Dec 02, 2018  An in studio vlog & tutorial about how to use autotune in Garageband (and any program) the right way. Most young and new music artists in present time love to record their raps and singing to. Mar 21, 2016  In GarageBand 10.0.3 you can tune a voice using the Track Editor. Select your vocal track, then open the Track editor(the scissors icon), and select either the complete track or a region i the track. In the Info panel you will now see the 'Limit to Key', Pitch correction, or flex (for follow tempo and pitch) elements to adjust the pitch of the track.

1. How To Use Garage Band To Record Vocals Auto Tune Lyrics
2. How To Use Garage Band To Record Vocals Auto Tune Youtube
3. How To Use Garage Band To Record Vocals Auto Tune Video
4. How To Use Garage Band To Record Vocals Auto Tune Free

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. Here is the list of best free Auto Tune software for Windows.These Auto Tune software are basically VST Plugins for famous open source audio editors.These VST plugins are used to enhance vocal by adding various effects. You can also use these auto tune software to enhance musical instruments’ sounds.

Before we start, there are a few things I’d like to clear up. I’m not an expert, by any means, but from my knowledge of the topic, I’d say that audio engineers and music producers make mixing more complicated of a process than it needs to be.

As a general rule in life, the simplest solution is usually the correct one. Over sophistication and overanalysis is a big problem for many. Not only in terms of making a mountain out of a molehill but also for scaring beginners away from taking their first step in the door.

Less is often more, in my ever-so-humble opinion, and the least complicated, the better.

Similar to mastering, usually the more you mess around with the song, the worse it gets due to overanalyzing and getting tripped up on minute details, which may be important to audiophiles, but are not at all to the average listener.

Adjusting the volume of a track by 0.01dB is really not going to make that much of a difference. However, +1-2dB may be the difference between guitars that sound too loud or too quiet.

I’ve collected a useful depository of tips and tricks over the last couple of years messing around with DAWs, watching YouTube videos, and reading books on audio engineering and mixing.

***A lot of these are good for other DAW’s as well, not just Garageband.

Without further ado, here are some basic mixing tips for Garageband:

Make Sure Your Tracks Aren’t Clipping

One can’t stress enough the importance of avoiding clipping audio in your DAW. The reasoning for this is simple: you don’t want your music to crackle and sound terrible.

Many users when they first start out, including me, had no idea why my tracks always sounded awful whenever I uploaded them to SoundCloud as well as iTunes. It turns out, output meters matter and they matter a lot.

I struggled with this for a while, because I didn’t know precisely what was meant by “clipping,” or output meters.

In layman’s terms, clipping means that the audio signal is too strong, and the regular cycling process of the audio signal is being disrupted due to the amplifier reaching its limit.

Garageband – and probably every digital audio workstation – comes with output meters that show a user that the signal is too hot. In Garageband, when the signal is clipping, the volume meter will be in the red, rather than the green and yellow.

It’s imperative that your tracks are going only into the yellow (or green), during the loudest parts of your song, and never into the red.

It’s fine if your tracks are hovering in the lower end of the green throughout the entire track.

*Usually, if your volume output meters are at -6.0dB and below, there won’t be any clipping.

It’s Ok If The Master Volume Output Is Clipping (A Little Bit)

In my experience, it doesn’t matter a lot if the master volume is clipping a tiny bit when you’re getting ready to export your track for mastering.

I usually have the master volume set at 0+ dB or -0.5dB when I export it through an AIFF File and resubmit it back into Garageband for the final process.

The master volume meter is on the top-right-hand side of Garageband above the workspace. Whenever I’m working on new music, I usually have it cranked, but later turn it down when I’m getting ready to mix/master.

Make Sure Your Tracks Are Named Properly

In my other article, 16 Editing Tips In Garageband (That Are Actually Useful) (Link Here), I spoke about the importance of naming your tracks and MIDI Regions, and I’m going to mention it again here.

Essentially, if you want to name your tracks, it’s as simple as secondary clicking (two-finger click or right-click), the track region and then a list of options will show up where it clearly says, “rename track.”

It’s the same thing for the actual MIDI Regions as well – “Rename Regions.”

This is quite useful for the mixing process because what good is having a bunch of different tracks when you don’t even know what each one is?

