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1. Where To Place Auto Tune In An Effect Chain Lyrics
2. Antares Auto-tune
3. Where To Place Auto Tune In An Effect Chain Video

• Signal Processors >Pitch-shifters

Jun 22, 2017 50+ videos Play all Mix - Future Vocal Effect Chain YouTube Future's Engineer/Producer/Mixer, Seth Firkins - Pensado's Place #329 - Duration: 56:19. Pensado's Place 51,040 views. Nov 06, 2018 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.

Jan 08, 2017 Celemony's Melodyne software substantially improves on Auto-Tune's interface and brought the full power of pitch correction to a plug-in ahead of the tool's originator, which still leads the pack when it comes to response and set-and-forget capability. 'Generic' Auto-Tune. The Antares version of the effect has achieved 'Kleenex' status. Auto-tuning vocals with Graillon 2 couldn’t be any easier. Simply place it as an insert effect in your vocal mix channel (or you live vocal processing chain), turn on the Correction module, and you’re good to go. Sep 24, 2019  As a general rule of thumb, it’s ideal to place the “broad stroke” effects that have the most dramatic or dominant impact on your sound toward the front of the signal chain while placing the “narrow stroke” effects that refine details toward the end, although there are many exceptions to this concept. Here are the 9 expandable Ableton Audio Effect Racks, along with an in-depth guide, showing you how to use them. Ableton Audio Effect 1: Auto Filter Ableton’s Auto Filter can be quite powerful under the hood. I see most people just using it for regular filter automation, but there is so much more you can do with it. Author Lauren Levy article in The Fader on 'The sneaky power of Travis Scott’s voice' outlines how the Travis Scott vocal sound is carefully crafted as a unique, perceptible voice and not be a direct reflection of his own voice. It's part of a bigger music production style and artistic vision.

Is it really possible to carry out studio-quality pitch-correction in real time? Waves think so..

Love it or loathe it, automated pitch-correction is here to stay. Antares’ Auto-Tune first made it possible, and has become so well-known that its name is often used generically to describe all such tools, but there are plenty of other software-based pitch-correction tools out there. However, most are primarily intended for studio use, where they will be applied as post-recording processes.

For live performance there have, of course, been a number of dedicated hardware devices that offer pitch-correction in real time, including the now-discontinued Antares ATR-1 and various TC-Helicon products. It’s easy enough to see two sides to the desirability of such a tool in a live setting and I’ll leave you to have that discussion amongst yourselves but, in a world where the computer sits centre stage in so many music-making environments, the user control and flexibility offered by software-only solutions could have obvious benefits in a live context too.

Well, Antares obviously think so, because they have a version of Auto-Tune called Auto-Tune Live targeted at precisely this role, and Waves have now joined the roll-call with their own take on the genre: Tune Real-Time. Providing the rest of your system doesn’t create a processing bottleneck somewhere along the line, Tune Real-Time is designed to operate with sufficiently low latency to be fast enough for even the most demanding live-performance situation. And, as I’ll get to in a minute, the plug-in can also be used as a standard post-recording pitch-correction tool.

Holding A Tune

Waves are not new to the business of pitch-correction. Indeed, SOS reviewed the original Waves Tune way back in the November 2006 issue. While Tune can carry out pitch-correction automatically as well as manually, like the Melodyne plug-in it requires your audio to be ‘tracked’ into the plug-in before this can take place. However, faster computer systems mean that, 10 years on, real-time pitch-correction with a plug-in is now a viable prospect.

Once installed via the slick Waves Central licence management system, how you configure Tune Real-Time will depend upon your type of use. For routine automatic pitch-correction of previously tracked vocals, you would, of course, simply insert the plug-in on your vocal track and get cracking with tweaking the control set to suit. However, if you are interested in live pitch-correction — whether that’s during tracking in the studio or for live performances — a different arrangement is going to be required.

While the specifics will undoubtedly depend upon your exact hardware/software configuration, Tune Real-Time is going to need to be inserted in your signal flow in a way that allows the engineer (studio or front-of-house) and the singer to monitor through it in real time. As when applying any software processing to a live audio signal, that means a return journey for the audio through your computer system and back out to your monitor setup, making low latency all round an obvious requirement.

