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What I find most fascinating about Antares Auto-Tune is that everyone and their mother knows what it is, despite the fact that it's just another digital audio plugin used in bedroom and professional studios alike. Even people who have no clue what an EQ or compressor does somehow at least know of the word 'Auto-Tune' and even the general effect it has on the human voice.
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- Autotune Acapellas Vocals Sounds & Samples The acapellas, vocal samples and rapping listed here may be used in your projects but the original artist who uploaded them retain certain rights. Please check the detail of each acapella, vocal sample.
- Antares Auto-Tune EFX 3. So hopefully this helps people out mastering their own music, im not recommending you should automatically go -8.0 LUFS, but -14.0 is no where close to what other music is mastered at. It's a possible come up off your hard work for a minimal investment (aka a hustle). Not saying loopmakers are unscrupulous.
Oct 24, 2019 The first song published using Auto-Tune on the vocals was the 1998 song 'Believe' by Cher. Auto-Tune and the Death of Music When he was asked why so many musicians have accused Auto-Tune of ruining music, Hildebrand replied that Auto-Tunes was designed to be used discretely and that no one needed to know that any software correction had been applied to vocal tracks.
But even though Auto-Tune has evolved to become this cultural phenomenon, very few artists or producers truly understand how to get it to sound like the way it sounds on major records.
In case you don't know what it is, Auto-Tune, in a nutshell, is a pitch correction software that allows the user to set the key signature of the song so that the pitch of the incoming signal will be corrected to the closest note in that key (and does so in real time). There are other pitch correction programs out there that do similar functions: Waves Tune, Waves Tune Real-Time, and Melodyne (which is pitch correction, but not in real time), but Auto-Tune seems to have won the standard for real-time pitch correction.
Auto-Tune traditionally is used on vocals, although in some cases can be used on certain instruments. For the sake of this article we will be discussing Auto-Tune and its effect on the human voice. Listen to this early example from the 'King of Auto-Tune,' the one artist who did more to popularize its effect than any other, T-Pain.
Working as a full-time engineer here at Studio 11 in Chicago, we deal with Auto-Tune on a daily basis. Whether it's people requesting that we put it on their voice, something we do naturally to correct pitch, or even for a specific creative effect. It's just a part of our arsenal that we use everyday, so over the years we have really gotten to know the ins and outs of the program—from its benefits to limitations.
So let's delve further into what this software really is and can do, and in the process debunk certain myths around what the public or people who are new to Auto-Tune may think. If you were ever wondering why your Auto-Tune at home doesn't sound like the Auto-Tune you hear from your favorite artists, this is the article for you.
To set the record straight, as I do get asked this a lot of times from clients and inquiring home producers, there really are no different 'types' of Auto-Tune. Antares makes many different versions of Auto-Tune—Auto-Tune EFX, Auto-Tune Live, and Auto-Tune Pro—that have various options and different interfaces, but any of those can give you the effect you're after. Auto-Tune Pro does have a lot of cool features and updates, but you don't need 'Pro' to sound pro.
I wanted to debunk this first, as some people come to me asking about the 'the Lil Durk Auto-Tune,' or perhaps that classic 'T-Pain Auto-Tune.' That effect is made from the same plugin—the outcome of the sound that you hear depends on how you set the settings within the program and the pitch of the incoming signal.
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So if your Auto-Tune at home sounds different from what you hear on the radio, it's because of these factors, not because they have a magic version of Auto-Tune that works better than yours at home. You can achieve the exact same results.
In modern music Auto-Tune is really used with two different intentions. The first is to use it as a tool in a transparent manner, to correct someone's pitch. In this situation, the artist doesn't want to hear the effect work, they just want to hit the right notes. The second intent is to use it as an audible effect for the robotic vocals you can now hear all over the pop and rap charts.
But regardless of the intent, in order for Auto-Tune to sound its best, there are three main things that need to be set correctly.
The correct key of the song. This is the most important part of the process and honestly where most people fail. Bedroom producers, and even some engineers at professional studios who might lack certain music theory fundamentals, have all fallen into the trap of setting Auto-Tune in the wrong key. If a song is in C major, it will not work in D major, E major, etc.—though it will work in C major's relative minor, A minor. No other key will work correctly. It helps to educate yourself a bit about music theory, and how to find the key of a song.
