- What is auto-tune? Simply put, auto-tune is a tool used to digitally correct the pitch of an instrument or voice in order to more easily get a perfect recording in a studio session. This tool is often used to slightly change pitch but is more widely known for the drastic alteration in the voice, giving it a mechanical or inhuman sound.
- Nov 16, 2013 Auto-Tune Mobile brings vocal pitch correction to vocal performance, using Antares' world-class Auto-Tune® technology. Now Antares' professional pitch correction recording studio technology is available for local performers to use live, on stage, or in recording apps on your iPhone / iPad.
(bell dinging) (audience cheering) ♪ T-Pain bring that ass here boy ♪ ♪ Look, I'm 'bout to hit you with a sonic boom ♪ ♪ Your career ain't (bleep) without auto tune ♪ ♪ But listen ♪ ♪ I fold you, don't kid me though ♪ ♪ I hate you every time you do this in your video ♪ (audience cheering) (bell dinging) ♪ He ain't that.
Pitch correction is an electronic effects unit or audio software that changes the intonation (highness or lowness in pitch) of an audio signal so that all pitches will be notes from the equally tempered system (i.e., like the pitches on a piano). Pitch correction devices do this without affecting other aspects of its sound. Pitch correction first detects the pitch of an audio signal (using a live pitch detection algorithm), then calculates the desired change and modifies the audio signal accordingly. The widest use of pitch corrector devices is in Western popular music on vocal lines.
Prior to the invention of pitch correction, errors in vocal intonation in recordings could only be corrected by re-recording the entire song (in the early era of recording) or, after the development of multitrack recording, by overdubbing the incorrect vocal pitches by re-recording those specific notes or sections. By the late 70s, engineers were fixing parts using the Eventide Harmonizer H49. Prior to the development of electronic pitch correction devices, there was no way to make 'real time' corrections to a live vocal performance in a concert (although lip-syncing was used in some cases where a performer was not able to sing adequately in live performances).
Pitch correction was relatively uncommon before 1997, when Antares Audio Technology's Auto-Tune Pitch Correcting Plug-In was introduced. This replaced slow studio techniques with a real-time process that could also be used in live performance.
Auto-Tune is still widely used, as are other pitch-correction algorithms including Celemony's Direct Note Access which allows adjustment of individual notes in a polyphonic audio signal, and Celemony's Melodyne. Pitch correction is now a common feature in digital audio editing software, having first appeared as a Pro Tools plugin and now being found in products such as Apple GarageBand, Apple Logic Pro, Adobe Audition, FL Studio, Digital Performer, and Steinberg Cubase. MorphTune also provides this functionality. It is also available in the form of rackmount hardware, such as the TC-Helicon VoiceOne. There is also a large stompbox pedal that provides pitch correction in a small device that could be used at a show by plugging the vocal microphone into the pedal and then sending the signal to the PA system. A free VST plugin known as GSnap can also be used to get the same effect. In the LinuxFOSS community, Autotalent and Zita-AT1 offer this functionality.
The most common use of pitch correctors is to fix wrong intonation (tuning) of notes sung by vocalists in popular music sound recordings. The use of pitch correction speeds up the recording process, because singers do not need to keep singing a song or vocal line and re-recording it until the pitches are correct. The pitch correction software can correct any pitch errors in the singing without the need for overdubbing or re-recording.
Sam cooke only sixteen mp3 download. While pitch correction is most associated with fixing vocal intonation errors, it can also be used to fix intonation in recorded instrumental parts such as violin, cello or trumpet.
Vocal harmony and vibrato
Pitch correctors are commonly used in music studios to add the sound of vocal harmony to certain sung words or phrases without re-recording those lines again at the necessary pitches or using backup singers. Depending on the model used, various vocal effects can be added and the better quality devices can be adjusted to allow expression to remain in the music. Some pitch correctors can add vibrato.
While pitch correction devices were initially designed to produce natural-sounding effects, producers discovered that by setting extreme parameter values, unusual effects could be obtained. Pitch correction devices became popular in the late 1990s as a distinctively electronic, vocoder-like voice effect. A notable example of Auto-Tune-based pitch correction is the Cher effect, so named because producer Mark Taylor originated the effect in her 1998 hit song 'Believe'. The effect has been used by composer John Boswell for his Symphony of Science and Symphony of Bang Goes The Theory (a BBC science show) mash-ups. American Rapper T-Pain is known for his skillful use of this effect.
One criticism of pitch correction is that it allows recording engineers to create a perfectly in-tune performance from a vocalist who is otherwise not skilled enough to give one, adding a degree of dishonesty to music. This concept was featured in a 2001 episode of The Simpsons, entitled 'New Kids on the Blecch'. In the episode, a cartoon representation of a pitch corrector (labeled 'Studio Magic') was used to make up for the total lack of singing talent in a manufactured boy band, of which Bart Simpson was a member.
In 2003, Allison Moorer began attaching stickers to her 2002 album Miss Fortune reading 'Absolutely no vocal tuning or pitch-correction was used in the making of this record.' 