For beginners, this may not be a super important tip, but after one has used Garageband and other DAW’s for about a year, you’ll notice that the number of your tracks will likely increase by a lot, simply because there is so much potential variation in the creative process.

One example: you can use up to 15 different plug-ins on each “Software Instrument” and “Audio” track, so there are endless ways to modify your music, including with flangers, compressors, phasers, and so on and so forth.

Which brings me to the next tip:

There Are 15 Possible Plug-ins For Each Track (Channel) in GarageBand

A lot of users are surprised to find out we can actually use up to 15 plug-ins in Garageband. Finding and setting them up is not quite as intuitive as you would think; for that reason, I’m sure a lot of people miss out on this treat.

If you want to set up more plug-ins, you have to hover your cursor beneath the four standard plug-ins that come as default with each Software Instrument and Audio Track. You’ll see a little white line show up. Click on the very bottom of the Audio Effect Slot.

Once you’ve clicked on the white line, it’ll give you the option to open up a plug-in, however, it’s misleading because it looks like you’re just setting up a plug-in for an already-existing audio-slot.

But, once you choose a plug-in, you’ll notice that Garageband just created a whole new Audio Effects Slot and plug-in for you. Be careful though, because the order of them matters.

Changing The Order Of Your Plug-Ins In The Signal Chain

The order of your plug-ins in the signal chain actually matter for the overall tone and shape of your mix’s sound. It’s a lot like using effects pedals for guitar. The order of guitar pedals actually makes a difference due to basic input-output processing.

In layman’s terms, the signal is transferred in a chain through each plug-in.

For example, let’s say you’ve just completed a new song without plug-ins on the master track.

You add a Channel EQ, and then the signal runs through the Channel EQ, and into the Compressor, which compresses the sound and then sends it through a bit of Reverb, and then that signal is finally put through the Limiter.

It’s literally a signal chain, so it makes perfect sense as to why the order of plug-ins matter.

For the sake of experimentation, you can see what I mean when you reorder the Channel EQ and Distortion plug-ins. If you put the Channel EQ after the Distortion, you’ll notice how much stronger the distortion is, which is good or bad, depending on your intention.

As a general rule, start with the Channel EQ plug-in, and use compression after that. There’s a theory in the world of mixing: “cut before compression and boost after,” and apparently it’s a good rule to follow.

For instance, when I’m mixing the 808 – I actually use the Deep Sub Bass synth – I’ll make the Channel EQ the first plug-in, then a bit of distortion follows, and maybe the Compressor after that.

Frankly, there is no right way of doing this. It’s all up to you and your ears.

Cut first, smooth it out, soften, and then add a limiter to make sure nothing gets out of control. That’s how I think of it.

Turn Off “Export Projects At Full Volume” Within The Garageband Preferences

This is a simple one, but also one of crucial importance. You’re not going to be able to export music at a competitive level if you have this option selected. Frankly, I’m not entirely sure why Garageband has this option, to begin with.

1) Just go into Garageband’s preferences.

2) Click on Advanced.

3) And then un-check the box beside the word, “Auto-Normalize.”

How To Use Garage Band To Record Vocals Auto Tune Lyrics

It says “Export At Full Volume,” yet when this option is selected, tracks are exported at such a low volume that they’re almost entirely useless.

Use The “Cycle Area” Function to Repeat Phrases For Mixing

When listening to your track, it’s worth hitting the “Cycle Area” option on top of the ruler and listening to each part of your arrangement on its own, individually, while adjusting the volume sliders to your choosing.

Now, this isn’t something I do personally, but I know a lot of others do this. It’s a good way of analyzing each part individually. It’s sort of like compartmentalizing the mixing process.

How To Use Garage Band To Record Vocals Auto Tune Youtube

Hit the ‘C’ button on your keyboard, and that should begin the “Cycle Area” which you can then adjust to your choosing. Or, hit the top of the ruler with your cursor to set it up manually.

How To Fade Out in Garageband

There are two ways of fading out your audio in Garageband.

Option Number 1:

Fading out in Garageband is as simple as going into the “Mix” setting in Garageband’s tool settings, and then selecting the option, “Create Volume Fade Out On Main Output.”

