This article is going to be about Auto-Tune. Go grab your pitchforks … I’ll wait.

For many of you, this is going to be a great article about the creative and practical uses of Auto-Tune in modern music. For another significant portion of you, this will be a great opportunity to make not-so-clever jokes like “the best technique with Auto-Tune is hiring a better singer!”

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Love it or hate it, Auto-Tune is a thing. And there are things about this thing worth knowing. So here are a few modern techniques for Auto-Tune.

The Two Categories of Use

In my mind Auto-Tune (or pitch correction in general) is used in one of two modes:

Mode A: A tool for locking in a few stray notes that missed the mark in spite of an otherwise rockin’ performance.

Mode B: An effect used to create a tone, much like a phaser or flanger or reverb or distortion.

Mode A is pretty straightforward — if a dirty note slides on by, hit it with just enough tuning to lock it back in. Generally, using a graphical mode from Auto-Tune, Waves Tune, Melodyne, etc. is the best way to do this. Or simply using an automatic mode and automating the Bypass works as well, unless some serious shifting is required.

Mode B is more fun. Within the world of being effect-y, there are a couple of ways to go. Auto-Tune can be used as a post effect — that is applying it after the initial recording, or the vocalist can sing into the plugin and manipulate it. I’m a fan of the latter. A very good vocalist can control their pitch and delivery enough to play off of how the tuning mechanism reacts and get a number of fun effects from it. Controlled slides and ‘distunes’ (I’m making that a word) can make the happy accident of tuning distortion into a creative tool.

Auto Tone

In today’s music, I often think of Auto-Tune as a tonal device (hence my horrible pun). Most of the time I’m trying to get a bit (or a lot) of sparkly, phase-y distortion. This creation of synthesized harmonics makes a voice sound a bit synth-y, or robotic depending on the approach. For the most part, people just tend to slap Auto-Tune on there and find a retune speed they like and roll with it. I’m a bit more neurotic and like a more refined approach. I’m pretty decisive about whether I’m abusing Melodyne, modern Auto-Tune or the classic ol’ school Auto-Tune. They all have different tones and sometimes one is more fitting than the others.

Melodyne generally has the most transparent tone. It can thin the low-mid of a vocal a little, but sometimes that can actually be a good thing. When abused, it has a specific color but it’s a very evenly distributed harmonic thing that happens — hard to put into words but it feels very “consistent”.

The current version of Auto-Tune is also pretty transparent but does do the quintessential Auto-Tune sound. The classic Auto-Tune, version 5.1 most notably, is really the one that we think of when we think T-Pain — because the formant shifting is the least accurate.

Then there’s the question of how much abuse I want. Just a touch of glitter, or full-on Robotron.

If I want just a touch, one really easy technique is to use two instances of Auto-Tune, both set to very slow retune speeds. The reprocessing of the tuned vocal generates harmonics on top of harmonics allowing for a subtle yet ever-present flavor. Because I’m using slow tuning speeds it also means that the tuning effect is fairly homogenous.

Melodyne Into Auto-Tune

However, sometimes I want a much more printed effect that still stays on the vocal in a consistent way. I find that by coupling Melodyne with Auto-Tune I can get a very even, yet very effected sound.

A great example of this is the vocal tracking for “Comentale” by Ozuna and Akon.

The chain for both vocals was Melodyne first in graphical mode just getting the notes a bit closer to center, and then Auto-Tune with a pretty fast retune speed to create the effected tone. The only place the Auto-Tune really ever varies tonally is when Akon does his faster note runs. When he does this I prefer to let the Auto-Tune glitch up a little because I like the texture it creates. Iphone 6 screen dead use 3utools to enter icloud password. Kon is very smart about where he places these glitches in his delivery — which I’m going to touch on again in a moment. As a side note, both Ozuna and Akon sang into Auto-Tune Pro during the recording in order to make the sound very deliberate — with Ozuna set to the regular mode and Akon set to the “classic” mode. The whole process is a lot more calculated than simply slapping Auto-Tune on there.

That said, sometimes you can just slap Auto-Tune on there.

Automating Auto-Tune

Sometimes I don’t want Auto-Tune to act evenly on everything. As I mentioned before, Akon is very particular about how he blends his voice with Auto-Tune. He will go out of his way to glitch it on purpose in order to create captivating moments. When he does this I take that as a cue to automate the settings on Auto-Tune to emphasize the effect.

Basically, I’m just picking up what he’s putting down. A lot of people associate Kon with heavy Auto-Tune, but when I think of his style I really think of someone with a masterful delivery above all else. He shapes his vocal tone and personality very carefully. For an artist who does this, I actually don’t like the Auto-Tune to be overly heavy. My default here is “classic” Auto-Tune (that 5.1 algorithm sound) with a retune speed of 12ms (maybe less for a more serious song, maybe more for a more club-oriented song). Admittedly this is pretty fast because I do want that distinct tone. But it’s not the T-Pain 0 millisecond sound. On certain runs or moments, I’ll automate the retune speed either very fast to bring out the glitches, or slow it down to keep things a little more subtle.

