Follow along as professional engineer Realistic breaks down the best Auto-Tune settings for rappers in 2020. The link to the free key detector website can be found here. A full video guide to using Auto-Tune can be found here. The song used into today’s tutorial can be found here. 1) Antares Auto-Tune Pro (Paid) Auto-Tune is the original pitch correction software.It’s so popular that its name is synonymous and is more of a colloquial term. Antares gives you a couple of options to pick from depending on your needs — Pro, Artist, Access, or EFX+.
Hey, this is Jason from Behind The Speakers and today we’re gonna be talking about all things AutoTune. I’m gonna show you exactly how to use it to tune a vocal, which settings I recommend, which to avoid, how to go about it from start to finish. So if you’re wondering how to use AutoTune like a pro, you’re definitely in the right place.
Now before we dive in, I also put together an AutoTune cheatsheet that summarizes everything we’ll be covering today and also includes the exact settings I recommend for the most transparent, natural sound. So this way, you can avoid all those artifacts and glitches that’ll make your vocals sound amateur. Now if you want to download this, it’s completely free. Just click the link in the description below or up there on the video and you’ll get instant access.
So I have a track here called “Docs” by Leah Capelle, and before we dive in, Leah’s an amazing singer and so I actually had to detune her vocals to get things right for this demo. So I want to let you know that this is not how Leah’s vocals sounded when they were sent to me.
So let’s take a listen to the first couple of lines in verse one.
♪ Goin’ through my closet ♪
♪ Tryin’ on my clothes ♪
♪ Thinkin’ if I can find something stylish ♪
♪ I’ll feel better ♪
♪ I think I’ll get a haircut ♪
♪ And find a fresh new look ♪
♪ Maybe if I just chop all my hair off ♪
♪ I’ll feel better ♪
So not terrible by any means, but I think we can tighten things up with some AutoTune.
So if you take a look over here, you’ll see there are some other plugins on this vocal—de-esser, compressor, EQ—but I’m gonna add AutoTune before all of that, so as the first insert in this track, and this is a good best practice. So you usually want to add tuning before any other plugins on the vocal itself.
So here’s AutoTune, and the first thing I want to show you is that there are two modes in which you can use AutoTune. There’s automatic mode, which is what you’re looking at right now, where you give AutoTune some basic information about the track that you’re trying to tune and AutoTune makes its own decisions about how much tuning to apply, where to apply tuning, so it’s a set-it-and-forget-it mode.
And then, on the other hand, we have graphical mode. So this is a much more manual mode. It takes a lot more time, but you basically go through the track manually and tell AutoTune exactly where to apply tuning, how much to apply, and again, this is a much more manual process. It takes a lot more time than just applying automatic mode, but in my experience, if you’re looking for the most transparent sound, where you don’t hear the artifacts that are so commonly associated with tuning, graphical mode is gonna give you again the most transparent results. So unless you’re looking for that T-Pain style effect where you really hear the artifacts of the tuning or if you’re tuning a background vocal that isn’t very important and you just want to throw something on it and not spend a ton of time tweaking it, I recommend going with graphical mode. You’re just gonna get much better results.
So that’s what we’re gonna be working with today, but regardless of what mode you’re using, the first thing you’re gonna have to set up is this Input Type setting here. So this control basically gives AutoTune some information about the track that it’s working with, and you want to make sure you set this properly because it’s just gonna make it easier for AutoTune to track the pitch of the track that you’re working with, which is gonna have all sorts of benefits down the line.
So we have a couple different settings that we can apply here. Three refer to vocals, so these three are what you’d use if you were working with a vocal track, and then these two down here are for instrumental tracks. So as you’ll notice, these three settings for vocals basically apply to the range of the vocalist. So we have Soprano, which is the highest range, so this is when the singer would sing very notes. Then we have Alto or Tenor, which is, an alto is essentially a lower female vocalist and a tenor is a higher male vocalist, so lower in range than a soprano. And then we have the Low Male setting, which is basically the lowest type of vocal, typically a bass singer if you were singing in a choir. And then we have these two instrumental settings, so Instrument, which is just for standard instruments, and then Bass Instrument, which is for something like a bass guitar.