This will automatically lower the volume gradually on the entire track. This setting works really well. There’s no reason, really, for creating a different automation fade-out.

However, let’s say, for whatever reason, you’re not happy with the automatic fade-out offered by Garageband.

Option Number 2:

1) You can, instead, create your own automation track by hitting the ‘A’ key, on your keyboard. You can also hit the “Show-Hide Automation” button on the top-right-hand side of the track-header. It’s a lot easier, however, to just hit the ‘A’ on your keyboard.

This’ll bring up all of the automation settings in your workspace.

2) Click on the Automation Line. It’s yellow.

3) Now, click on the yellow line as many times as you want. This will create little yellow dots permitting the user to create very specific and adaptable automation.

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4) Drag the lines according to how you want your volume levels.

Setting up automation like this is incredibly use useful for individual tracks, as well as on the Master Track.

*Select “Show Master Track” in “Track” setting In the top toolbar – Also, (Command + M)

*You can also delete the little yellow dots by double-clicking with your track-pad or hitting the delete button.

How To Fade In

Like the method shown above, it’s as simple as hitting the ‘A’ on your keyboard, then clicking on the yellow automation line, and dragging the line according to how you want to fade the volume.

* You can also establish automation tracks for “reverb” and other settings, not just volume.

How To Reverse Playback

This is a dope feature I figured out while I was researching all the possible things I may have missed when looking for special mixing tips.

Just double-click on the recording as you normally would, and it’ll bring up the details in the Smart Controls below.

With the exception of “Software Instrument” tracks, you can hit the “Reverse Playback” checkbox where the plug-ins usually are, and this will literally play your recording backward.

An amazing feature if you’re trying to break out of a creative slump. If you’ve sampled something cool and need a quick new sound in the same key signature, hit the “Reverse Playback” button.

Lowering the Volume Of Tracks By 1/10ths Rather Than 1/2ths and 1/5ths

Sounds a bit confusing, so let me explain.

When adjusting the volume, you’ll notice that as soon as you get below -6.0dB, the numbers start decreasing by 0.2 rather than by 0.1, and then once you’re down to -18.0, the numbers decrease by -0.5dB instead of -0.2dB.

There’s actually a way of getting around this, and it’s through the “Automation” section in the workspace.

1) Hit ‘A’ for Automation on your keyboard, and Garageband will bring up the yellow volume bar.

2) Drop two automation points on the yellow line (there are three in the image above because I made a mistake).

3) Now select both of the points by clicking and dragging a box around them.

4) You can start pulling down the line by the two points, and you’ll notice the movement in volume is more precise.

This may not seem important in the beginning stages of mixing, but it will come in handy later on when more precision is needed.

Listen to Your Mixes on Both Quality and Terrible Headphones – Also In A Car

This is self-explanatory but crucial. While it’s a great idea to use quality headphones to mixes, it’s also useful to listen to your mix with bad headphones/speakers.

The truth is, most people won’t listen to your music on the best gear in the world, because most people aren’t audiophiles or audio engineers.

When browsing around on internet forums and the like, I’ve seen producers/musicians say things like, “If the listener doesn’t respect my music enough to listen to it on a good pair of headphones, then they’re beyond helping anyway.”

Obviously, a mentality like the aforementioned is absurd. You want your music to sound as good as possible using every medium.

If you’re in the market for a great pair of inexpensive headphones, check out my article here.

Use Subtractive EQ First And Then Additive EQ After

When you first open your Channel EQ, typically the very first thing a mixer does is they drop the lowest of the lows and the highest of the highs. The human ear can’t really pick up those super high frequencies anyway, so nothing’s lost.

The first thing that I normally do, is I go over to the part around +200hz and I drop that frequency out just a tiny bit, because that is the point most audible to humans, and thus, it’s usually the “problem area,” so to speak.

It can get a little “muddy” if you have too much signal coming from this area.

Then, I’ll give a nice little boost to the part starting from +300hz all the way until +10,000khz. I like it when my mixes sound bright and clean, so that’s why I give a boost of about +2.5dB.

After that, I’ll boost the +100hz area by +3.0dB, but I’ll also have the ‘Q’ set to around 0.50.

