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Auto Tune 7 Vs Waves Tune Real Time

07.08.2020
Auto Tune 7 Vs Waves Tune Real Time Average ratng: 8,6/10 5610 votes

Waves Tune Real-Time MAC Crack Free Download 2020 {Updated}

Sep 07, 2017  A dream tool that helps vocalists stay in tune while singing, feel confident, and focus on the emotion of their performance, in the studio or live on stage. Waves Tune Real-Time provides.

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  1. Today, pitch correction tools such as Waves Tune and Waves Tune Real-Time are used in nearly every style of music recording and even in live shows. The following tips will help you understand the basic.
  2. Top Five Mistakes Made While Self Producing Your Own CD. April 15, 2018. An Audio Engineer’s Perspective on Achieving the Commercially Successful Song.
  3. In this video review Pro Tools Expert team member Dan Cooper takes a look at the new Waves Tune Real-Time auto tune plug-in. Watch to hear how it performs on a vocal & bass guitar. Also watch to find out.
  4. If you don’t know the scale of the song, you can enter the notes using the virtual keyboard, or set the plugin to follow a melody played in advance or in real time via MIDI. Waves Tune Real-Time is compatible with all Waves SoundGrid applications and eMotion mixers, and can work seamlessly with any live console via MultiRack without the need.

Waves Tune Real-Time Crack provides smooth, natural-sounding vocal pitch correction instantly and automatically, as soon as the notes leave the singer’s mouth. Moreover, it is used for live performances. As well as pre-production, tracking and mixing in the studio. Further, the plugin’s innovative pitch detection and correction. All in all, its technologies ensure that the tuned vocal retains the vocalist’s natural vocal sound. Producers, engineers, and performers can use the plugin for subtle pitch correction, but also as a creative pitch quantization effect – all in real-time.

Waves Tune Real-Time Crack boosts confidence in your vocal abilities. So, you can concentrate on your performance without worrying about pesky technicalities. Waves Tune Real-Time Free provides an invaluable assist onstage or when tracking or mixing vocals in the studio. The results are impressive: natural-sounding pitch correction – automatically and instantly, as the lyrics leave the vocalist’s mouth. The plug-in’s cutting-edge pitch detection and correction technology deliver tuned vocals that preserve the singer’s natural sound. You can also use Waves Tune Real-Time is a creative pitch-quantization effect.

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Waves Tune Real-Time Mac can be easily work in use per song. So, that is why it is a famous tool all around the world. You can control the range, choose a scale, mark in advance specific notes to fix or avoid, control the plugin’s sensitivity, and even tune a singer’s vibrato while preserving its natural movement. Further, if you don’t know the scale of the song, you can enter the notes using the virtual keyboard, or set the plugin to follow a melody played in advance or real-time via MIDI. Moreover, Waves Tune Real-Time is compatible with all Waves SoundGrid applications.

Furthermore, Waves Tune Real-Time Crack 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. All in all, Waves Tune Real-Time on one of the Waves’ SoundGrid servers, you could eradicate the round trip through your computer and DAW.) Further, Waves Tune Real-Time Plugins is also packed with powerful new features and enhancements.

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Key Features:

  • Automatic real-time pitch correction for vocals.
  • Shortest latency for immediate control.
  • Optimized for studio and live applications.
  • Further, advanced formant correction preserves the natural sound of the voice.
  • Vibrato correction while maintaining natural movements.
  • All in all, creative pitch quantization effects.
  • Programmable or MIDI playable pitch control.
  • Moreover, it can be used with MultiRack Soundgrid for all live consoles.
  • Program or play the pitch correction via MIDI.
  • Furthermore, runs on any live mixing console via MultiRack SoundGrid.
  • Moreover, compatible with all SoundGrid applications: StudioRack, MultiRack, eMotion ST, eMotion LV1.

