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StarMaker is an amazing free karaoke app that lets you sing your own cover of top songs from a massive catalog of more than 2,000,000 songs and sing karaoke like. Its latest iteration, Auto-Tune Pro, takes everything you love about previous versions and packs it into a slick, easy-to-navigate interface. Despite its ease of use, it’s loaded with great features. Auto-Key automatically detects the key and scale of your project. Classic Mode supplies you with the popular “Auto-Tune 5 sound.”.

Mar 16, 2012  If you want to get the auto-tune pitch correction effect but don't want to buy the $600 Antares plug-in you can use this FREE online Flash auto-tuner. It is called a 'game' but is actually a fully.

• DAWs >Reason

Wetsuits on, as we dive into Record's new pitch‑correction device, Neptune.

Neptune appeared along with Record 1.5 last year, and because it's really designed for use on audio tracks, it appears only in Record, not in Reason. On the face of it, this is a fairly straightforward Auto-Tune clone: You feed the plug‑in monophonic audio and it pulls that audio into tune, according to a musical scale you define, and with varying degrees of naturalness or (intentional) artificiality. Its other abilities (which are extensive, and often jaw‑dropping) we'll look at next time, but for now, let's get stuck into the main game — pitch correction.

Instant Impressiveness

Neptune's pitch adjustment controls.

So you've got your vocal track recorded, and you'd like to tighten up its tuning a bit. Easy.

Start by finding the vocal track's device in the rack. One easy way to do this is to click the 'RACK' button at the bottom of the track's channel strip in the mixer. Record opens up a rack view if necessary and flashes the device. Now right‑click the device and choose Create / Neptune Pitch Adjuster from the contextual menu. This creates and inserts a Neptune within the Audio Track device, in its 'Insert FX' signal path.

Now all you need to do is configure the Neptune for your needs. Towards the right‑hand side make sure the Pitch Adjust button is toggled on, but that Transpose and Formant are both off. Then you might only need to adjust the pitch correction characteristics using the Correction Speed and Preserve Expression knobs. Using them is intuitive, and very much a matter of experimentation, but in general it's the Correction Speed parameter that determines how processed the result sounds — keep this low for an in‑tune but natural performance. Preserve Expression is all to do with vibrato: high values let vibrato through, while low values iron it flat. If you have a very wobbly singer, try switching in the Wide Vibrato option (to the left of the central display), which alters the response characteristics of the system. The Low Freq(uency) option is there for when you're trying to work with very low pitches — below 44Hz to be precise — so Barry White or Jaco Pastorius wannabees should still be served perfectly well without this option switched on.

Choosing a scale type and root note can help ensure more accurate pitch correction, with fewer unwanted wobbles.Although Neptune's default settings work well on a range of material, you'll get tighter results if you also choose one of its predefined musical scales and a corresponding musical key to match your song. This prevents Neptune getting the wrong end of the stick, as it were, and 'correcting' the vocal to pitches that aren't actually used in the song. You'll need to be thinking in music theory terms, of course, to pick the appropriate key and scale, so if you're uncertain, you can do it another way: just work out which notes your melody actually uses, and then program the scale from scratch. Actually 'program' is too grand a term — it's just a case of toggling notes on and off with a few mouse clicks on Neptune's miniature keyboard.

Real‑world Use

Now, choosing or defining scales is all very well, but what if your song switches tonality halfway through, or simply changes key, rendering your settings useless? For this, there's the Scale Memory function. Check out the top right of the central display area and you'll see the four numbered buttons associated with this feature. These are memories for scale settings, so you can have up to four scales ready and waiting for use at any one time. Here's how you might use them:

For 'scales' with very few notes, a wider Catch Zone ensures that Neptune stays on the job.

1. Set up the scales you need for each section of your song: for each one just click a Scale Memory button and then choose a predefined scale or program your own. Settings 'stick' as you go along — you don't have to save anything.

2. If your Neptune is inserted in an Audio Track device, it won't have got a sequencer track for itself by default. So right‑click the Neptune and choose 'Create Track for Neptune'

3. In the sequencer, select this new Neptune track (it may well be selected already) and then click the Track Parameter Automation button at the top of the track list and choose the 'Scale Memory' option.

If you've recorded acoustic parts that are not tuned to an A-440Hz pitch centre, the Master Tune slider in Preferences allows you to tweak Neptune's pitch recognition to match.