So you want to make sure you set this properly and just make sure you’re choosing the right setting for the track that you’re working with. So you might be wondering, “Well, how do I figure out “if I’m a soprano or an alto? I’m not really sure.” I put a link in the description to a great resource that will help you determine what your range is. So if you’re struggling with that, go click the link in the description for more information.
So I know that Leah is an alto, so I’m gonna set that there. Now I like to leave this tracking here. That’s just fine.
And the next thing you want to make sure you set properly is the key and scale of the song, and this is important because it’s gonna tell AutoTune which notes are considered in-tune and which notes are out of tune. So if you’re wondering how to find the key of the song that you’re working with, again it’s outside the scope of this video, but I put together another resource in the description, there’s a link down there, that’ll give you information about that. So if you’re struggling with that, go ahead and check out that link, but in the meantime, I know this song is in B-flat major, so I’m gonna set that there.
Now everything else up here I like to leave as-is except for this Formant control, and I usually like to leave this on, and basically this tells AutoTune to try to retain as much of the character of the vocal or the track that it’s working with as it makes tuning decisions. So if you find that the tuning starts to make the vocals sound a little bit artificial or robotic, or you’re hearing like a chipmunk-style effect, that might be a great control to turn on. I like to leave it on by default because to my ears, the tuning just sounds more natural with the Formant control engaged.
So now that we have these basic settings set up, we’re gonna turn on this button here, Track, Pitch, and Time and then we’re gonna play this track, and again, I’m only gonna tune the first couple of phrases here but if you’re tuning the entire vocal in your song, you would want to play it from start to finish, and this is basically gonna allow AutoTune to listen to the vocal and collect some information about the notes and phrases and pitch of the track that you’re working with. So I’m gonna play just the first couple of phrases here and let AutoTune do its job.
♪ Goin’ through my closet ♪
♪ Tryin’ on my clothes ♪
♪ Thinkin’ if I can find something stylish ♪
♪ I’ll feel better ♪
♪ I think I’ll get a haircut ♪
♪ And find a fresh new look ♪
♪ Maybe if I just chop all my hair off ♪
♪ I’ll feel better ♪
Okay, so you can see here there is this line, this red line that we have now, and this is basically the line of the pitch of this vocal. So AutoTune has gone through and basically determined the notes and phrases and where the pitch lies in each of them. I’m gonna zoom in a little bit so we can see things a little bit better, and we have these buttons here that basically allow us to zoom in or out. That’s really helpful, especially when your working with larger stretches when you might want to kind of zoom in on one specific area.
Now the first thing that I want to do is turn on this Make Notes control. And so you can see, after I turned that on, you can see these boxes are starting to appear over certain words within this performance. So basically this allows us to create little handles that make it really easy to drag certain parts of the performance up or down in pitch, and it’s just gonna make it much easier when we start to tune. Now you can see that AutoTune’s actually started to apply some tuning to these specific boxes as well. So the red line refers to the original pitch and then this green line refers to the corrected pitch. So you can see AutoTune’s already starting to apply some tuning, and that’s gonna set us off on the right foot. We’re still gonna go through this manually but I like having that layer of automatic tuning enabled as well.
Now you’ll notice as we go through, there are certain areas where we don’t see these boxes. So there are a couple of words here where it looks like these boxes are missing. So we want to turn up this control here called Number of Note Objects, and you’ll see as I turn it up, more and more boxes appear. So the goal is we want boxes on as many of the notes as possible, but we also want to make sure we don’t add too many boxes ’cause that’s just gonna make things a lot more complex and harder to grab specific points of this performance. So right around 80 looks pretty good to me. It looks like we’re pretty much covered. And now we can go through and start tuning this vocal.
Now the one thing I want to mention with tuning, and this is so important, this is the biggest mistake I see people make, is that it’s so important that you listen to the vocal in context with the rest of the tracks in your mix when you’re tuning it. So instead of just soloing the vocal and trying to make tuning decisions in isolation, listen to how the vocal is fitting with the rest of the tracks in your mix.
Now this is so important because tuning is not absolute. It’s relative. So a great example is let’s say you have a guitar track in your mix, and let’s say when you were recording that guitar, the guitar was tuned a little bit sharp. And so when the vocalist sung in context with that guitar, the vocalist had to sing a little bit sharp as well to match that tuning, and in order to sound in tune, the vocalist actually had to be a little bit sharp. And so if you solo that vocal and start tuning it and snap everything to the grid, that vocal might sound perfectly in tune on its own but when you listen to it with the rest of the track, it’s gonna sound out of tune. It’s actually gonna sound flat, right? So depending on what the other tracks are in your mix, you know, tuning again is relative, and so, you can’t just snap things to a grid and expect things to sound good. You gotta make more nuanced decisions.
