for the other (this is how I'm doing the pitch correction which is fine). The obvious problem is doing it all at once and so agressively just messes up the timing to the point it is unuseable.
 
So I want to be able go through one clip properly fixing things as necessary then have those corrections applied to the other clip so they stay in sync.
 
Can Melodyne do this or will I have to use Audiosnap > Merge/Lock Markers function?
 
Thanks.
 
PS: Really impressed how the pitch correction is working for the bass. I stole that trick from Bapu.

What I have done in the past to tighten up two similar parts (i.e. two trumpets) is to use one track zoomed in as the reference and then put the other part that I want to adjust in Melodyne. I put the cursor at the beginning of the note in the reference track and then adjust the Blob of the 2nd part so that it lines up the cursor. Tedious but it works.
 
Another way is to open two instances of Melodyne, one for each track, and put the cursor on the reference note blob and then adjust the second. Of course there is the grid that can be used as a reference, but if the parts are swinging or played with feel, the cursor method maintains the "groove".
 
Works for me.
 
Walt

Hi, Walt. That type of method would totally work for most things but since it's a bass track and needs to be one single pure source/performance to maintain clarity even the tiniest discrepancy takes things to mudville.
 
Like what just happened to me when applying the EXACT same procedure to my dual input track. I figured it would apply the pitch correction with full accuracy preserving the relationship between the two tracks but I guess either they rendered differently or the slight difference in tone caused the correction to apply itself differently.
 
This little experiment has given me some ideas though. One of which is instead of always have to physically double rhythm guitar tracks (as in playing two perfect performances) one could theoretically clone one track then apply slightly different levels of pitch and timing correction to duplicate performance doubling. It would likely be much tighter sounding but still cause the widening you get for double tracks.

Beepster
So I want to be able go through one clip properly fixing things as necessary then have those corrections applied to the other clip so they stay in sync.
 
Can Melodyne do this or will I have to use Audiosnap > Merge/Lock Markers function?

Melodyne Studio will let you work on more that one track at a time but not linked, (as far as I know).
 

Paul G

Beepster
So I want to be able go through one clip properly fixing things as necessary then have those corrections applied to the other clip so they stay in sync.
 
Can Melodyne do this or will I have to use Audiosnap > Merge/Lock Markers function?

Melodyne Studio will let you work on more that one track at a time but not linked, (as far as I know).
 

That's a shame. Seems like an obvious feature to have.

Beepster

WallyG

Beepster
This is a long shot but I have two bass tracks that were recorded simultaneously (I did this to have two different and complimentary tones on input). They're pretty tight but they could be a little bit tighter so I want to try out the timing correction in Melodyne. Unfortunately the only way to make sure the end results on both tracks are identical is to apply timing correction to the entirety of one clip, max out the correction slider then do the same for the other (this is how I'm doing the pitch correction which is fine). The obvious problem is doing it all at once and so agressively just messes up the timing to the point it is unuseable.
 
So I want to be able go through one clip properly fixing things as necessary then have those corrections applied to the other clip so they stay in sync.
 
Can Melodyne do this or will I have to use Audiosnap > Merge/Lock Markers function?
 
Thanks.
 
PS: Really impressed how the pitch correction is working for the bass. I stole that trick from Bapu.

What I have done in the past to tighten up two similar parts (i.e. two trumpets) is to use one track zoomed in as the reference and then put the other part that I want to adjust in Melodyne. I put the cursor at the beginning of the note in the reference track and then adjust the Blob of the 2nd part so that it lines up the cursor. Tedious but it works.
 
Another way is to open two instances of Melodyne, one for each track, and put the cursor on the reference note blob and then adjust the second. Of course there is the grid that can be used as a reference, but if the parts are swinging or played with feel, the cursor method maintains the "groove".
 
Works for me.
 
Walt

Hi, Walt. That type of method would totally work for most things but since it's a bass track and needs to be one single pure source/performance to maintain clarity even the tiniest discrepancy takes things to mudville.
 
Like what just happened to me when applying the EXACT same procedure to my dual input track. I figured it would apply the pitch correction with full accuracy preserving the relationship between the two tracks but I guess either they rendered differently or the slight difference in tone caused the correction to apply itself differently.
 
This little experiment has given me some ideas though. One of which is instead of always have to physically double rhythm guitar tracks (as in playing two perfect performances) one could theoretically clone one track then apply slightly different levels of pitch and timing correction to duplicate performance doubling. It would likely be much tighter sounding but still cause the widening you get for double tracks.

Beep, with the greatest respect, cloning & changing pitch/timing of the clone will never sound as good as proper double tracked guitars - and you can get away with a little bit of "slop" in your playing as well.
 
One quesiton - on these bass lines, why do you need 2 tracks?
 