4. Switch to Edit Mode, and in the Scale Memory lane use the Pencil tool to write an automation event relating to one of the four values, at the appropriate point in your song. In Record 1.5.1, at least, the values range, unhelpfully, from 0‑3 rather than 1‑4, but it's not difficult to work out.

5. Now, on playback, Neptune's scale settings will be switched at the appropriate moment.

Another scenario that comes up quite often is the need to switch off pitch correction completely for a section of a song. For this, we need to automate Neptune once more. Start off by repeating most of steps 2 and 3 above, but instead of choosing 'Scale Memory' opt for 'Pitch Adjust On/Off'. Then, in Edit Mode, in the Pitch Adjust automation lane, use the pencil tool to write a value of 1 (on) or 0 (off) at the relevant locations in your song.

The MIDI factor

The Scale Memory feature lets you set up a number of different scale types and then switch between them using Record's automation — essential if your song changes key.

So far we've only considered what Neptune can do using pre-defined scales. But there is another way to feed it pitch correction information: with notes from a MIDI controller, either played live or recorded into a track. This approach can generate both delightfully subtle and downright bonkers results.

1. Right‑click Neptune and 'Create Track' for it if it doesn't have one already.

2. Record‑enable the newly created sequencer track.

3. Back in Neptune, make sure the '[MIDI] To Pitch Adjust' option at the left of the central display is selected.

Now, during playback (or indeed recording), try playing some notes on your controller. The display indicates the target pitch you're playing with a green rectangle, and Neptune should pull the current pitch towards it, subject to the Correction Speed setting. Interestingly, MIDI works in addition to the normal scale system, overriding it for as long as there's note input. That means you can use it for brief overrides, perhaps for when your melody steps outside of your programmed scale. But you can also toggle off all the scale pitches, using the mini‑keyboard, and then you'll get a natural, uncorrected performance except when there's MIDI input. This is good if there's just one or two notes out of tune in a vocal take.

It goes without saying, too, that the MIDI input allows you 'play' the pitch correction in remarkable ways, twisting vocal and other lines into bizarre and wonderful shapes. Many hours of happy noodling lie ahead..

Catch Zones

If you program a lot of your own scales, and especially if you ever select just one or two pitches for a scale, to force some very 'quantised' pitch correction, you'll see gaps appear in the red line above the pitch display. The red lines (for there are actually many, one associated with each pitch) are called 'Catch Zones'. To put it simply, Neptune won't even attempt to correct a note's pitch unless it falls within a catch zone. However, the size of the zones is adjustable, using the horizontal slider above the pitch display. So how do we use Catch Zones to best advantage?

In some circumstances, reducing Catch Zone size is good. Let's say you're working with a really good jazz singer. You might already have set pitch-correction parameters to allow a more natural effect, but going a step further and setting Catch Zone Size to its minimum forces Neptune to only correct notes that are a tiny bit out of tune, and to actually completely ignore a microtonal pitch range between scale pitches. This can allow portamento, swoops, glissandos and deliberate note bends to pass through more naturally.

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On the other hand, increasing Catch Zone Size has its uses too. Imagine you've programmed a 'scale' with only three pitches, relating to the notes of a minor chord. You're aiming for a highly processed, robot‑like effect of a vocal line jumping between these pitches, almost in the manner of sa synth arpeggiator. As well as the obligatory settings of maximum Correction Speed and minimum Preserve Expression, it's also essential to increase Catch Zone Size so that the zones fully cover the gaps between the pitches. In this instance a setting of above 260 cents does the trick. In fact a higher setting makes no difference — Catch Zones can't overlap.

Reference Material

One thing conspicuous by its absence in Neptune is any sort of pitch reference parameter. You need this if the fundamental pitch centre of your song is a little way flat or sharp of A-440. This could have happened if you sang to a guitar accompaniment, but the guitar was only in tune with itself.

Actually the parameter does exist, but it's a global setting, in Record's Preferences, on the Audio page. There's a Master Tune slider there that allows you to adjust either side of A-440Hz by up to a semitone.