The input type. You have the option to choose from Bass Instrument, Instrument, Low Male, Alto/Tenor, and Soprano. Bass Instrument and Instrument are, of course, for instruments, so ignore them if you're going for a vocal effect. Low Male would be selected if the singer is singing in a very low octave (think Barry White). Alto/Tenor will be for the most common vocal ranges, and soprano is for very high-pitched vocalists. Setting the input type correctly helps Auto-Tune narrow down which octaves it will focus on—and you'll get a more accurate result.
Retune speed. This knob, while important, is really all dependent on the pitch of the input source, which I will discuss next. Generally speaking, the higher the knob, the faster it will tune each note. A lower speed will have the effect be a bit more relaxed, letting some natural vibrato through without affecting a vocalist's pitch as quickly. Some view it as a 'amount of Auto-Tune knob,' which isn't technically true. The amount of correction you hear is based off the original pitch, but you will hear more effects of the Auto-Tune the faster it's set.
So let's say you have all of these set correctly. You have the right key, you choose the right range for the singer, and the retune speed is at its medium default of 20ms. You apply it on the singer expecting it to come out just like the pros. And while their voice does seem to be somewhat corrected, it's still not quite corrected to the right pitch.
Here's why your Auto-Tune doesn't sound like the pros:
The pitch of the vocalist prior to Auto-Tune processing must be close enough to a note in the scale of the key of the song for Auto-Tune to work its best. In other words, the singer has to be at least near the right note for it to sound pleasing to the ears.
Whether you're going for a natural correction or the T-Pain warble, this point still stands. If the note the singer originally sings is nowhere near the correct note in the key, Auto-Tune will try to calculate as best it can and round up or down, depending on what note is closest. And that's when you get undesirable artifacts and hear notes you weren't expecting to hear. (Here is an example of how it sounds when the incoming pitch isn't close enough to the scale, resulting in an oddly corrected pitch.)
So if you put Auto-Tune on a voice and some areas sound good, some sound too robotic and a bit off, those are the areas that the singer needs to work on. Sometimes it can be difficult for non-singers to hear slight sharp or flat notes, or notes that aren't in the scale of the song, so Auto-Tune in many cases can actually help point out the problem areas.
This is why major artists who use Auto-Tune sound really good, because chances are they can sing pretty well before Auto-Tune is even applied. The Weeknd is a great example of this—he is obviously a very talented singer that has no problem hitting notes—and yet his go-to mixer, Illangelo, has said before that he always uses at least a little bit of Auto-Tune on the vocals.
If you or the singer in your studio is no Weeknd, you can correct the pitch manually beforehand with a program like Melodyne, or even with built-in pitch correction tools in your DAW, where you can actually go in and change the pitch of each syllable manually. So if you find yourself in a situation where you or an artist you are working with really want Auto-Tune on their vocals, but it's not sounding right after following all the steps, look into correcting the pitch before you run it through Auto-Tune.
If you get the notes closer to the scale, you'll find the tuning of Auto-Tune to be much more pleasing to the ears. For good reason, T-Pain is brought up a lot when discussing Auto-Tune. Do you want to know why he sounds so good? It's not a special Auto-Tune they are using, its because he can really sing without it. Check it out:
Hopefully this helps further assist you in your understanding and use of Antares Auto-Tune, and debunk some of the myths around it. Spend some time learning some basic music theory to help train the ear to identity keys of songs, find which notes are flat and which notes are sharp. Once you do, you'll find you'll want to use Auto-Tune on every song, because let's face it—nearly a decade after Jay-Z declared the death of Auto-Tune on 'D.O.A.'—it still sounds cool.
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Antares' EFX version of Auto‑Tune was designed specifically to create less-than-natural vocal effects, and this 'plus' version adds yet more creative firepower, to take it far beyond quantised pitch yodelling. The common Mac and Windows plug-in formats are supported, and two machines can be authorised at the same time.
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The core features of Auto‑Tune EFX are augmented by a new Multi–Effects Rack and a new Auto-Motion pitch-shifting melodic pattern generator, the latter acting rather like an arpeggiator. As the plug-in relies on pitch tracking, it requires a monophonic source for the best results. Formant correction works the same as with other versions of Auto‑Tune, and there's a low–latency mode for real-time performance that sacrifices only a little quality. A large selection of presets shows what this thing is capable of.
The expected features include the ability to select a voice type, set a user scale (by key and type or via the keyboard) and to adjust the Retune Speed and Humanize parameters. Using these with delicacy, you can produce natural-sounding pitch correction for routine vocal tightening. The keyboard at the bottom displays the current detected pitch in blue, and notes can be added or removed from the scale with a click. The plug-in is also compatible with the optional Antares Auto‑Key software that can work out the key for you.
