How To Apply Auto Tune
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Auto-Tune is one of the most widely used plug-ins in music production. This tutorial shows you the power within this amazing audio processor.
In the 22 years since it’s inception (1997), Auto-Tune has been the industry standard for tuning vocals, and for good reason. From my own personal experience, it’s still my go-to tuning software, as it can keep up with my own workflow, and does exactly what I need it to do. There are many other tuning softwares available, but none have the proven to me better. In the past 20 years, I’ve never had a single negative comment, or even anyone notice that I’ve used a tuning software, which is exactly as it should be. There are many people out there wanting to lay blame on the tools for their work sounding robotic, or unnatural. I may take some heat for saying so, but this doesn’t have to be the case if you learn how to use your tools properly; pay attention to what the settings do. If something doesn’t sound right, keep tweaking until it does. It’s as simple as that. Now I must say though, there is a limit to how much tuning or editing you CAN do to a less than perfect performance. A common saying in the industry comes to mind - “You can’t polish a turd”. I could probably write an entire book on tuning vocals, but the intent here is to give you an inside look at the most commonly used parameters and how to use Auto-Tune in a more effective way….
The Correction Modes In Auto-Tune
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There are two correction modes and ways to use Auto-Tune. There’s Auto Mode, also know as “lazy mode”, and Graphical Mode, also known as “Auto-Tune”. Auto Mode basically runs in real-time, and analyzes the audio as it passes through. It then determines what to do to the audio, as it passes through. Adjusting your settings can help it to do a better job of tuning, but nothing replaces your own ears on what needs to be tuned, and what does not. The only time I personally use Auto Mode is when I have several songs that need to be mixed in a very short amount of time, and there simply is not enough time, or budget, to properly tune the tracks. Graphic Mode is a bit more involved, but yields MUCH better results! Graphic Mode basically works like this: You capture (track pitch) the performance once into the plug-in, so it can be analyzed, displayed and edited. (Same for most other professional tuning software) Then, you choose which notes are to be tuned, and how, and which are to be left alone. This is far superior to every single bit of audio being automatically adjusted. By the way, if what you are trying to achieve with Auto-Tune is the T-Pain, or CHER effect, use Auto Mode with a very fast Retune Speed, and you can skip the rest of this article.
Auto Mode
Auto Mode is the default mode when opening Auto-Tune. It is designed to automatically analyze audio as it passes through, and tune up or down to the nearest note everything that passes through. With that being said, there are some very important things to pay attention to, as they will help you get much better results. Paying attention to a few of these settings following, you can minimize Auto-Tune attempting to tune things that should not be, such as vibrato and notes that are intentionally slurred from one note to another.
Input Type: This basic setting help Auto-Tune focus on specific frequency ranges and types based upon the type of content you are trying to tune. Always start here!
- Soprano -For high or female voices
- Alto/Tenor -For normal voices
- Low Male -For Barry White
- Instrument -For violins, violas, and other types of monophonic instruments
- Bass Inst -For lower pitched instruments, and yes, it is quite common to tune a bass guitar.
Scale: Setting the scale to the actual key of your song will most certainly help minimize errors in automatically tuning. Chromatic is the default scale, and probably most popular, but setting the proper key of your song will narrow down the choices of tuning from eleven notes down to the seven within a given key. For example, you have a song in the key of “C”, which has no sharps or flats. A singer sings a little bit sharp on a trying to sing a “C”. If the note sang is closer to “C#”, Auto-Tune will try to tune the note up to “C#”, resulting in an improperly tuned note. When setting the scale to C Major in this same scenario, the singer would have to sing past “C#” for it to create and error and try to correct to a “D”. This is another great starting point for Auto Mode usage. As you can see from the picture to the right, there are many other scales to choose from, and yes, Auto-Tune is used world wide, and there are many other scales available to those around the world using alternate tuning and scales.