Auto-Tune is a proprietary^[2]audio processor made by Antares Audio Technologies. Auto-Tune uses a ph vocoder to fix pitch in vocal and instrumental performances. It is used to hide out of tune singing and mistakes. It lets singers perform perfectly tuned vocal tracks without needing to sing in tune. Its main purpose is to slightly bend sung pitches to the nearest true semitone. Auto-Tune can also be used as an effect to distort the human voice when pitch is raised/lowered a lot.^[3]

Auto-Tune can be used as a plug-in for professional audio multi-tracking suites used in a studio setting, and as a stand-alone, rack-mounted unit for live performance processing.^[4] Auto-Tune has become standard equipment in professional recording studios.^[5]

Auto-Tune was first created by Andy Hildebrand, an engineer working for Exxon. Hildebrand developed methods for interpreting seismic data, and then realized that the technology could be used to detect, analyze, and modify pitch.^[3]

In popular music[changechange source]

Auto-Tune was used for vocal effects on Cher's 'Believe', recorded in 1998. This was the first major hit song to use the software for this purpose. At first the sound engineers claimed that they had used a vocoder, in what Sound on Sound said was an attempt to keep a trade secret.^[6] After the massive success of 'Believe', many artists copied the technique, which became known as the 'Cher Effect'. It can be heard in songs of the late 1990s and early 2000s. Some notable examples are Gigi D'Agostino's 'La Passion' and Janet Jackson's US Number 1 hit 'All For You'. Auto-Tune became famous again in the mid-2000s when R&B singer T-Pain made active use of it in his songs.^[7] This technique has been copied by many other modern R&B and pop artists, including Usher, Beyoncé, Rihanna, and Justin Bieber. T-Pain has even had an iPhoneApp named after him that copies the effect called 'I Am T-Pain'.^[8]

The Boston Herald revealed that country music stars Faith Hill and Tim McGraw have both said they are using Auto-Tune in performance. They said it is a safety net that guarantees a good performance.^[9]Sara Evans, John Michael Montgomery and Gary LeVox of the group Rascal Flatts also use Auto-Tune to fix pitch problems. However, other country music singers, such as Loretta Lynn, Allison Moorer, Trisha Yearwood, Vince Gill, Garth Brooks, Martina McBride, and Patty Loveless, have refused to use Auto-Tune.^[10]

YouTube musical group The Gregory Brothers have joined their original music tracks with Auto-Tuned versions of mundane evening news video clips, making fun of everyone from President Barack Obama to Antoine Dodson. The popularity of their YouTube channel led the Gregory Brothers to release many of their songs on iTunes.

Artist backlash[changechange source]

In 2002, the CD Miss Fortune by singer-songwriter Allison Moorer was released with a sticker stating that 'Absolutely no vocal tuning or pitch correction was used in the making of this record'.^[11] At the 51st Grammy Awards in early 2009, the band Death Cab for Cutie wore blue ribbons to protest the use of Auto-Tune in the music industry.^[12] Later that spring, Jay-Z named the lead single of his album The Blueprint 3 as 'D.O.A. (Death of Auto-Tune)'. Jay-Z said that far too many people had jumped on the Auto-Tune bandwagon and that the trend had become a gimmick.^[13][14]Christina Aguilera appeared in public in Los Angeles on August 10, 2009 wearing a T-shirt that read, 'Auto Tune is for Pussies'.^[15] However, when interviewed by Sirius/XM, she said that Auto-Tune wasn't bad if used '.in a creative way'. She said her album Bionic uses the technology and highlighted 'Elastic Love' being a product of it.^[16]

Criticism[changechange source]

Opponents of the plug-in argue Auto-Tune people will not treat musicians with respect in they need help to stay in tune. A Chicago Tribune report from 2003 states that 'many successful mainstream artists in most genres of music—perhaps a majority of artists—are using pitch correction'.^[11]

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In 2004, The Daily Telegraph music critic Neil McCormick called Auto-Tune a 'particularly sinister invention that has been putting extra shine on pop vocals since the 1990s' by taking 'a poorly sung note and transpos[ing] it, placing it dead center of where it was meant to be'.^[17]

In 2009, Time magazine quoted an unnamed Grammy-winning recording engineer as saying, 'Let's just say I've had Auto-Tune save vocals on everything from Britney Spears to Bollywood cast albums. And every singer now presumes that you'll just run their voice through the box.' The same article hoped 'that pop's fetish for uniform perfect pitch will fade', commenting that pop-music songs are sounding the same, as 'track after track has perfect pitch.'^[18][19] Timothy Powell, a producer/engineer stated in 2003 that he is 'even starting to see vocal tuning devices show up in concert settings'; he states that 'That's more of an ethical dilemma—people pay a premium dollar to see artists and artists want people to see them at their best.'^[11]

