#Auto tune pro
#Auto tune professional

Input Type: this is what you’re applying the autotune to. To change the amount of auto-tune to your liking, there are three key settings that you’ll need to consider: This should keep the vocal sounding a lot more natural if used correctly. The other way is more subtle, using it in a more transparent manner to fix any rogue pitches in your vocal take. The first is to use it as an outright effect – slathering your vocal in it so it’s obvious to absolutely everyone.

There’s two main schools of thought when it comes to using autotune. This is is because having autotune on the whole track will be detrimental to the sound quality of your recording. Don’t add the effect to the entirety of your vocal take. The first thing to consider when using autotune is that you should only use it on the sections of your song that require it. You won’t have to record take after take either. This is where auto-tune comes into its own. For example, you may have a couple of duff notes present in your recording, yet don’t have the time or money to get yourself or the artist back in the studio. There’s a practical argument in favour of autotune though – especially if you’re not a professional. Others have described it as “Photoshop for the human voice”. Time Magazine even put autotune in their 2010 article ‘The 50 Worst Inventions’. An anonymous recording engineer (with a Grammy) stated that as every track now has perfect pitch, songs are becoming harder to differentiate and everyone sounds the same. It wasn’t just artists being critical other professionals and publications were putting the boot in too. Later, Jay-Z shared a similar sentiment, claiming that it had become a gimmick, and that too many artists were jumping on a bandwagon. Steve Albini, who famously recorded bands like Nirvana, was one of its earliest detractors, saying that it was “mind-numbing”. He also said it would become tiresome and a cliche in no time at all. Others claimed that it was cheating – helping vocalists to disguise the fact that they couldn’t actually sing. Some said it would ruin the music industry. However, it wasn’t well received by everyone. It’s gone on to be used by the likes of Daft Punk, Kanye West, T-Pain and other big artists – receiving a further surge in popularity during the 2010s within trap music especially. This solidified autotunes place within pop music’s production arsenal. It went on to become her bestselling song and one of the bestselling singles ever released. This created a robotic, otherworldly chorus that was new to listeners everywhere. The song relied heavily on the effect, with most of the dials intentionally tuned up to 11 (cheers, Spinal Tap). One of the first (and most famous examples of autotune) was the release of Cher’s single ‘Believe’ in 1998. It’s become a production tool as commonplace as compression, EQ, and reverb. While other times it’s not even trying to hide. Sometimes it’s more subtle you may not even notice that it’s being used.

Almost every big track in the charts utilises it in some way.

#Auto tune professional

This technological innovation has forever changed modern music and the way that professional recording engineers, producers and studios craft a vocal track – especially within pop. You’ll also find autotune within other DAWs, studio equipment, or as a piece of standalone rack-mounted gear (which is ideal for live shows – although it’s usually frowned upon in this setting).

#Auto tune pro

Autotune also makes the transition between multiple vocal takes smoother.įast forward and it was quickly incorporated as a plugin into Pro Tools. This software was recognised as the industry standard DAW then as it is now. It picks out notes which don’t fit the scale and moves them back into line at the right pitch. Once you’ve selected the pitch that the vocalist (or yourself) is meant to be singing in, the software will scan the vocal. But what actually is it? It’s used to smooth out flat and sharp notes to ensure the singers voice is in the correct pitch. Other companies simply refer to their offerings as autotune. The word auto-tune is actually a product name – owned and trademarked by Andy’s company, Antares Audio Technologies. To say it was an instant hit is an understatement. This demonstration created clamour across the industry. After extensive development and testing, he showcased its potential at the NAMM show. He first installed his algorithm for autotune on a custom Mac.

Andy was a Ph.D researcher exploring digital signal processing while studying electrical engineering. Autotune was first introduced in 1997 by Dr Andy Hildebrand.