Specifications:

  • Supported formats: VST2 / VST3 / AU / AAXnative / MultiRack / StudioRack / eMotion ST / eMotion LV1
  • System requirements: Win7 (64-bit) or higher, Mac OSX 10.11 or higher, Intel Core i5, 8 GB RAM, 8 GB HD, Internet connection

MAC:

CPU: Intel Core i3 / i5 / i7 / Xeon. Memory: 4 GB RAM, 4 GB free disk space on the system drive. Operating System: 10.9.5 – 10.12.2, 10.8.5 for ProTools 10 only. Screen Resolution: Minimum – 1024×768, Recommended – 1280×1024 / 1600×1024. USB displays are not supported as the primary display.

Windows:

CPU: Intel Core i3 / i5 / i7 / Xeon / AMD Quad-Core. Memory: 4 GB RAM, 4 GB free disk space on the system drive. Operating System: Windows 7 with SP1 64 bit, Windows 8.1 64 bit, Windows 10 64 bit. Screen Resolution: Minimum – 1024×768, Recommended – 1280×1024 / 1600×1024.

Using Waves Tune Real-Time for natural pitch correction:

1. Audition the incoming vocal and adjust the Note Transition control. Begin by setting Note Transition to the lowest value that does not result in quantization between notes. You may then want to back off a bit from this setting.
2. Adjust the Speed in the same manner. Under normal circumstances, set Speed to the lowest value that does not produce quantization artifacts.

Using Waves Tune Real-Time as an instrument that enhances note quantization:

1. To create a quantization effect, you’ll usually turn off the Vibrato control. But if the incoming vocal contains wide vibrato, turn on the Vibrato control and set the Vibrato Depth to 0.
2. Set the Speed and Note Transition controls to their minimum values

Tech Specs:

  1. Software Type: Vocal pitch correction and effects
  2. Platform: Mac, PC, Windows
  3. Upgrade/Full: Full
  4. Download/Boxed: Download
  5. Bit Depth: 64-bit
  6. Format: AAX Native, AudioSuite, AU, VST, VST3
  7. Hardware Requirements – Mac: Intel Core i5 or higher, 8GB RAM minimum
  8. Hardware Requirements – PC: Intel Core i3 / AMD Quad-core or higher, 8GB RAM minimum
  9. OS Requirements – Mac:OS X 10.11.6 or later
  10. OS Requirements – PC: Windows 7 SP1 or later
  11. Manufacturer Part Number: TNELV

Pros

  • The 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 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.

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.

Reference Frequency:

Similar to the calibration adjustment on a standard guitar/instrument tuner, the Reference Frequency control adjusts the overall tuning offset for any scale.
Range: +/- 100 cents (415.3Hz –466.16Hz.)
Default: A4 = 440 Hz;

Using MIDI:

Connecting a MIDI Track or MIDI Keyboard.
When opening the plugin a MIDI Node is created. This is common to all MIDI-enabled Waves plugins.
Connect the MIDI device to output to this instance of Waves Tune Real-Time. The MIDI input can be either a MIDI keyboard or a MIDI track.

Reference Tone:

Playing a note on the Waves Tune Real-Time virtual keyboard or from a MIDI input will sound a tone when the Reference Tone button is engaged. The
Level knob controls the audio output level of the tone generator. Reference Tone is not active when dynamic processing is enabled in the DAW and no audio is coming into the processor.

Target Pitch:

When Target Pitch is selected, a note played from the on-screen keyboard, MIDI track, or MIDI keyboard forces the target pitch of the vocal note. You can actually “play” the pitch of the vocalist’s performance. Target Pitch can be used in real-time for correcting or as an artistic effect. This is true even if
the note is in Bypass mode.
An example: If the plugin detects A4, and you play C4, then the vocal will be shifted up. The speed of the correction is determined by the Speed and
Note Transition controls. An incoming note that is not within the Range cannot be pitched shifted.