Manual Formant Shifting

Formant shifting is an underutilized effect. When we speak, our vowel sounds are determined by the shape of our mouths. These harmonic signatures, determined by mouth shape, are called formants. In order to preserve the sound of a voice during pitch correction, the formants have to be adjusted accordingly.

Pitch correction software generally does this automatically — but sometimes it’s not 100% spot-on. So most pitch software will allow us to manually adjust formants when needed to compensate. Higher formants refer to brassier tones like “a”, “ah” and “e” sounds, while lower formants refer to rounder tones like “oo”, “oh”, and “uh”. Sometimes it’s fun to abuse this formant shifting to create a variety of textures. We can do this on background vocals to make them sound less like the lead and more like different voices. Or, we can do this on a lead to make it sound like a singing chipmunk or Frankenstein’s monster.

Getting Creative

What’s the fun in writing an article if we can’t be a little creative? Here’s some next level stuff that my weirdo brain likes to get into.

The first thing that tickles my fancy is the relationship between pitch correction and reverb. You may notice that if you’ve ever printed or committed Auto-Tune it will not null against the original track. That means that the same track printed through Auto-Tune is not technically the same thing as the track with active Auto-Tune on it.

Ok … so what?

Well, the discrepancy between the two comes down to phase rotation. The micro-timing of the track changes, which changes the phase of the signal. Phase is an extremely important aspect of determining spatiality. Because I often use outboard reverb I found that if I print the reverb back in, and subsequently commit my Auto-Tune settings after the reverb print, the vocal will actually feel a bit more forward and disconnected from the reverb and have a stronger front to back image. Weird little quirk.

We can also do a doubler effect by making three instances of our source track and pitch correcting a left pan version up a few cents higher, and the right pan version a few cents lower, keeping the main version right in the center. This works very similarly to a classic doubler but because there’s movement in the pitch we get a bit of a phaser quality as well as an image that actually expands and contracts a bit. It’s a bit more movement-driven, which can be good or bad depending on what we want.

Lastly, I really like delays into Auto-Tune. We can get the glitchiest sound in the world and it sounds very futuristic and cool as a delay. Great for something we want to have a hint of sci-fi sound to it.

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Conclusion

Auto-Tune is part of our musical landscape. Personally, I prefer to look for ways to expand the use of the tool rather than try to fight the cultural wave.

How do you find yourself using Auto-Tune? Have any of your experiments gone right?

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Whether you’re a home producer or work at a major recording studio, Autotune and other pitch correction software can help deal with a weak vocal performance. Dev c gta v.

In a hurry? I love Melodyne 4 Studio from Celemony. It’s sounds incredible, leaving little to no artifacts on vocals recorded in a treated space, but are in need of a little fixing.

But Autotune isn’t reserved exclusively for pitch correction. T-Pain popularized the hard-straightened pitch, even going as far as releasing an iOS app called “I Am T-Pain.”

Pitch correction software can also be utilized for other instruments as well. I’ve even used VariAudio (the “Autotune” built into Cubase) on bass guitar parts that were slightly out of tune. The result was surprisingly excellent, with little to no audio artifacts.

There’s a lot you can do with Autotune and similar software.

With so many options for producers, how can you decide on which one to use? Fortunately, I’ve had the experience working with many pitch correction plugins to weed out the good from the bad.

I’m going to include both free and paid options, so please read on! Refx nexus 2.3.4 full vst free download online.

Have an interest in virtual instruments? Don’t miss my other roundups!

Table of Contents

1) Antares Auto-Tune Pro (Paid)

Auto-Tune is the original pitch correction software. It’s so popular that its name is synonymous and is more of a colloquial term.

Antares gives you a couple of options to pick from depending on your needs — Pro, Artist, Access, or EFX+. As you’d guess, the price moves up the more features there are.

Auto-Tune is very hands-off. I’d even go as far as to say that it’s the most straightforward plugin for correcting pitch.

Pros

• Easy to use for beginners
• Lightweight on memory
• Great-looking user interface

Cons

• AUTO mode is limited
• Difficult for beginners to use GRAPH
• A little outdated compared

When using Auto-Tune on a vocal track in AUTO mode, set the key, the retune speed, and the amount of humanization. You should be able to hit the playback button now and hear hopefully great results.

Because it’s simplicity, I find that it doesn’t perform as well as others (when using the quick settings) that require more fine-tune vocal editing.

To fix an abysmal vocal performance, use the graph mode and hand tune each note to your liking. This process is much more complicated but yields a far better result.

I am not huge on Auto-Tune (I know many are), but it can deliver exceptional results. If you take the time to learn how to use it properly, you’ll have great-sounding vocals with ease.

Auto-Tune from Antares is available at Plugin Boutique.

2) Steinberg VariAudio — Cubase Pro (Paid)

Steinberg’s VariAudio is a pitch correction software included in Cubase Pro. It’s not a standalone plugin, so you won’t be able to use it if you don’t own Cubase Pro.