The American television series Glee uses Auto-Tune in its songs. E! Online's Joal Ryan criticized the show for its 'overproduced soundtrack', in particular, complaining that many songs rely too heavily on the software.^[20]

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How to midi map in traktor pro 2. In 2010, there was controversy when British television reality TV show, The X Factor had been accused of using Auto-Tune to improve the voices of contestants, especially Gamu Nhengu.^[21][22]Simon Cowell ordered a ban on Auto-Tune for future episodes.^[23]

References[changechange source]

1. ↑Antares history page
2. ↑Harold A. Hildebrand, 'Pitch detection and intonation correction apparatus and method', US patent 5973252, published 1999-10-26, issued 1999-10-26
3. ↑ ^3.03.1Frere Jones, Sasha. 'The Gerbil's Revenge', The New Yorker, June 9, 2008
4. ↑Antares product page
5. ↑Everett-Green, Robert. 'Ruled by Frankenmusic,' The Globe and Mail, October 14, 2006, p. R1.
6. ↑'Recording Cher's 'Believe'
7. ↑Singers do better with T-Pain relief
8. ↑I Am T-Pain at Smule.com
9. ↑Treacy, Christopher John. 'Pitch-adjusting software brings studio tricks,' The Boston Herald, February 19, 2007, Monday, 'The Edge' p. 32.
10. ↑McCall, Michael. Pro Tools: A number of leading country artists sing off key. But a magical piece of software-Pro Tools-makes them sound as good as gold.'
11. ↑ ^11.011.111.2Ryan, Maureen (27 April 2003). 'What, no pitch correction?'(PDF). Chicago Tribune. Retrieved 2010-04-25.
12. ↑'Death Cab for Cutie protests Auto-Tune'. Idiomag.com. 2009-02-12. Retrieved 2009-02-12.
13. ↑Reid, Shaheem (2009-06-06). 'Jay-Z Premiers New Song, 'D.O.A.': 'Death Of Auto-Tune''. MTV. Retrieved 2009-06-21.
14. ↑Reid, Shaheem (2009-06-10). 'Jay-Z Blames Wendy's Commercial—Partially—For His 'Death Of Auto-Tune''. MTV. MTV Networks. Retrieved 2009-06-10.
15. ↑DIRRTYHONEY (2009-08-11). 'Christina Aguilera Joins Jay Z's Anti-Autotune Movement'. Popsugar. Retrieved 2010-04-25.
16. ↑Christina Aguilera Talks Use of Auto-Tune on SIRIUS XM June 17, 2010
17. ↑McCormick, Neil (2004-10-13). 'The truth about lip-synching'. The Age. Melbourne. Retrieved 2010-04-25.
18. ↑Tyrangiel, Josh, 'Singer's Little Helper,' Time, February 5, 2009
19. ↑Note that the phrase perfect pitch is used here in an erroneous manner, as it refers to a very rare ability, not the mere ability to sing in tune; in general a skilled singer can be expected not to sound off-key.
20. ↑Ryan, Joal (October 23, 2009). 'Glee's Great, but the Music Ain't'. E! Online. Retrieved 2009-11-19.
21. ↑X Factor admits tweaking vocals
22. ↑'X Factor 2010: Outraged viewers take to Twitter to complain 'auto-tune' technology was used on first episode'. Daily Mail. London. 2010-08-22.
23. ↑Sam-Daliri, Nadia (2010-08-26). 'Angry Simon Cowell bans Auto-tuning'. The Sun. London.

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Other websites[changechange source]

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• TuneWorx - a pitch correcting module from SpectrumWorx
• Antares Auto-Tune EVO Pitch Correcting Plug-In – product home page
• Pitchfork: Neko Case Interview – artistic integrity and Auto-Tune
• CBC Radio OneQ: The Podcast for Thursday June 25, 2009MP3 – NPR's Tom Moon on the takeover of the Autotune.
• 'Auto-Tune', NOVA scienceNOW, PBS TV, June 30, 2009
• KnowYourMeme: Auto-Tune, the history of Auto-Tune and current use in popular media

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