Retune Speed: This is one of the most important settings to pay attention to, as it sets how fast Auto-Tune will tune a note, similar to a glide or fade time from non-tuned to fully tuned processing. Setting a very fast time will remove any variations in pitch, but can yield some very unnatural results. But then again, this is a big part of creating the T-Pain/Cher effect. If this is what you are looking for, absolutely start here with a very fast time!
Humanize: This allows sustained notes to have a slower Retune speed than the shorter duration notes. Typically you would start a setting of 0 while setting the Retune speed, making sure all notes that need tuning are being tuned, then adjusting the Humanize will help with sustained notes from not sounding overly tuned, while still being fast enough to tune shorter duration notes.
Natural Vibrato: This is independent of your pitch settings and is used solely to tame natural vibrato of a performance. Leaving it at it’s default setting of 0, will not affect the original vibrato, but adjusting will minimize the amount of vibrato allowed. Once again, this is independent of pitch controls.
Targeting Ignores Vibrato: Turning this on can help with what Auto tuning tries to tune and what it ignores. If you have a track with a lot of vibrato, try turning this on and see if it helps. This is something that would typically be used with a lead type of vocal, allowing the natural vibrato to be ignored. Backing vocals typically shouldn’t have as much vibrato, therefore, minimizing vibrato is preferred.
Target Notes Via MIDI: This is quite fun to play with, along with fast Retune speeds. Spotify ios download single song. When engaging, Auto-Tune does nothing until a MIDI note is present from a keyboard or MIDI track, then it tunes to the MIDI notes present. You can then play in a melody from a MIDI device, and the track will be tuned to what you play.
Graphic Mode
Graphic Mode is the mode you will use the most often when quality is the primary concern. The advantage: Graphic mode allows you to specify which notes are to be tuned, and which are not, along with independent settings for each note to be tuned, instead of the global settings to be used for every note passing through in Auto Mode. Ready to get started?
Correction Mode to Graph: Pretty self-explanatory, slide or click the correction mode from Auto to Graph.
Options
Click on the options button next to correction mode to get here:
Enter buffer seconds: The default here is 240 seconds, which is 4 minutes at 44.1k or 48k sample rate, based upon your session settings. A minute song would require 300 seconds. There’s no need to set a really high buffer amount, as it uses much more RAM from your system. The max setting of 14400 would yield 4 hours on one track! If any of you actually need that much, I’d like to know what project you are working on.
Default Retune speeds: After learning a bit about retune speed from Auto Mode, you can set the default retune speeds for various tune settings in which I will discuss shortly here, but this is where you set your defaults.
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Track Pitch in Autotune
The first thing we need to do is capture, or “Track Pitch”, our audio track into Auto-Tune so that it can analyze it, draw a graphic representation of the audio pitches, and respond appropriately. This allows Auto-Tune the time to not only respond quickly, but also to ramp in tuning before a note needs to be tuned, which is impossible in Auto Mode, as it is only running in real-time. So to get started:
- Click on the “Track Pitch” button: It will turn “Red” when enabled to track pitch.
- Play the track: Play your song from beginning to end, or section by section. As long as all the information that needs to be tuned is tracked in, you can then proceed.
- Turn off the “Track Pitch” button: Self-explanatory, but necessary to start tuning.
Decisions decisions!
You have two options now for tuning. You can draw or auto-create lines/curves or notes. The difference is that notes are typically easier to work with and treat an area of audio as a block, or note, and a line or curve allows you to treat bends in between specific notes with a little more intent.
The Tools
There are a few tools to start with here and I’ll describe them briefly from left to right.
- The Line Tool is used to draw multi-segment lines on the pitch graph. It is typically used when you want to hold a straight pitch, or bend evenly from one pitch to another.
- The Curve Tool is used when you would like to free-hand draw in pitch correction. I personally find this one quite difficult to use.
- The Note Tool is used to draw notes. These are constrained to specific pitches and cannot vary off of them. I tend to use these more often than the line tool.
- The Arrow Tool is the most commonly used tool, as it is how you select and edit existing lines or notes.