And so the first thing I want to do is make that we can listen to this vocal in context with the rest of the tracks. Now the most important tracks to listen to are the harmonic tracks, so things like guitars, pads, keyboards, things like that that are contributing actual notes to the performance or the track itself. So I’m gonna turn off the drums because those aren’t really contributing any tonal information. They’re just gonna be a little bit distracting. So now we can just listen to the vocals and the guitars and the bass together and that’s gonna give us enough information to make the right tuning decisions without distracting us.
So the next thing I want to do here before we dive in is turn off this feature called Snap to Note. Now with this feature enabled, if i grab one of these boxes, you’ll see that the box actually snaps to a specific note. So these are the notes right here. And these are notes that AutoTune has determined are in the key of the song, so they are gonna be quote unquote “in tune,” but again going back to what we were talking about where tuning is relative, I want to make sure that I have access to areas in between the notes because depending on the note that I’m tuning, it might be that the correct position for this note might be slightly sharp or slightly flat. So I want to have that flexibility. So I like leaving that Snap to Note feature off.
So now that we have the settings set properly, I’m gonna go ahead and play the first phrase of this vocal. So let’s take a listen to what we’re starting with.
♪ Goin’ through my closet ♪
Okay, so keep in mind that’s after some tuning has already been applied, so it already sounds better to my ears, but one thing I’m noticing is that word “through” sounds a little bit flat to me. So take a listen again.
♪ Goin’ through my closet ♪
So this word right here. So I’m gonna drag this up a little bit. Now, you know, if you’re struggling to hear this change, unfortunately, these are things that, you know, you just get better at over time. So I recommend, you know, if you’re new to this, you experiment with things like ear training, starting to identify musical frequencies and things like that. That can help over time and you know, you have to have a little bit of a background in this to know what’s in-tune and what’s out of tune, but really, this is a process of listening to the vocal and trying to identify which parts sound out of tune and then making those adjustments manually. So let’s take a listen again.
♪ Goin’ through my closet ♪
So that sounds good to me. I can maybe even bring this up a little bit.
♪ Goin’ through my closet ♪
So now I’m hearing that these first two notes, the pickup on “goin’ through” sound a little bit flat to me too. So I’m gonna bring these two up, and you notice I clicked my mouse down here and then dragged and you can actually select multiple boxes at once, so that makes it easy to drag these up and down at one time.
♪ Goin’ through my closet ♪
That may be a little bit too much.
♪ Goin’ through my closet ♪
I think that sounds a little bit too sharp to me.
♪ Goin’ through my closet ♪
Maybe split the difference.
♪ Goin’ through my closet ♪
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Cool, so that sounds better to me. Let’s take a listen in bypass, so this is without any tuning.
♪ Goin’ through my closet ♪
And now with tuning.
♪ Goin’ through my closet ♪
Cool, that sounds great. So let’s move on.
♪ Tryin’ on my clothes ♪
♪ Thinkin’ if ♪
So that phrase sounds perfect to me, and again, AutoTune’s already applied some tuning but it seems like the decisions it’s made are pretty good, so I don’t really have anything to add there.
Now one thing I just want to point you to is this Retune Speed here, and this is an incredibly important control. It basically controls how fast AutoTune changes the pitch of the note when it starts to make an adjustment. So you can actually set the default tune speed here in the settings, and depending on which version of AutoTune you’re working with, the default in most cases is actually 10, which I find is way too fast. So I’ve turned this up to 20, and I find this is a much more natural setting. So the higher the number is, the more time it’s gonna take AutoTune to make an adjustment. So again, higher settings are usually gonna sound a little bit more transparent and natural, and lower settings are gonna be much more aggressive. So if we, let’s say, grab all of these here and then crank this as fast as possible down to zero, take a listen to how this sounds now.
♪ Tryin’ on my clothes ♪
So you can hear, that’s the very classic AutoTune T-Pain style effect, where we really hear the tuning and we hear those artifacts very clearly. So if you’re hearing that sound and you don’t like it, then slowing down that retune speed is a great way to just back that off a little bit. So let’s take a listen now.