Waves can’t do anything about latency introduced elsewhere within your system, but by reporting zero latency to the host, Tune Real-Time ensures that no delay compensation is applied on its account. Its actual latency varies between 0 and 4 ms depending on the frequency of the current note. Different performers have differing sensitivities to audio latency. In order to achieve a more comfortable monitoring experience, I found myself having to change the buffer sizes for my audio interface from 256 samples to 64 samples in my 44.1kHz/24-bit project. Smaller buffer sizes do, of course, mean a higher system load, but that may be a price you have to pay in order to prioritise the pitch-corrected vocal monitoring. (Alternatively, by running Tune Real-Time on one of Waves’ SoundGrid servers, you could eradicate the round trip through your computer and DAW.)

The control set allows you to select a voice type to focus the pitch-correction within a certain note range.

Corrective Measures

You can define your own scale using the keyboard display, and the plug-in includes a huge number of preset scale types.The user interface shares many common elements with that of the studio-orientated Waves Tune and, indeed, other pitch-correction tools. For example, the bottom third of the panel provides scale/key selection and a choice of voice types — which, in turn, set a default note range within which pitch-correction will be applied. The small MIDI Input/Keyboard panel allows you to give your singer a reference tone or use an external MIDI keyboard to set target notes. Other parameters in the control set can also be controlled via MIDI, including the Speed parameter, so you can, for instance, apply ‘robotic’ pitch-correction just to a few notes as a special effect.

The central keyboard strip provides a visual guide to the notes being detected as the plug-in does its thing. As well as letting you drag the left/right boundaries of the active note range, this includes an interesting additional feature whereby clicking above each note allows you to toggle its behaviour in the pitch-correction process. This includes modes for ‘legal’ (grey), ‘illegal’ (pink with a ‘-‘ icon) or ‘bypass’ (grey with an ‘x’; the note is legal but no pitch-correction is applied); but there are also two other ‘illegal’ options, both with pink arrow icons that can point to notes above or below the current note. If the pitch-detection algorithm identifies such a note, it will force the correction in the direction indicated by the arrow. This is a useful feature, as it allows you to handle the correction of specific notes in a very particular fashion.

The keyboard section allows you to define how the pitch-correction behaves for individual notes.

For example, a singer might end up consistently flat with notes at the top of their range or sharp towards the bottom of it. Tune Real-Time can accommodate that and I could imagine that in a live setting, where an FOH engineer gets to know a specific singer’s strengths and weaknesses night after night, this could offer very precise control. You can set these five different correction states either on individual notes or, with the Group Octaves button engaged, for every octave.

House Of Correction

The topmost panel contains both familiar and less familiar elements. Familiar is the large arc-shaped pitch-correction display that shows the amount of correction being applied in real time. Also familiar is the Speed dial, which controls just how quickly pitch-correction is applied at the onset of a note. Values in the 40-60 ms range produce fairly aggressive correction, while slower speeds provide a more transparent result. And, yes, by setting it to zero you can get the ‘Cher effect’.

The Correction subpanel allows you to adjust just how tightly the pitch-correction is applied. Backing off from 100 percent here does help in terms of keeping the result transparent. If you want something more in the special effects category, you can also turn formant correction off; in conjunction with MIDI control of the notes, you can then move towards Micky Mouse or Darth Vader if you so wish.

The Note Transition controls provide interesting additional options for handling the pitch-correction process across note boundaries.

Perhaps more interesting are the Note Transition and Tolerance controls. While the Speed control deals with the first note of a legato phrase, in the Wave Tune algorithm (in both its real-time and non-real-time formats), the Note Transition control influences the speed of correction applied as one note transitions into another during a phrase. In addition, the Cents and Time controls provide further influence over note transitions, allowing you to tolerate wider pitch drift before correction kicks in. OK, so the pitch-correction is still automatic, but these additional options do seem to offer an extra level of control.

Rather neatly, you can also dampen or exaggerate any natural vibrato present in the vocal (although you can’t add artificial vibrato). This is actually well worth experimenting with as its on/off status, and the slider value, interacts with the pitch-correction process; if you find yourself with the occasional unwanted ‘pitch flutter’ on a sustained note, tweaking these settings can sometimes tame it.

The Real Thing?