Use Compressor Pre-Sets

The presets that come with Garageband are actually quite good. It’s rare that I’ll use a compressor and actually make custom settings for each track. I usually employ the “Platinum Analog Tape” setting, and that’s all the compression I’ll use on the entire mix.

In my opinion, it isn’t worth messing with when you’re first starting out as a music producer/audio engineer. Compression is one of those tools in a mixer’s toolbox, that, for whatever reason, people tend to use and abuse.

There are other pre-sets worth checking out including “Tight Snare” and “Modern Kick,” and so on and so forth.

If you’re serious about becoming a producer/engineer, it’s worth researching the compressor and all of its parameters, including ratio, attack, gain, threshold, and release.

Don’t Be Afraid Of Reverb But Don’t Use it Too Much – Use Delay As Well

Using too much reverb is a common mistake for beginning music producers. Let’s be honest, reverb is a great feature, and it adds so much.

However, the mistake is that people will, for instance, record 5-7 different tracks, each one with reverb on it, and then when all of those tracks are mixed together, the sum total of all the reverb on each individual track makes the amount of it gargantuan and awful sounding.

I use reverb on guitar, but I rarely douse my music in it. It’s great to use it sparingly, otherwise, you’ll pay for this mistake later on when it’s time to master.

With that said, reverb isuseful, and it sounds great. There’s no question about that, and the same thing could be said for delay as well.

Make Sure There Aren’t Any Effects Running On Your Output Master Track

This is crucial. There should never be any effects, EQ, compressors, limiters, or any tools on your output master track for a simple reason. All of that stuff should be empty and unused until it’s ready for mastering.

If you try and mix and master your track later with all of these effects, you’ll find that everything has become muddied and almost impossible to mix and master correctly.

Use Noise Gate On Recorded Audio

This one’s a no-brainer for all of the guitar players out there – if you’re into metal, anyway. Noise gates are very useful for people who play metal because there is so much distortion involved, so whenever you stop playing the guitar, there tends to be buzzing and hissing from the amp.

However, when you employ a Noise Gate on your guitar parts or vocal tracks, the tool eliminates all of those annoying sounds that would later become a problem in the mix.

The Noise Gate is an option down in the Smart Controls’ plug-in area under the “Dynamics” sub-heading.

It’s important not to use the Noise Gate too much, however, because it’ll end up destroying the dynamics of your recording. For instance, if you’re playing a guitar solo and need a note to ring out, a Noise Gate will limit the sustain.

Understand Signal To Noise Ratio

Often abbreviated as S/N or SNR, Signal-To-Noise-Ratio is an important concept for mixers and music producers. In layman’s terms, it’s the comparison between the desired signal’s power to the background noise.

In other words, let’s say you’re recording guitar and using a lot of distortion for a guitar solo. If the S/N is too low, that means the hissing signal of the amp, people talking in the background, the sound of the air conditioner, and so on and so forth, is too close to the signal of the actual guitar playing.

Many products come with an S/N ratio, but not all of them.

Measured in dB, a higher specification means for every dB of the desired signal, there is ‘x’ many dB of undesired signal. For instance, if an S/N ratio is 100dB, that means that the signal is 100dB stronger than the noise.

Using the example of a refrigeration, if you’ve recorded a conversation between two people in a kitchen, in which a fridge is running and humming at 30dB, the pair’s conversation better not whisper, because the fridge might actually be much louder than the sound of the conversation.

Later on, this problem is amplified in the mixing and mastering process, especially in the case of compression, which will accentuate the loudness of the refrigeration and bring down the volume of the conversation.

It’s all pretty intuitive. Make sure that your signal is much, much, much stronger than the surrounding noise. It’s essential as well to make sure recordings are executed at similar volume levels, otherwise, the audio engineer will never bring balance to the mix later on.

Let Your Instruments Ring Out – (Fade Out)

It’s always a good idea to let your instrument ring out, that way the entirety of the part is recorded and there aren’t poorly executed fades at the end of each track, and thus, your final recording.

For instance, let’s say you’ve recorded a guitar solo. If you didn’t let the final note ring out and the solo suddenly just stops in the middle of a note playing, it’s going to sound abrupt and unnatural.

The same thing can be said for in-between sections of your arrangement. For example, if you’ve recorded a bass line, then let the final note ring out, or even use the volume Automation to fade the one section into the other. It adds a bit of cohesiveness and naturality to the music.