The Multi–Effects Rack modules include: Pitch and Throat, which uses the formant shifting alongside pitch shifting; Duet, for natural-sounding double–tracking; Vocode, which aims to deliver classic vocoder effects; Tube Amp, for adding analogue warmth; Mutate, for ring modulation; and a high-pass EQ filter.
Auto-Motion features a library of preset melodic patterns that follow the key, and this can be set to an adjustable speed or be sync'ed to tempo with a choice of subdivisions. The pattern browser shows the general shape of each pattern in a mini piano-roll view. There are three different trigger modes and you can use DAW automation to bring the effect in and out. The modes are Momentary, Toggle or Auto, which activates when an incoming pitch is recognised. There's also a choice of Hard, Soft or Legato pitch correction, the latter adding smoother note transitions. In Latch mode, the Play Pattern button acts as an on/off switch.
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Each Multi-Effects Rack effect comes with its own library of presets, and each patch can combine up to four effects modules. Each module has two adjustable parameters, and the clever part is that these can be controlled by a simple X/Y pad. You just pick a Multi–Effects Rack template with the combination of effects you want (you can't populate the effects slots yourself) and go from there. The Vocode module (which always tracks the input pitch; MIDI control isn't supported) offers emulations of 10 different vintage vocoders, for which X is the wet/dry mix and Y the pitch shift applied to the synthesized output. Pitch and Throat combines dynamic pitch shifting and throat modelling, the X parameter corresponding to throat length and Y to pitch shift. Duet offers adjustable pitch and time variation, and the Mutate ring modulator sees X controlling the carrier frequency and Y the wet/dry mix.
Jan 15, 2019 Rapper Gets $250K Auto Tune Implant In His Arm. Rapper Nessley is taking technology and Hip Hop to a whole new level. He recently got a $250,000 autotune implant in his arm. No one knows if the implant is going to make him a star, but it for damn sure is crazy! Auto tune arm implant how to. As you all know, a movement of rappers has embraced the software, going all-out in their use of Autotune to achieve a near-robotic sound. Nessly is one of those performers and he decided to take things to the next level recently. The rapper actually claims to have gotten an Antares Autotune implant in his arm to alter his voice whenever he wants. Jan 16, 2019 Nessly the autotune implant rapper went viral, but it wasn’t by luck. Nessly went viral through a carefully planned marketing strategy and is now getting millions of views and tons of followers. Jan 15, 2019 Nessly is one of those performers and he decided to take things to the next level recently. The rapper actually claims to have gotten an Antares Autotune implant in his arm to alter his voice whenever he wants. Jan 12, 2019 Rapper With autotune implant speaks SUBSCRIBE To Our Channel By Clicking Here: https. T-Pain Jokes about Auto-Tune Implant - Duration: 1:34. Dish Nation 37,581 views.
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It soon becomes clear that you can perform some serious vocal manipulation with this plug-in.
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Operation is straightforward, with the large knobs looking after Retune Speed and Humanize. The faster the retune speed and the lower the humanise setting, the more hard-quantised the vocal pitch sounds. The four effects are located in the lower centre section of the screen, with the X/Y pad to the right and the patch browser to the left. Switch to Auto-Motion view and the effects section of the GUI is replaced by the automatic pattern generator section.
With just a little experimentation, it soon becomes clear that you can do some serious vocal manipulation with this plug-in. (That said, its more subtle pitch-correction and fake double–tracking talents shouldn't be ignored.) Early examples of 'abused Auto‑Tune' were often mistaken for vocoding, so it's nice to see things come full circle with the automatic vocoder being added. The pitch/formant manipulation can be used very subtly to change the character of a voice, or you can push the boundaries further and turn your lead vocalist into Gollum's Martian cousin. Ring modulation isn't conventionally musical, but it is useful as a spot effect, or for creating more robotic, dissonant sounds. The pattern generator can also be a lot of fun — though is perhaps best used sparingly. You can't create your own patterns, but there's a surprisingly long list of presets that covers a lot of ground.
Auto‑Tune EFX+ is very easy to use and capable of some genuinely surprising results, many very obviously effected, that can really kick–start the creative process. And don't think you can only use it on vocals — most monophonic sources seem to generate something useful, so as always experimentation is the key.
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