- The Scissors Tool is used to cut existing lines or notes into separate pieces for individual editing. I typically use this when notes or lines have been generated automatically, and need to be separated. We’ll take a look at automatically generating lines or notes shortly.
- The Magnifying Glass is used for zooming. Simply click and drag a box around what you would like to zoom into, and release to zoom.
- The I-Beam Tool is used to select an area of time to be used edit with in, or generate data between. This is also a commonly used tool.
- The Hand Tool is used to move the display. Click and hold on an area of the screen, and then drag the screen to an area you would like to see. I find the scrolling functions on apple mice work quite nicely for this same purpose, so this one doesn’t get used much.
Manual Editing/Drawing of Lines and Notes in Auto-Tune
In this example above, after capturing (Track Pitch) a vocal into Auto-Tune, I selected the Line Tool, and then clicked on “Snap to Note” which forces any segments of a line to snap to a specific note. Upon clicking the last segment, it must be double-clicked to end the line. After drawing this line, it is still selected, and retune speed can be set for this line independently of other lines. If it is not selected for some reason, using the Arrow Tool, click on the line to re-select it, and then you can adjust the retuning speed. The advantage of using the Line tool is that, as shown, the bend from one note to another can be drawn in as well.
In this example to the below, I selected the Note Tool, and then drew in some notes. I’ve found that drawing notes from where they are on key, or crossing through the desired key, on the beginning and end of a note give the best results. The advantage of the working with Notes is that Notes can be moved from one pitch to another much easier than trying to move a line.
Automatically creating Lines and Notes in Auto-Tune
Select an area: Using the I-Beam Tool, select an area that you wish to generate notes or Lines/Curves> Personally, I like to select the duration of the entire song, and then fix the points that are not created to my satisfaction, rather than manually create each event, one by one.
Down at the bottom of the plug-in next to “Track Pitch” are the option for “Make Curve” and “Make Notes”, which are how we can auto-create “Notes” or “Line Curves”.
Make Curve: Clicking the Make Curve button will automatically draw a curved line, matching exactly the pitches captured in from the Track Pitch function earlier. As you can see to the right, there are green lines overlapping the detected pitches, and anchor points on either side of each detected event. These anchor points can be moved independently by clicking on, and dragging each anchor point up or down. This is particularly useful is in key, but starts drifting sharp or flat as a note is being held out. You need to use the Arrow Tool to manipulate these points.
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In the example below, an area was first selected using the I-Beam Tool, then using the Arrow Tool, the Curves were moved up together to another pitch, keeping all the bending between notes still intact. If only part of a curve or line is to be moved, the line can be separated into two segments by clicking at the desired split point using the Scissors Tool. Now the segments can be individually manipulated.
In the example below, the “Make Notes” button was pressed after selecting the same area as described above. The advantage with working this way is that the only things being tuned, or manipulated are the notes that are being sustained, and the bending in-between notes is left alone. I find it particularly advantageous to modify these notes using the Arrow Tool. What I’ve found to give the best results is to drag the edges of each note to a crossing point, where the original audio is on, or crossing through, the correct pitch. By starting and stopping the tuning process on these points that are already in tune, I’ve found that I have much more transparent tuning, and less “T-Pain” sounding tuning.
Hopefully this is enough to get you started in Auto-Tuning, and has shed some light onto the mysterious world of tuning. Honestly, Auto-Tune has saved so many projects from bankrupting, and allowed thousands of productions to keep amazing performances, that in the past would have been performed over, and over, and over, and over again, until finally in key. Did anyone happen to think about the feeling, or emotion, left in a recording that an artist just finished singing for the 150th time? Yes, it may finally be perfectly in tune, but is the emotion of the singer still representing the initial idea of the song, and convincing all the listeners that this is a happy song. I think Elvis left the building about 145 takes back…. My point is, if a take sounds and feels great, but has a little pitch problems here and there, it’s worth tuning vs. beating the life out of a part until it is performed technically correct.
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Until next time, happy tuning!
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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!”
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.
The binding of isaac afterbirth mac download. 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.
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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.
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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. Vray for maya tutorial. 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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