How To Make Track 2 From Cvv

[Elvisa Schimke]

I've seen a lot of tutorials about how to remove vocals and such with audacity, which never seem to work. But I want to know if I can find a song like on YouTube or something and remove all the lead parts, be they vocal or guitar or what ever.

Removing vocals or other tracks from an already mixed and mastered file is very complex and depends on a lot of factors. There's no one size fits all answer because tracks can be mixed in all sorts of ways with many different effects.

In the case of Karaoke or Guitar hero, they typically get access to the master tracks and in the case of Karaoke mix it again with the vocals muted, or in guitar hero make several mixes, one for each instrument. The ideal way to make a backing track is to get the masters provided for you (very unlikely, unless you have a good reason and probably money), or look to see if the separate tracks have ever been released in a producer edition (several Dream Theatre and Lamb of God albums have been released with this as a bonus for instance). If the tracks have appeared on a guitar hero game you can usually find copies of the audio that have been pulled from the game.

To do it with a finished and mixed product is much harder. The way the tool works in audacity and others (I'm assuming) is to take the left and right tracks, and then compare to find which parts of the signal are the same (ie, centre mixed and coming from both speakers equally). This is usually your lead vocal, as well as some other things like Kick drum, lead guitar, etc depending on the mix.

With a track that is only the parts that match you can then remove that part of the signal from both tracks to remove that content. If you wanted to be more precise, you could use high and low pass filters to try and filter down to only the vocal content, leaving things like the kick alone. But you'll still lose the content of those sounds that exists in the frequency ranges of the vocals.

An easy way to do this would be to take the left and right track, invert the phase of one, then mix down to Mono. This would cancel out any of the signal which is the same in both speakers and leave only the differences. If vocals are centre panned and dry they would be cancelled out, as would other things.

There is a big problem with this though: it only works to remove content that is the SAME between speakers. If there's are stereo effects which differ between speakers (reverb, chorus, delay), backing vocals panned to the sides, doubled vocal tracks panned to the sides some, that content will not perfectly cancel and will stay audible. Other mastering tricks like stereo widening can also make this harder to do.

If you are searching for a temporary solution to, let's say use the backing tracks for improvising over them without being disturbed by vocals or mid-range buzz, there's some little tricks you can do with audio material in a simple sound-editor without the need of sophisticated and expensive tools.

Put the same audio track on two tracks of your audio-editor or DAW and put a Lowpass and a Highpass filter on one track to cut the low and high frequencies. What remains is a midrange signal (depending on the settings of your two filters). Now phase invert one of the two audio tracks you've got. This will nullify the mid-range completely...

All tree methods serve to get rid of the mid range and do in a simple way what more sophisticated tools are doing in a dynamical time and context-sensitive way - but, depending on the material, not always very good. I showed you the hardcore way that will eliminate the stuff for sure, independent of what the source material is.

But you have to keep in mind that both tracks (version 3) have to have the same volume in order to get the midrange 100% silenced. If you're shifting the volume-ratio by changing the volume of either one track you will get back the midrange step by step.

Of course, by cutting the midrange so bluntly you are also killing a lot of instruments that form the chord/harmony portion of the composition. You are essentially left with bass-drum, bass, low-harmonies, HH, Cymbals, high percussions regarding the rhythm-group. And that is what you actually want when you're searching for a play/sing-along track. But anyways you can regulate the effect by changing the cut-off frequency of both of your filters to narrow down the midrange in order not to loose too much.

EDIT: If you wanna get fancy with method 3 you can also add a third track and phase-reverse one of its channels (L or R) in case your source is stereo. With that - everything that is usually mono like - the 'dry' vocal signal, centered mono effects etc. - will get removed. Only the effect part of each signal which is on both channels like reverberation an the like will remain. Also effects that are using a modulation of the signal's phase like stereo chorus/phlanger/phaser etc. for e.g. pad-sounds. But usually these 'wet' signals are not very loud...