A Chicago Tribune report from 2003 stated that 'many successful mainstream artists in most genres of music—perhaps a majority of artists—are using pitch correction'. Timothy Powell, a producer/engineer, stated in 2003 that he is 'even starting to see vocal tuning devices show up in concert settings'; he states that 'That's more of an ethical dilemma—people pay a premium dollar to see artists and artists want people to see them at their best.'
In 2010, producer Teddy Riley claimed that the processing of Michael Jackson's voice with Melodyne caused fans to question the authenticity of the voice on the posthumous album Michael. Riley claimed that because he did not have a 'final vocal' from Jackson, Melodyne had to be used 'to make his voice work with the actual music,' 'to get him in key' and this resulted in the vibrato sounding 'a little off' or 'over-processed.'
- ^Anderton, Craig. 'In Search of the Perfect Pitch; The fix is in'. EQ. 2006-07-01. Pg. 46.
- ^Hodgson, Jay (2010). Understanding Records, p.233. ISBN978-1-4411-5607-5.
- ^Sillitoe, Sue & Bell, Matt (1999-02). 'Recording Cher's Believe'. Sound on Sound. Retrieved on 2008-04-14.
- ^Daley, Dan (October 2003). 'Vocal Fixes: Modern Vocal Processing In Practice'. Sound on Sound. Retrieved 2009-02-12.
- ^Everett-Green, Robert. (2006-10-14). 'Ruled By Frankenmusic; The computer program that cleans up singers' pitch is reshaping the character of pop'. The Globe and Mail (Canada). Pg. R1.
- ^ abRyan, Maureen (27 April 2003). 'What, no pitch correction?'(PDF). Chicago Tribune. Retrieved 2010-04-25.
- ^ abCollett-White, Mike (2010-12-13). 'Voice on Jackson album far from finished article'. Reuters (UK Edition). Thomson Reuters.
- Vocal Pitch Correction Pedal/Processor Review 2017 - SustainPunch
Prior to the digital age, life in the studio was all about moderating the effects of human touch.
Compressors evened out the dynamics of the bass player while a side chain feed kept them matched with the drummer. The drummer had a metronome feed playing to maintain tempo.
Singers, well, you could keep their dynamics in control, but when they sang flat, about all you could do was tell them to smile as they sang and aim above the problem notes.
Smiling has the mysterious effect of raising singers' pitch. Aiming high is probably wishful thinking on everyone's part, but sometimes it works.
The Advent of Auto-Tune
You wouldn't think earthquakes have a lot to do with singing in pitch and they don't, really.
However, it was seismi c research that provided the background for Dr. Andy Hildebrand, the creator of Auto-Tune and its parent company Antares.
He left that field and returned to his early love of music, bringing knowledge that created seismic interpretation workstations and applied it to issues arising in the early days of digital music.
Hildebrand's expertise with digital signal processing led to a series of audio plug-ins, including 1997's Auto-Tune, which could correct the pitch of a voice or any single-note instrument with surprisingly natural results.
Audio engineers now had a weapon against the occasional bum note. Rather than scrapping an entire take, Auto-Tune offered a repair tool that quickly caught on.
Auto-Tune as an Effect
It was only a year later in 1998 that use of Auto-Tune as an effect rather than repair tool happened.
Called the 'Cher Effect' after the singer's hit, 'Believe,' artificial and abrupt pitch changes came into vogue. Later, real-time pitch correction hardware brought both effects and repairs to the stage.
In the studio, Auto-Tune proved another weapon to 'fix it in the mix.'
Issues with Auto-Tune started soon after, with lines drawn between the purist and users camps. Many felt that using pitch correction was an artistic cheat, a way to bypass craft.
The arguments resemble the resistance synthesizers received in the 1970s and 80s that led Queen to note that none were used on their albums.
The other side of the argument pointed out that tools such as compressors and limiters and effects such as audio exciters had already been modifying the sound and behavior of voices throughout the history of recording. Though the anti-Auto-Tune camp seems vocal and large, rarely does a session go by without some use of pitch correction. It's nearly impossible to detect when used judiciously, nowhere near as obvious as when used for effect.
Auto-Tune is no longer the only player in the pitch correction game either. 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.
The Antares version of the effect has achieved 'Kleenex' status. Its brand name is now synonymous with the generic effect it originated. It joins 'Pro Tools' from the audio world and 'Photoshop' from digital imaging in this manner.
Unlike some digital music signal processors, pitch correction hasn't generated a huge number of knock-offs. Melodyne is a serious contender, due to its far more intuitive interface. GSnap is an open source alternative that produces similar results. While iZotope's VocalSynth includes pitch correction features, it's more of a full vocal processor rather than a dedicated pitch correction app.
The 4 Best Auto-Tune VST Plugins
Now, lets get into the top 4 autotune plugins. Each one offers unique features and I assure you that one of these plugins have exactly what you are looking for
Antares Auto-Tune Vocal Studio
The originator is now a full-featured and functional vocal processor that still masters the innovative pitch correction duties it brought to the market, but adds a wide range of additional features and effects to help nail down the perfect vocal take.