There might be other ways to skin this particular cat

Bristol_Jonesey
Beep, with the greatest respect, cloning & changing pitch/timing of the clone will never sound as good as proper double tracked guitars - and you can get away with a little bit of "slop" in your playing as well.
 
One quesiton - on these bass lines, why do you need 2 tracks?
 
There might be other ways to skin this particular cat

These tracks were recorded using the dual line outs on my Line6 Duoverb. It has two channels so I had one set cleaner with more bite and the second with a bit more grit and bottom end. It's impossible to really get a single signal out of either of the channels on this thing that sounds REALLY good but combined they add up to something pretty sweet. It also allows me for extra processing options as I mix without cloning.
 
The solution is to simply bounce the two together which was always part of the plan but I'm still essentially in the writing phase (the backing section is done but I haven't gotten to the leads/ornamentation/frilly dillies yet). So I don't want to do that just yet because I'm going to want to process the individual tracks once I actually hit the final mixing phase.
 
Things is I am doing a bit of goofing around to yank transients to add some extra kick parts (using the MIDI output of the bass as a reference pool for possible kick hits) and I want to use the MIDI output as a starter track for some wacky synthesis stuff. I was hoping I could get the bass tracks corrected at this phase before doing that stuff so it's more accurate.
 
Basically I'm experimenting with a bunch of things. I do have contigency plans and workarounds but was hoping I could get away with all this at this phase of the production. Ain't working out that way but I guess I'm expecting too much.
 
Like I said... no bigs. Just trying stuff out. If something doesn't work it doesn't work.
 
Cheers.

Oh and as far as the doubling thing I agree mostly but not in all cases. Sections with chords and stuff sure but during single note riffs that extra tightness makes things easier and cleaner. It's just a direct clone with no variation aside from something like a Haas edit isn't the greatest for even those parts.
 
You gotta remember I'm working with some not so ideal gear in not so ideal conditions so I have to get creative. I'm a very tight player but just the act of doubling and auditioning/creating comps so those ultra tight parts match well is a lot of work. I figure this could be a cheater's work around that would get me what I want quickly.
 
It is just a theory though but I've done alright with screwing around with clones for such applications. I just think this might make that a lot better.
 
Cheers.
 
 

Beepster
These tracks were recorded using the dual line outs on my Line6 Duoverb. It has two channels so I had one set cleaner with more bite and the second with a bit more grit and bottom end. It's impossible to really get a single signal out of either of the channels on this thing that sounds REALLY good but combined they add up to something pretty sweet. It also allows me for extra processing options as I mix without cloning.
 
The solution is to simply bounce the two together which was always part of the plan but I'm still essentially in the writing phase (the backing section is done but I haven't gotten to the leads/ornamentation/frilly dillies yet). So I don't want to do that just yet because I'm going to want to process the individual tracks once I actually hit the final mixing phase.
 
Things is I am doing a bit of goofing around to yank transients to add some extra kick parts (using the MIDI output of the bass as a reference pool for possible kick hits) and I want to use the MIDI output as a starter track for some wacky synthesis stuff. I was hoping I could get the bass tracks corrected at this phase before doing that stuff so it's more accurate.
 
Basically I'm experimenting with a bunch of things. I do have contigency plans and workarounds but was hoping I could get away with all this at this phase of the production. Ain't working out that way but I guess I'm expecting too much.
 
Like I said... no bigs. Just trying stuff out. If something doesn't work it doesn't work.
 
Cheers.

Here's what I would do in that situation.  Pick one of the bass tracks and copy it.  Mute the original two.  Tune up the copied track to your liking and then finish the song.  When you're ready, go back and mix the two bass tracks to your liking and then tune them.
 
You could also copy both tracks and mix them, tune them.  If, when you're finished with the song and don't like the bass sound, you can go back to the originals and start over.
 
HTH
 
Paul

Paul G
Here's what I would do in that situation.  Pick one of the bass tracks and copy it.  Mute the original two.  Tune up the copied track to your liking and then finish the song.  When you're ready, go back and mix the two bass tracks to your liking and then tune them.
 
You could also copy both tracks and mix them, tune them.  If, when you're finished with the song and don't like the bass sound, you can go back to the originals and start over.
 
HTH
 
Paul

Yeah, that's pretty much along the lines of what I'm thinking but honestly it's not even all that crucial at this phase anyway. I'd just been dragging my feet at giving Melodyne a real go and since I was doing the kick drum experiment today (really the main thing I want to do today is beef up my basic drum track which is good but sparse) I figured I try out these other plans as well.
 
I think it's going to all be about mixing the two tracks down and treating them as one. They sound pretty good as is so I'm just being anal. I can do whatever I want to final render anyway on track and at bus level.
 
Thanks.