If Waves Tune Real-Time is to be considered a success, it must be able to satisfy on two obvious points. First, is the processing actually fast enough for real-time use? Second, is the quality, flexibility and stability of the automatic pitch-correction processing up to the job?

While my own testing was studio-based, in terms of the first question, I think the answer is a very clear yes. OK, in a recording session, I’m not sure I’d generally want to track with pitch-correction in my signal chain but, if it is something you need — perhaps as a special effect or to provide a bit of a comfort blanket to an insecure singer — Tune Real-Time can do it. The trick, both in the studio and in a live performance context, is to ensure that the rest of your monitoring signal chain doesn’t scupper the plug-in’s efficient, low-latency operation. In a mission-critical live context, that might mean putting Tune Real-Time’s needs at the top of your performance priority list.

In terms of the second question, as an automatic pitch-correction tool, Tune Real-Time is most certainly competitive with the other leading contenders. I tested it alongside Antares Auto-Tune Live; both were capable of meeting the need for speed required for real-time use and, with the obvious qualification that I’ll get to next, both delivered very good results. What’s more, the Waves control set — and in particular the note transition features and ability to configure the direction of pitch-correction on individual notes — makes for a lot of flexibility. Yes, you are still in the hands of an automated correction process, but these controls give you useful ways to influence the operation of that process.

And that obvious qualification? Automatic pitch-correction will not turn a Friday night karaoke singer into a Christina Aguilera or a Michael Bublé; this technology is impressive, and in many ways remarkable, but is not a substitute for actual vocal skills. Panipulator vst download free. If you set Tune Real-Time to fast pitch-quantise, even a pub singer might get away with a few bars of ‘special Cher effect’ but, if it’s a more natural performance you are seeking, Tune Real-Time will not rescue someone who really can’t sing.

That is, of course, a very good thing and, in one sense, it means the whole argument about pitch-correction in a live-performance context is still a bit moot. If your singer has his or her skills down, yes, software like Waves Tune Real-Time can support and enhance their performance, and perhaps help compensate for situations where poor monitoring or tiredness can make even a good singer’s pitch a little off. In the studio, it is perhaps possible to do more to overcome a singer’s limitations, but this would really require the offline processing options provided by the likes of Melodyne or the full version of Auto-Tune. However, it is worth emphasising that Tune Real-Time is also a great option in the studio providing all you need is automatic pitch-correction. Don’t expect miracles of this or any automatic pitch-correction tool, but if you are starting with a solid singer, Waves Tune Real-Time is more than capable of tidying up any loose edges that might occur.

Alternatives

From a software perspective, the obvious competition is Antares’ Auto-Tune Live, currently costing about the same as Tune Real-Time at its full price.

There are also hardware alternatives, and in particular, TC-Helicon have developed a number of products aimed at live performance that include some pitch-correction options. A current example is the Mic Mechanic footpedal: this includes chromatic pitch-correction and is competitively priced, but does not provide the flexibility or level of user control offered by Tune Real-Time.

Pros

• Latency of the plug-in is low enough for live use, providing the rest of the system configuration is up to the task.
• For an automated process, it offers plenty of user control.
• The quality of the automated pitch-correction processing is certainly a match for the obvious competition.

Cons

• Requires a low-latency computer/audio system for ‘live’ real-time use.

Summary

If you don’t need the option of manual pitch editing, Waves Tune Real-Time is a very capable automatic pitch-correction tool for studio use and, given the low latency of the plug-in itself, a viable option for use in a live performance context — providing you are dealing with a competent singer in the first place.

information

Fuse Distribution Ltd +44 (0)845 500 2 500

Waves +1 865 909 9200

Test Spec

• Waves Tune Real-Time v9.6.14.12 Build 87243.
• Apple iMac with 3.5GHz Intel Core i7 CPU and 32GB RAM, running Mac OS 10.10.5, with Soundcraft Signature 12MTK mixer/interface.
• Tested with Steinberg Cubase Pro 8.5.

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!”

Where To Place Auto Tune In An Effect Chain Lyrics

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

Antares Auto-tune

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

Where To Place Auto Tune In An Effect Chain Video

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. 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.

Conclusion

Auto-Tune is part of our musical landscape. Bitcrusher vst fl studio free download. 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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