This article is going to be about Auto-Tune. Go grab your pitchforks … I’ll wait.
Antares Autotune 8.1 VST Pre-Activated Antares Autotune 8.1 is the industry standard when it comes to vocal pitch corrections, used by heavy weight artists in different music genres, such as Pop, Hip hop and RnB. This is a must-have plugin to have in your audio softwares collection! Sep 13, 2017 Best Settings For Antares Autotune 2017 Tropical Drip. How to Use Auto-Tune Realtime by Antares on Vocals - Duration. How To Use Auto-Tune For Natural Pitch Correction. Auto-tune Pro; Antares; 9.1; 64-bit; Windows 7, 8 and 10; Instructions: Attached; Auto-Tune Pro is the most complete and advanced edition of Auto-Tune. It includes Auto Mode, for real-time correction and effects, Graph Mode, for detailed pitch and time editing, and the Auto-Key plug-in for automatic key and scale detection. Auto-Antares AutoTune Pro License Key can help you manage with pitch and time for the work. And it helps to assess the original music. Fix a place to keep track of the music. You can also use the Flex Tune Pitch in this program. It is, without doubt, one of the finest instruments that can be utilized for the aim of pitch correction of music. Download and run the latest Auto-Tune Pro installer. Open Antares Central (located in the Applications/Antares Audio Technologies folder on Mac, and in the Program Files folder on Windows) 4.Login to your Antares account with Antares Central. 5.Select “Manage Licenses” and click Next. 6.Click on your Auto-Tune Pro license to activate it.
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. 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. 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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Antares Auto-Tune Pro v9.1.0 WIN
Size 110 Mb
Auto-Tune Pro The Professional Standard for Pitch Correction
Download Antares Autotune Presets
Auto-Tune Pro is the most complete and advanced edition of Auto-Tune. It includes both Auto Mode, for real-time pitch correction and effects, and Graph Mode, for detailed pitch and time editing.
For twenty years, Auto-Tune has been the professional standard for pitch correction, and the tool of choice for the most iconic vocal effect in popular music.
Now, with the introduction of Auto-Tune Pro, it’s more versatile and easy to use than ever before, thanks to a totally redesigned interface and powerful new processing, editing, and navigation features.
We’ve added automatic key detection with the new Auto-Key plug-in (included with Auto-Tune Pro purchase), Classic Mode for the “Auto-Tune 5 sound,” and real-time MIDI Control.
Both the Auto Mode and Graph Mode interfaces have been redesigned to offer the most efficient, flexible, and intuitive workflow for professional users and beginners alike.
Auto-Tune Pro also includes Flex-Tune and Humanize for more transparent and natural-sounding tuning, and Low Latency mode so you can perform in real time without distracting delay.
Antares Auto Tune Pro Aax
It also features Time Correction for non-destructive time editing, as well as Formant Correction, Vibrato Controls, and Throat Length Modeling.
Whether you want to quickly touch up a few questionable notes or meticulously polish an entire performance, Auto-Tune Pro offers the professional pitch correction and classic effects you’re looking for.
The Professional Standard
For twenty years, Auto-Tune has been the world standard for professional pitch correction (and more recently, time correction), and the tool of choice for the signature vocal effect of modern popular music. Today, it’s used daily by thousands of audio professionals around the world to save studio and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime performance, or to create what has become the signature vocal effect of modern popular music.
Freedom of Expression
Auto-Tune Pro offers the transparent, natural sounding, and pristine pitch and time correction required for professional quality audio production, as well as the classic effects that have become a staple of popular music.
Use our Flex-Tune and Humanize technologies to bring a vocal performance perfectly into tune without sacrificing the expressive gestures and natural variations that give it its character and authenticity, or crank the Retune Speed for a dramatic Auto-Tune Effect.
The powerful Time Correction features in Graph Mode allow you to quickly touch up the timing errors in an otherwise perfect performance, or creatively rework the timing of your track without having to re-record it.
Our Low Latency Mode lets you perform through Auto-Tune in real time on stage or in the studio, without worrying about distracting delay.
Whether you’re in need of natural sounding pitch correction, versatile and transparent time correction, or classic effects, Auto-Tune Pro is the tool you’re looking for.
New Auto-Tune Pro Features
A New, Streamlined User Interface
Auto-Tune Pro features a sleek, all-new interface in both Auto Mode and Graph Mode, redesigned for ease of use and efficient workflow.
Auto Mode now includes two unique screen views: Basic View which gives you quick and easy access to the core features of Auto Mode, and Advanced View which unlocks the powerful MIDI, scale editing and vibrato features.
The Graph Mode interface has be redesigned from the ground up. In addition to a much larger Main Graph, the new Graph Mode features greater zoom resolution, user assignable zoom presets, and controls reconfigured to optimize workflow efficiency.
Classic Mode
Classic Mode is the return of the celebrated “Auto-Tune 5 sound.” As we’ve added new features to Auto-Tune, the algorithm has evolved, and its sonic qualities have undergone subtle changes, with each Auto-Tune version having its own slightly different character.
Over the years, the sound of Auto-Tune 5 has developed a strong following among pro audio engineers, musicians and producers. After repeated requests from the professional music-making community, we’ve made the sound of Auto-Tune 5 easily accessible via Classic Mode in Auto-Tune Pro.
Auto-Key: Automatic Key and Scale Detection
Auto-Key is a brand new plug-in, included with your Auto-Tune Pro purchase, which automatically detects the key and scale of your music and sends that information to one or more instances of Auto-Tune Pro. If you already know the key and scale of your tracks, you may also find Auto-Key useful for simultaneously setting the Key and Scale parameters of multiple instances of Auto-Tune Pro from a single location.
MIDI Parameter Control
Many of Auto-Tune Pro’s key parameters can now be controlled in real time with a MIDI controller, including Retune Speed, Flex-Tune, Humanize, Throat Length and all of the Vibrato functions. Assign the parameters to the controls on your MIDI device, and perform dramatic effects in real time on stage or in the studio.
Fxed saving Auto-Tune Pro in Cubase.