That signal will now fill the hole in the frequency range that you left with method 3 and give you back some of the harmonical context that might be missing after the brick-wall-method 3. But also the 'wet' signal of the things you want to get rid of.

And of course - the additional track of this extension of method 3 must have the same filters applied to it than the other phase inverted track so that you actually fill the very hole that you dug in the first place. If you didn't do that you would definitely kill all your BD, base and other signals that are typically centered and more or less 'dry'.

Hi, I have the SC Live 4. I am trying to find a way to make playlists that incorporate music from multiple sources. It is a real pain having to switch between Beatport, Amazon streaming, USB etc and is interrupting the flow of my mixes.

I have also realised that nested sequence are limited to the length of the original sequence and can't be stretched. Is there another way of combining graphics? Or am I better off doing them in photoshop next time?

you can always make the clip longer in the nested sequence and you will be able to stretch it in the master sequence. of course if you don't need to edit or animate it then a good practice is to layer it in photoshop before importing it... but sometimes we are already in the process so might as well do it in premiere.

I have the same doubt about this. I created a lowerthird and nested, I always pull it to the timeline and it comes with audio, is there a way to unlink the audio track so that when I pull it the audio track doesn't come?

I'm using a video-only nested sequence as an asset across multiple projects. When I go to drag the nested sequence from the bin into a timeline, it comes with a blank audio track that I then have to delete. Most times I have to place the nest at the end of the timeline instead of where I want it because I have to delete that audio track before it overrides any audio that I DO want. Very annoying.

It was tempting to say git branch --set-upstream origin/master, but that tells Git to arrange the local branch "origin/master" to integrate with the currently checked-out branch, which is highly unlikely to be what the user meant. The option is deprecated; use the new --set-upstream-to (with a short-and-sweet -u) option instead.

You might find the git_remote_branch tool useful. It offers simple commands for creating, publishing, deleting, tracking & renaming remote branches. One nice feature is that you can ask a grb command to explain what git commands it would execute.

This recreates $BRANCH as a tracking branch. The -f forces the creation despite $BRANCH existing already. --track is optional if the usual defaults are in place (that is, the git-config parameter branch.autosetupmerge is true).

For creating new branch, we could use following command
git checkout --track -b example origin/example For the already created branch to create link between remote then from that branch use below command

If you tried to "git push" when on the "upstream" branch, with push.default matching git would automatically try to merge the local branch "master" into "upstream/master", causing a whole lot of chaos.

In a somewhat related way I was trying to add a remote tracking branch to an existing branch, but did not have access to that remote repository on the system where I wanted to add that remote tracking branch on (because I frequently export a copy of this repo via sneakernet to another system that has the access to push to that remote). I found that there was no way to force adding a remote branch on the local that hadn't been fetched yet (so local did not know that the branch existed on the remote and I would get the error: the requested upstream branch 'origin/remotebranchname' does not exist).

In the end I managed to add the new, previously unknown remote branch (without fetching) by adding a new head file at .git/refs/remotes/origin/remotebranchname and then copying the ref (eyeballing was quickest, lame as it was ;-) from the system with access to the origin repo to the workstation (with the local repo where I was adding the remote branch on).

In my case I almost never set something else than origin as the default upstream. Also I almost always keep the same branch name for local and remote branch. So the following fits me:

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A coach came to me one time and said that a player (WR) looked slow and that I needed to improve his speed. So I looked at his game data. His normal route speed was 17-18 mph a top speed of 21.3 mph which he hit only once in 2 seasons. That's definitely slow but I also knew the guy was a track sprinter so I questioned whether he was actually speed deficient. So I measured his speed in a sprint. He hit 23.1 mph in a 100 yard sprint, 8.2 m/s in top acceleration, and a 4.38 in the 40). Obviously he wasn't speed deficient. To improve performance, we have to address/improve limiting factors. I could train that guy and maybe improve his speed/acceleration 3-5% and it would have no impact on his game speed because he already has more speed than he is showing on the field. Speed potential was not his limiting factor.

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