Auto-Tune 7 forms the core of the Vocal Studio package, still tackling the pitch and time correction duties it always has. Since its earliest days, automatic and graphical modes handle the various chores for the main Auto-Tune module.
While still presenting a learning curve for the new user, the Auto-Tune 7 interface remains familiar enough for experienced users. Since it's the best-selling pitch correction software going -- and by a huge margin -- there are a lot of existing Auto-Tune users. Even if you're new to the plug-in, chances are you know someone who's used it.
The rest of the Vocal Studio package focuses on vocal manipulations such as automatic doubling, harmony generation, tube amp warmth and vocal timbre adjustment. The range and nature of these adjustments takes vocal processing into some new territory.
The MUTATOR Voice Designer lets you manipulate voices from subtle to extreme, permitting organic or alien manipulations but with results that still sound like voices, though perhaps not of this world. The ARTICULATOR Talk Box produces effects such as the guitar talk box of Peter Frampton and Joe Walsh, but also Alan Parsons-ish vocoder sounds, combining the features of sung or spoken voice with an instrument's output.
While the Auto-Tune Vocal Studio remains pricey, it remains at the top of a niche market of audio processing.
Melodyne 4 Studio
If Auto-Tune has a serious competitor in the pitch correction universe, it's Celemony's Melodyne. The interface, layout and operation of Melodyne is inherently more musical than the Antares take, so newcomers to pitch correction will likely find Melodyne easier to work with.
The Melodyne 'blob' is an easy to grasp analog of a sung note. It's far more intuitive than a waveform to understand. With the focus on graphical interface, Melodyne makes sense more quickly and easily than Auto-Tune. The latter's switching between automatic and graphical modes creates a comparative disconnect between functions.
Even long-time users of Auto-Tune will find moving to Melodyne natural, as there's enough in common that, once a user gets their bearings, familiar functions remain available.
Many Melodyne functions perform on polyphony too. Correcting a track with a multi-voice choir or chording instrument can work too. It's not a perfect function, but it's uncanny how often Melodyne senses chords clearly enough to allow changing of a single element.
What Melodyne doesn't do is the advanced vocal pyrotechnics offered by Auto-Tune. The Celemony product is all about pitch and time correction and it accomplished these with grace and ease.
Those looking for an affordable entry into digital pitch correction can turn to Melodyne 4 Essential. It's a plug-in that handles the pitch and time corrections of its big brother, but with fewer advanced features and without the full-featured price tag.
Though pitch correction isn't the focus of this iZotope plug-in, it resembles the full Auto-Tune Studio package. At a fraction of the cost of the big boys in this class, VocalSynth doesn't offer the depth of control experienced with either Auto-Tune or Melodyne, yet it still manages to provide a reasonable job of pitch correction.
There's no graphical representation such as Melodyne's or Auto-Tune's graphical mode. That makes fine-tuning performances a little beyond the reach of VocalSynth, but for reasonable performances, it's not a major limitation. Think of the iZotope product as a first-aid kit rather than an emergency department.
Kitchen designer software for mac os x 10.6. The four voice synthesis modules are where the fun resides with VocalSynth. Talkbox, Compuvox, Polyvox and Vocoder modules emulate many of the vocal effects you've heard on hits from a wide range of artists. This is also just the most overt extra in the VocalSynth package.
A variety of additional modules let you tune up or tear up your vocal tracks. Add harmony, filter vocals, create radio and phone effects. These modules can either optimize your track or take it to new and exciting places.
VocalSynth may be the country cousin to the serious pitch manipulators, but it has capability with a high fun factor.
What Is Auto_tune Singing In Spanish
Don't let the download page fool you, GSnap is a VST plug-in that works with any DAW platform that supports VST, not simply Windows-based DAWs. Both 32 and 64-bit support is included. Completely free, it does come with limits. While there is more graphic information than iZotope offers, it doesn't offer direct edits.
While not as flexible as pro pitch correction, it's a low-cost alternative for users who can't swing the big time prices. It's difficult to use GSnap subtly. That's not an issue for those seeking pitch correction effects, such as Cher or T-Pain. Backup vocals are also a good candidate.
This is the entry level of pitch correction, and because of that, it's included here. The effect is so ubiquitous that anyone working in the field needs to know how it works. GSnap represents the place to start.
Wrapping It Up
Love it or hate it, pitch correction is here to stay, both as tool and effect. These four plug-ins aren't the only ones out there, but they represent the spectrum of pitch correction treatment. Auto-Tune is the originator. Melodyne is the refinement. It works just as well as the Antares product in nearly every way with an interface that easy to grasp.
iZotope VocalSynth represents the cream of the mid-priced plug-ins. It's capable and creative, even if it's not as flexible on pitch correction as the top-line apps. GSnap represents pitch correction for everyman. You can't knock the price of freeware.
The debate will likely rage over the ethics of pitch correction in popular music. While you wait for the dust to settle, give one of these packages a try.
What Is Autotune Singing
Previous:5 Holiday Gifts Musicians Will Go Crazy Over 2019