Get Your Hands On A Good Pair Of Headphones

Even though studio headphones and monitors are never truly “neutral,” they attempt to offer a balance of low and high frequencies.

How To Use Garage Band To Record Vocals Auto Tune Video

When listening to mixes, you want the most accurate reflection of the music, without being colored by the headphones. The Dre Beats, for example, are absolutely not meant for the studio, due to their increased low frequencies.

The same is true for most casual headphones. Almost all of them have boosted the bass and low frequencies because that’s what consumers want.

However, in the studio, engineers want “neutral” headphones that give the most accurate representation, that way when they’ve mixed and mastered the music, it won’t come out with too much bass or too much low-end due to increased low frequencies of most listening systems.

For further explanation, if you’ve mixed and mastered using Dr. Beats, you’ll likely think there’s enough bass and low-end in the mix, only to later discover when listening in a car or on another pair of headphones that there’s hardly any bass at all.

The headphones just made it seem like there was a lot of low frequencies, even though there wasn’t.

I recommend grabbing a pair of Audio-Technica ATHM50X Headphones for mixing (link here). They’re noise canceling studio headphones that are great for mixing and mastering tracks.

Emphasis on “noise-canceling” because you don’t want the acoustics of the room affecting your listening ability.

The link above will take you to the Amazon page for the headphones I always use for recording, tracking, mixing, and mastering. The cable on them is very long which is pretty convenient for using in the studio, and the sound is super clear and balanced.

However, if they cost too much money, there are other models of the same brand to try out on Amazon. Can’t go wrong with the ATHM50X headphones though.

Using Auto-Tune And Pitch Correction On Your Recordings

This is give-in that most people consider when thinking about the magic of recording studios. Everyone thinks auto-tune is this magic feature that everyone uses on their vocals to sound great, and truthfully, it is.

Every major singer does use it.

Trippie Redd said recently that he uses it on all of his vocals, as does everybody else in the scene. It’s pretty much an imperative for most.

In Garageband, you can use “Pitch-Correction” in the bottom portion of the Smart Controls. I haven’t written an article on how to use Auto-Tune yet, but I will in the future.

Not only is there a default Pitch Correction in Garageband, but there are also external plug-ins that you can buy, including Melodyne Essential that costs around $100.

Use Volume Automation To Turn The Volume And Signal Down During Silent Parts

During the quiet parts of a track, I turn it right down with the Automation option, and then up again once the instruments start back up. I do this whether it’s MIDI or a standard Audio recording.

It cuts out any unwanted signals and frequencies, that way there is plenty of room for frequency later on in the mixing and mastering process.

*This is more useful for Audio recordings and less so for MIDI.

There is only so much room in a particular frequency. For instance, Jason Newstead, the bass player for Metallica, claimed he didn’t know about how bass and rhythm guitar shared the same frequency when he recorded bass on …And Justice For All.

For that reason, Lars and the mixing engineer decided to lower the volume on his bass guitar because they didn’t want to take anything away from James Hetfield’s guitar playing.

Cut Out The Low-End On Your Vocal Tracks To Bring Your Singing “Out Front”

This is a bit difficult to describe in words, but if you’re having trouble mixing vocals in your track, notably, if the singing doesn’t appear front and center, sometimes just cutting out the low-end of the vocals can make the singing sound like it’s more “in front” of the rest of the instruments.

You Don’t Have To Use Compression

You don’t actually have to use compression. A lot of people are hung up on this tool and use it for everything, thus, over-compressing their music like crazy.

On my latest track titled, “Romania” (Link Here) I didn’t use any compression at all, with the exception of a multipressor on the final Master track.

I tried putting a regular compressor on it like I normally do, but it sounded terrible so I just left it off. A multipressor essentially separates the signals into 3-5 different signal frequencies and compresses each one individually.

A regular compressor compresses the entire file as one signal.

Bonus Tips

Mixing In Mono

This is one of the most commonly suggested tips for mixing for music producers and engineers.

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To mix in mono means that we’re monitoring the sound through just one channel, rather than through stereo, where the signal is being spread across more than one channel, usually two, left and right.

I wrote an entire article how to do this, and you can read it at this link here.