But, for those of you with Cubase who didn’t realize your DAW has pitch correction, rejoice!

I love VariAudio — so much so that I couldn’t imagine switching DAWs. I’ve been on Cubase for ten years, so I know my way around, but VariAudio is the one thing that will keep me as a forever customer.

Pros

• Integrated into Cubase
• Quick to edit any clip
• Very fast and no CPU

Cons

• Audio artifacts are very noticeable if not careful
• Limited cutting resolution
• Not intuitive at first

VariAudio functions similar to Melodyne and Auto-Tune’s graph mode. Double-clicking on a clip opens up the editor, where you can choose to enable VariAudio — no plugin required.

From here, it’s simple as using Pitch Quantize and Straighten Pitch on each clip. Cutting clips also helps pitch only individual sections of a waveform.

The newest version of VariAudio introduced some incredible options for adjusting pitch that make the software even more valuable.

I highly recommend considering Cubase Pro if you plan to switch DAWs — for VariAudio exclusively!

Steinberg’s Cubase Pro is available from Plugin Fox.

3) Celemony Melodyne (Paid)

We’re moving up the price ladder, but for a good reason. Melodyne from Celemony is one of the most utilized pitch correction plugins used by professional vocal editors and producers.

Melodyne offers (to my ears) the most accurate and musical sounding algorithm, leaving no tuning artifacts that are easily recognizable to the untrained ear.

Pros

• Incredible-sounding algorithm
• Tons of flexibility when vocals sound poor
• Zero audio artifacts in most cases

Auto Tune With Melodyne Free

Cons

• Difficult for new users
• Rather expensive

The software has incredible note detection allowing for more accurate tuning. I find that in VariAudio, there are times that the software cannot understand individual notes, so they are omitted. It’s not too often this occurs, but Melodyne does it better.

Melodyne is available at Plugin Boutique.

4) Waves Tune (Paid)

Waves Tune operates similarly to Auto-Tune and Melodyne. Before you begin tuning, the software scans the audio track and displays audio waveforms.

The process of editing is quite similar as well, though the interface is slightly dated.

Pros

• Included in many of Wave’s plugin bundles
• Relatively lightweight on CPU

Auto Tune With Melodyne 1

Cons

• Outdated
• Difficult to use

I have never enjoyed using Waves Tune but figured it needed a mention since Waves is one of the most popular audio plugin companies.

5) Waves Tune Real-Time (Paid)

While cheaper than the regular version of Tune, Tune Real-Time offers a quick and user-friendly experience for tuning vocals. I’d compare this plugin to using Auto-Tune on AUTO mode.

Auto-tune With Melodyne

Note transition is iffy at best and artifacts are present throughout (at least when I used it). The plugin isn’t smooth sounding at all, and there aren’t many parameter changes available.

I’d recommend Real-Time for two different scenarios. The first being someone new to audio production looking to fix a vocal without technical knowledge of tuning vocals. You won’t get the most professional sound, but it will be acceptable.

The second scenario is for producers working with singers in the studio who struggle to sing on pitch.

Using a pitch-correction software can boost the confidence of the singer in the booth, though I can’t say for sure if this will lead to a better sounding vocal take.

Despite the marketing of Waves Tune Real-Time, claiming instant vocal tuning, I could envision latency becoming an issue in some home studio settings.

Free Auto-Tune VST Plugins

If you’re on the fence about which one to get or want to save a little cash, try some of these free pitch correction plugins I’ve listed below.

Things To Consider When Choosing a Pitch Correction Software Plugin

Despite all the choices I’ve laid out, you still may be confused on the correct option. Here are some things to consider before making a decision.

Does the software maker provide a trial?

If so, take the trial and check out the software! There’s nothing more frustrating than buying a plugin only to find out that it’s non-refundable.

Do you need graph editing functionality?

Graph editing, like seen in Melodyne and VariAudio, is for advanced vocal editors. If you need a quick tuning for a little enhancement of a track, you may not need to edit each note.

If you want to draw in the notes physically, a more advanced pitch correction software will be necessary.

Auto Tune With Melodyne 3

Further features you may desire are formant control, MIDI input (for vocoder), and note straightness. These types of effects are often essential in a lot of today’s popular music.

Does your DAW already have pitch processing?

Mine does — that’s why I’ve included VariAudio in this list. Digital audio workstations like Propellerhead’s Reason and MOTU Digital Performer also come with their native pitch correction software.

Melodyne Autotune

Wrapping Up

Which one do I like most? If I didn’t have VariAudio included in Cubase, I’d most likely be using Melodyne exclusively. It sounds incredible, and the workflow is so intuitive.

Auto Tune With Melodyne 5

So there you have it — my list of the best Auto-Tune/pitch correction VST plugins. Which one do you currently use in the studio? I’d love to hear from you down below in the comments. Thanks for reading!

Auto Tune Effect With Melodyne

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