When he does this I take that as a cue to automate the settings on Auto-Tune to emphasize the effect.įormant shifting is an underutilized effect. He will go out of his way to glitch it on purpose in order to create captivating moments. As I mentioned before, Akon is very particular about how he blends his voice with Auto-Tune. Sometimes I don’t want Auto-Tune to act evenly on everything. That said, sometimes you can just slap Auto-Tune on there. The whole process is a lot more calculated than simply slapping Auto-Tune on there.
#Auto tune vocal recording software pro#
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. Kon is very smart about where he places these glitches in his delivery - which I’m going to touch on again in a moment. When he does this I prefer to let the Auto-Tune glitch up a little because I like the texture it creates. The only place the Auto-Tune really ever varies tonally is when Akon does his faster note runs. 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. For another significant portion of you, this will be a great opportunity to make not-so-clever Play Video For many of you, this is going to be a great article about the creative and practical uses of Auto-Tune in modern music. This article is going to be about Auto-Tune. 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”. It can thin the low-mid of a vocal a little, but sometimes that can actually be a good thing. Melodyne generally has the most transparent tone. They all have different tones and sometimes one is more fitting than the others. I’m pretty decisive about whether I’m abusing Melodyne, modern Auto-Tune or the classic ol’ school Auto-Tune. I’m a bit more neurotic and like a more refined 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. This creation of synthesized harmonics makes a voice sound a bit synth-y, or robotic depending on the approach. Most of the time I’m trying to get a bit (or a lot) of sparkly, phase-y distortion. In today’s music, I often think of Auto-Tune as a tonal device (hence my horrible pun). Controlled slides and ‘distunes’ (I’m making that a word) can make the happy accident of tuning distortion into a creative tool. 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. 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. Within the world of being effect-y, there are a couple of ways to go. Or simply using an automatic mode and automating the Bypass works as well, unless some serious shifting is required. Generally, using a graphical mode from Auto-Tune, Waves Tune, Melodyne, etc. Mode A is pretty straightforward - if a dirty note slides on by, hit it with just enough tuning to lock it back in.
Mode B: An effect used to create a tone, much like a phaser or flanger or reverb or distortion. Mode A: A tool for locking in a few stray notes that missed the mark in spite of an otherwise rockin’ performance. In my mind Auto-Tune (or pitch correction in general) is used in one of two modes: So here are a few modern techniques for Auto-Tune. And there are things about this thing worth knowing. Love it or hate it, Auto-Tune is a thing. 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!” Go grab your pitchforks … I’ll wait.įor many of you, this is going to be a great article about the creative and practical uses of Auto-Tune in modern music.
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