Simply put, if you want to convert your music over to Mono, you just go into the “Utility” plug-ins on your master channel, and then choose “Gain,” and go into its drop-down menu and select “Convert to Mono.”

Conclusion

That’s all for basic mixing tips in Garageband. Help a brother out and share this on your social media accounts. It’s much appreciated.

Before we begin, I just have to be completely honest and say I’m not an expert in the use of pitch correction or auto-tune, because I rarely use them, however, I recently had to, so I figured I’d share what I learned.

In today’s tutorial, I’m going to show you how I recently used pitch correction in the manner consistent (at least in sound) with Travis Scott and other hip-hop artists of the day.

Pitch-correction is almost always used in the recording process, and every artist uses it, from metal bands, rock bands, pop singers, and so on and so forth.

Similar to ghost-writers and professional producers/writers working on your favorite artist’s latest record, it’s just a part of the business and it’s a part of how the game is played at a high level.

Without further ado…

How To Use Auto-Tune (Pitch Correction) In Garageband.

First things first.

You need to know the key signature of the music. This should be the first step you make.

If you want to know the key signature of the song, I just find the tonal center of the music, and then I play the notes of that scale.

For instance, when I jammed along to Dave East’s “Type Of Time” recently, I knew it was in the key of C Minor (relative major: Eb Major).

I figured it out, just by searching around on my guitar for the note on which the entire song is built, and then I played the natural minor scale up from the root note, carefully listening for each note to hear any dissonances.

How To Use Garage Band To Record Vocals Auto Tune Free

If you don’t know anything about major or minor scales, I suggest checking out MusicTheory.net, as they have great tutorials for beginners to music theory. Also, Mark Sarnecki’s book, which I wrote about here.

You can also use the tool, TuneBat.com.

TuneBat is a pretty good resource for quickly finding the key signature of a song. They have quite a bit in there.

Personally, I like figuring it out for myself that way I don’t have to depend on the software, however, if you’re only a music producer rather than a musician, sight-reading or improvising skills really aren’t that important.

Also, understand that pitch-correction and auto-tune are used only for recordings and obviously not MIDI recordings.

1) Open a new project/already existing project.

2) Hit (Command + Option + A) to bring up an Audio track.

3) You’ll see down in the Smart Controls the way the Audio looks in wave format, in addition to a few different settings including, “Limit to Key,” and “Enable Flex.”

4) From here, what you want to do is hit the “Enable Flex” and “Limit Key” check-boxes to ensure that when you record some vocals or other music, the pitch correction tool will come in keep everything in the key.

5) At this point, I’m sure you’re already familiar with the key signature option at the top center of the DAW, but for the sake of clarification, I’ll speak of it anyway.

Just go up to the top-center where it displays the beats per minute, measure, time signature, and the tempo. You can adjust the key signature from there.

6) Now, if you want to make auto-tune work in the style of, say, for example, T-Pain, you’re going to need to know the key signature of the track in which to sing.

7) Depending on how much auto-tune you want to use, you can adjust the pitch correction on a 1-100 scale within the Smart Controls.

If you put it all the way to 100, that’s obviously the most amount of pitch-correction you can use.

8) The next step is to begin recording your vocals, and then listen to how the pitch correction tool has changed the way your vocals sound.

In the Instagram post below, you can see what it sounds like without pitch correction and with the pitch-correction all the way up to 100.

The first thing that you hear is the out-of-key version of “Stargazing” from Travis Scott.

You’ll notice when I say the word, “Stargazing,” it sounds out of key. But then after I adjust the pitch the correction to 100 it starts to sound good.

In conclusion, the steps I laid out above is how you pitch-correct a vocal track. However, if you want to use auto-tune as a creative tool in the style of Travis Scott, then there are additional details.

It’s worth mentioning that between 65 and 75 is the best range for the pitch correction tool if you’re just trying to correct those imperfections.

Also, it’s best to give the best singing performance possible, because the pitch correction tool works at its most optimal when the notes are only slightly off.

If you just sing wildly out of tune, the benefit of using the pitch correction software is lost. You can try it for yourself some time to see what I mean.