Root and Scale:

These define the root note for the selected scale. The default scale is a twelve-semitone (half-step) equal-tempered chromatic scale. Since the notes in a scale define the correction grid, a selected scale preset will adjust the pitch intervals of notes, as well as the Note Status (legal vs. illegal). An asterisk next to the Scale name indicates that the scale has been modified.

Meters:

The plugin includes the input (IN) and output (OUT) meters standard to Waves plugins.
Range: -28 to 0 dBFS

Correction 100%

Sets how much of the detected correction (to the closest legal note) will be applied to the signal.
Range: 0.1 – 100%
Default value: 100%

Formant Correction:

Turns Formant Correction On and Off.
Formants are acoustical resonant frequencies that define the characteristics of a voice or instrument. Formant correction preserves the natural characteristics of a voice while pitch shifting. Pitch shifts without formant correction may not preserve the natural attributes of the voice—especially with large pitch shifts—since these resonances are not maintained.
For quantizing effects, you may choose to not use formant correction. This can create artifact sounds often associated with pitch shifters.

Correction On/Off

Activates or deactivates the pitch correction algorithm.
Range: On/Off
Default: On

Tolerance Cents:

Range: Off–40
Default: Off

Tolerance Time:

Range: Off–300ms
Default: Off

Vibrato On/Off:

The presence of vibrato can create undesirable effects in a pitch-correction algorithm so it’s handled separately.
Vibrato On – Note transition will not affect natural vibrato. This will preserve, enhance, or decrease the frequency modulation between pitches,
depending on the Vibrato Depth settings.
Vibrato Off – Note transition will affect natural vibrato. Fast Speed and Note Transitions settings will result in a fastpitch quantization effect, eliminating vibrato.
Range: Off/On
Default: Off

Vibrato Depth:

100%, the natural vibrato will be preserved, even at fast Note Transition values. When Vibrato Depth is set lower than 100%, vibrato is reduced. A zero value will flatten pitch. Values higher than 100% exaggerate the frequency modulation aspects of the vibrato. Waves Tune Real-Time does not affect amplitude modulation in the vibrato.
IMPORTANT: Vibrato relates not only to distinctive vibrato but also to flutter in the Voice, which keeps the correction very natural even at a Speed value of 0.1.
Range: 0–200%
Default: 100%

Note Transition:

When Waves Tune Real-Time detects that a note has changed from the previous one, Note Transition determines how fast correction will be applied.
Set the control according to what you wish to accomplish. Setting Note Transition to fast value results in pitch changes that may sound jumpy and quantized. Further, slower values may provide smoother transitions and preserve the glissando without compromising the sustain tightness. Moreover, the transition time can be set in 0.1ms steps.
Range: 0.1–800 ms
Default: 120 ms
Link ties together the movement of the Speed and Note Transition controls.
Range: On/Off
Default: Off

Speed:

Sets the correction speed, in milliseconds. It defines the attack in correcting a sustained pitch that’s drifting out of tune. Faster values result in rapid corrections that can flatten most of the pitch contours from the source. With slower values, Waves Tune Real-Time takes longer to correct to
the target note.
Range: 0.1–800 ms, logarithmic, in 0.1-ms steps
Default: 15 ms

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System Requirements :

PC:

  • Intel Core i3 / i5 / i7 / Xeon
  • 4 GB RAM and 4 GB free disk space
  • Windows 7 SP1 or higher (64-bit)
  • Minimum 1024×768 screen resolution: Recommended 1280×1024 / 1600×1024
  • AAX Native, VST3 host

Mac:

  • Intel Core i3 / i5 / i7 / Xeon
  • 4 GB RAM and 4 GB free disk space
  • Mac OS X 10.9.5 – 10.11.6 : 10.8.5 for ProTools 10 only
  • AAX Native, VST3, Audio Units host

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Pitch-correction Plug-in
  • Signal Processors >Pitch-shifters

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. 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.

Time

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.

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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.