♪ Tryin’ on my clothes ♪
♪ Thinkin’ ♪
So I’m actually hearing a little bit of that on this upper note here. So I’m gonna click that note and then turn down the retune speed and that’s gonna allow me to get a little bit more of a natural sound.
♪ Tryin’ on my clothes ♪
♪ Thinkin’ ♪
Cool, that sounds good to me. Let’s move on.
♪ Thinkin’ if I can find something stylish ♪
So these notes here are a little bit flat. So let’s bring them up.
♪ Thinkin’ if I can find something ♪
♪ Thinkin’ if I can find something stylish ♪
So I’m actually feeling, now that I’m listening for this, I’m actually feeling like just the overall tuning in general is a little bit too aggressive to me. So I’m gonna try to turn up the retune speed on all of the notes in this performance. So I’m gonna Select All here and then turn this down to about 30, and that’s gonna give us a little bit more of a natural sound because again, I don’t want that T-Pain effect. I really want to make sure that this tuning is very unobtrusive and very natural. So let’s take a listen again.
♪ Thinkin’ if I can find something stylish ♪
♪ I’ll ♪
So let’s bring up this last note.
♪ Thinkin’ if I can find something stylish ♪
♪ I’ll feel ♪
Yeah, that sounds great. Bring it up a little bit further.
♪ Thinkin’ if I can find something stylish ♪
♪ I’ll feel better ♪
♪ I’ll feel better ♪
♪ I’ll feel better ♪
So again, right here I’m starting to hear a little bit of that digital kind of tuning sound. So I’m gonna select these notes and just turn down the retune speed again and try to make things a little bit more natural.
♪ I’ll feel better ♪
♪ I think ♪
So let’s bring up this lower note.
♪ I’ll feel better ♪
♪ I’ll feel better ♪
♪ I think ♪
Cool, so that sounds good to me. Let’s take a listen to the whole thing, first in bypass. So this is without any tuning.
♪ Goin’ through my closet ♪
♪ Tryin’ on my clothes ♪ ♪ Thinkin’ if I can find something stylish ♪
♪ I’ll feel better ♪
And now with the tuning engaged.
♪ Goin’ through my closet ♪
♪ Tryin’ on my clothes ♪
♪ Thinkin’ if I can find something stylish ♪
♪ I’ll feel better ♪
♪ I think ♪
Cool, so that sounds great to me, and I might go back and just finesse things a little bit more, but this is the general idea. So I’ll go through the entire song phrase by phrase and really do this manually, and again, I know this takes some time and you might be saying, “Man, it’s much easier to just set the automatic mode on “and forget about it,” but if you want the vocal to sound natural and the tuning to be transparent, then this is gonna give you the best results.
So once I’ve locked in this tuning and I’m happy with the way things sound, I like to commit these changes, so actually print the tuning down to the track, and the way you can do this in Pro Tools is right-click on this insert here and click Commit Up to This Insert and that way we’re gonna render the tuning and I like to do this because it’s a very resource-intensive plugin, so I like to free up those system resources so that I have more to use for other plugins, and normally I’ll do this before I even start the mix so that I have clean tracks to work with and I don’t even have to think about tuning when I move into the mixing process.
So I know we covered a lot of ground today, and if you want to make sure you don’t forget any of it, again, I put together that free AutoTune cheatsheet that summarizes everything we talked about in this video and also includes the exact settings I recommend for the most transparent, natural sound. So this way you can avoid all those artifacts and glitches that’ll make your vocals sound amateur.
So if you want to download this, again it’s completely free, just click the link in the description below or up there on the video, and you’ll get instant access right now.
Now before you go, leave a comment below this video and let me know, do you think AutoTune is cheating? Should we just accept the sound of our natural voices as is? I would love to hear from ya. I read every comment and reply to as many as I can. So let me know what you think in the comment section below.
Anyways, thanks so much for watching. You can check out more tips and tricks like these on my YouTube channel and at BehindTheSpeakers.com. Take care.
—
Video features music by Leah Capelle.
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
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 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!
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. 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 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.
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:
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.
There are a few tools to start with here and I’ll describe them briefly from left to right.
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.
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.
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.
Until next time, happy tuning!
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