How To Use Auto-Tune Like Travis Scott

For this, it’s pretty much the same thing as the steps listed above, but we have to add a few more effects, including delay, reverb, and a bit of compression as well, actually, probably a lot.

For the sake of clarity, I’ll run through these steps once again.

1) Bring up your audio track using the (Command + Option + A) function.

2) Click on the Audio Region.

3) Click on Track.

4) Check both boxes, “Limit to Key,” as well as “Enable Flex.”

5) Hit Record on your Audio Track, and then record yourself singing whatever it is that you want to sing.

If I were you, I would make sure that you have the “Feedback Protection” box clicked, just in case.

Also, if you’re going to use your computer’s built-in microphone, you’ll have to plug headphones in due to the fact the microphone and built-in speakers are too close to each other.

If you plan on actually making legitimate vocals, obviously, it’d be a much better option to use a good microphone. From what I understand, Shure is kind of like the industry standard.

Moving on…

6) Turn the pitch-correction all the way up to 100 that way it’s working as much as possible.

7) Go into your Plug-ins, and select the options, Compressor, Platinum Verb within the Reverb options, the Stereo Delay, as well as the Channel EQ

8) First, go into your EQ, and EQ the audio track so it looks like the image I’ve laid out below.

You can see that the Lows have been boosted considerably, as well as the highs, and then the mids are cut out almost completely.

9) Then, go into your Compressor and set it at the settings you can see below in the image.

10) For the Platinum Verb, I just keep it at the default setting.

11) Now that you have your final track, you can see that it kind of has that Washed out with Reverb/Robot style which is Travis Scott’s style. I don’t mean that derisively, those are just the mannerisms that come to mind.

12) For the next step, you want to copy and paste your audio track into two new duplicate tracks, however, you’ll pan the one to the left and one to the right using the pan buttons that look like this.

13) After this, make sure you turn off the Delay off the two duplicate tracks because otherwise, there will be too much of it.

Effects like Reverb and Delay kind of add up on top of each other, so make sure to not over-use these features.

How To Use Auto-Tune (Pitch Correction) In iOS

Setting up pitch correction and auto-tune in iOS isn’t much different from how you’d do it on the Mac.

Without further ado.

1) The first thing you want to do, is hit the option, “+” on the top right-hand side of the screen when you first open up Garageband iOS.

2) Select the option, “Audio Recorder.” 2

3) Now, you’ll come to a little dial in the center of the screen that kind of looks like a children’s toy. Choose the Golden Microphone option titled, “Extreme Tuning.”

4) From there, go into the drop-down menu on the top-left hand of the screen and click on the “Extreme Tuning” icon.

5) Then, click on the setting that says, “Vocals.”

6) Choose the option “Lead Vocals” from there.

7) We now have five dials from which to choose, Tone, Pitch Control, Compressor, Drive, and Vocal Hall.

6) Hit the dials (that looks like a Gear) of the top-right hand side of the screen, and then click on “Track Controls,” which whill then bring up all of the plug-ins.

7) Add a little bit of Reverb and then Delay.

8) You can adjust the compressor up or down, depending on how much you want to equalize the sound.

9) From here, as I mentioned in the tutorial above, you need to figure out the key signature of your song. Considering the fact it’s the song you’ve likely written, you’ll know what the key is.

10) If you need to adjust the Key Signature, click on the icon that looks a gear, then choose “Song Settings.” From there, you can see where it gives Tempo and Key Signature options.

If you’re using someone else’s song, try TuneBat.com.

***Having the proper key signature set up is an important detail because it gives the pitch correction software a standard by which to measure and adjust.

If you have the wrong Key Signature, auto-tune won’t work properly because the tool will adjust the wrong notes to the wrong pitch.

***There’s also an Application that you can download called, “Voloco,” which acts as a harmonizer and pitch correction tool. I don’t think it’s that necessary frankly, but you can try that out.

You can refer to the Instagram post above if you want to hear the final product.

As I’ve mentioned before, probably the most important things to remember when using auto-tune and pitch correction are as follows:

1. Adjust the amount of correction from 0 to 100
2. Use Delay and Reverb
3. Sing on key to really maximize the utility of pitch correction software.

And that’s pretty much it.

Anyway, I hope this helped you out. Make sure to share it on your social media if you enjoyed it.

Until next time.