1. What Is Antares Auto-Tune Evo?Understanding how Auto-Tune works| 00:00 | Pitch correction software is such an
integrated part of modern-day recording
| | 00:04 | production that sometimes we
take its existence for granted.
| | 00:07 | But understanding the basic
fundamentals of how pitch, frequency, and the
| | 00:11 | detection and correction of these
elements occur is vital to developing a solid
| | 00:15 | pitch correction workflow.
| | 00:17 | So first of all, what is pitch?
| | 00:20 | Pitch or the perception of high versus low
exists everywhere in our day-to-day lives,
| | 00:26 | from the shriek of a car's brake pads
to the low rumble of a passing jetliner.
| | 00:31 | Our perception of pitch is directly
related to the frequency or speed of a
| | 00:35 | sound's waveform oscillation, or in
other words, how fast the pressure of a
| | 00:39 | sound wave cycles from positive to negative
and back again, much like waves in the ocean.
| | 00:45 | Now pitch as it relates to musical
compositions is much more defined,
| | 00:49 | but follows the same exact rules as
any other frequency-based oscillation.
| | 00:53 | The speed of a waveform cycle
determines the pitch of the note been played.
| | 00:58 | The faster the oscillation the
higher the perceived pitch and vice versa.
| | 01:02 | When the waveform is periodic or
continuously oscillating at the same speed
| | 01:07 | for a period of time, the waveform takes on this
characteristic of a distinct pitch to our ears.
| | 01:13 | But how does this help us
correct something that is out of pitch?
| | 01:17 | So in the case of monophonic pitch
sound sources like voice, the shape of the
| | 01:21 | waveform repeats itself in a similar
way over a continuous number of cycles in a
| | 01:26 | certain amount of time.
| | 01:28 | So if we take a look at this vocal
and I zoom in here real close,
| | 01:33 | I can see a repeating waveform.
| | 01:36 | This repeating waveform allows the
software algorithm and pitch detection
| | 01:40 | software to determine the incoming
frequency of a signal in close to real time,
| | 01:45 | simply by counting the number of
periodic oscillations over a window of time.
| | 01:49 | For example, 10 periodic cycles
measured over 10 milliseconds would be 1000 Hz.
| | 01:55 | By comparing the frequency of
incoming signals to a reference chart of
| | 01:59 | frequencies in a target scale or note set,
the software can determine how much
| | 02:04 | correction in either direction is
necessary to push or pull the notes back into
| | 02:08 | tune on nearly a cycle-by-cycle basis.
| | 02:12 | In other words, almost instantly.
| | 02:14 | Even a harmonically complex instrument
will show periodicity at its fundamental.
| | 02:19 | So even while other frequency
content may be present, pitch can still be
| | 02:23 | determined if the source is
monophonic or single note at a time.
| | 02:27 | So let's address some
terminology when we refer to pitch.
| | 02:31 | So pitch as it relates to a periodic
waveform is often expressed as a frequency
| | 02:35 | value, based on the number of times the
signal cycles up and down in one second.
| | 02:40 | Hence, the measurement of hertz or
cycles per second when describing a frequency.
| | 02:45 | For example, the A above middle C or A4
is often measured at 440 Hz, depending
| | 02:52 | on what part of the world you live in.
| | 02:54 | Pitch relationships are often
expressed in the form of pitch intervals, where
| | 02:58 | the octave is measured at twice or
half the frequency rate of any given note.
| | 03:02 | Now in the Western music, the most
common ratio used to measure intervals is
| | 03:06 | semitones, where a hundred cents
equals one semitone and 1200 cents equals an
| | 03:11 | octave, in the twelve-
tone equally tempered scale.
| | 03:15 | If you do the math, you may notice that
the ratio system doesn't always exactly
| | 03:19 | reconcile with the
absolute frequency measurements.
| | 03:22 | For example, if A4 is 440 and A5 is 880,
dividing the difference by 12 would
| | 03:28 | yield about 36.67 Hz per semitone,
suggesting that B-flat 4 is 476.67 Hz when
| | 03:37 | it's actually closer to 466 Hz.
| | 03:40 | This is because our twelve-tone equally
tempered scale is a compromise and hides
| | 03:45 | a bit of error or temperament in each
interval, so that no one chord in any key
| | 03:49 | sounds more out of tune than any other.
| | 03:51 | Historically and internationally, many
other temperaments and scales are used
| | 03:56 | in music composition.
| | 03:57 | If you're interested in alternative
tuning, scales and temperaments, there are
| | 04:00 | many excellent texts and wikis on the topic.
| | 04:02 | A world of free information
is just a Google search away.
| | 04:05 | All right, so we talk about pitch but
how does Auto-Tune relate to this whole
| | 04:10 | concept of pitch and how does that
help us correct an out of tune vocal?
| | 04:15 | You see, what Auto-Tune does is it uses
this concept of an oscillating waveform,
| | 04:21 | finding periodicity to detect pitch.
| | 04:24 | As the sound feeds into it,
it detects that pitch in real time.
| | 04:29 | Then it measures that against a set of
notes in a scale, and it measures the
| | 04:33 | difference in cents from what's
coming in and what it needs to be to sit
| | 04:39 | right on that scale.
| | 04:40 | It actually in real time shifts that
signal up or down in pitch to match that
| | 04:48 | target scale or pitch curve
if we draw it in Graphical Mode.
| | 04:53 | Now, Auto-Tune is designed to
work with monophonic signals only.
| | 04:57 | So that means anything that has two
notes playing at the same time, polyphonic,
| | 05:01 | core guitar, piano, even choir vocal,
it's not going to work so hot with,
| | 05:06 | because it can't detect the periodicity.
| | 05:09 | So a human can detect pitch in a polyphonic
signal, but a computer program is a different story.
| | 05:15 | So, specifically the way Auto-Tune
works is with monophonic signals.
| | 05:19 | Now, I want to take a minute before I
get into showing you how to correct a
| | 05:23 | vocal with Auto-Tune, just to talk
about pitch correction in the context of
| | 05:26 | the recording process.
| | 05:28 | There is no doubt that pitch correction
is an invaluable tool when it comes to
| | 05:31 | saving takes that are otherwise
full of energy and emotion but lack the
| | 05:35 | intonation that is required to
complete a solid composition.
| | 05:39 | While pitch correction tools like Auto-
Tune can save you endless takes in the
| | 05:43 | vocal booth, it is important to
remember that it's not the end-al,l be-all
| | 05:47 | solution for poor vocal.
| | 05:49 | Because Auto-Tune only works in the
pitch domain and because a vocal is more
| | 05:53 | than just pitch, there are many
reasons outside of poor pitch or intonation
| | 05:57 | as to why your vocals aren't
working within the context of a specific
| | 06:01 | arrangement or composition.
| | 06:03 | Now, because a vocal exists also in
the time domain, phrasing and timing are
| | 06:07 | many times even more vital to
the song than perfect pitch is.
| | 06:11 | And tone, well, tone is just
something that you can't fake.
| | 06:15 | You may be able to warp a vocal into
time but annunciation, tone, timber,
| | 06:20 | and energy in a vocal performance is
something that you just can't give to someone
| | 06:23 | with a few editing tricks.
| | 06:25 | So before you cast out all pop music
with a tired and uninformed statement like,
| | 06:29 | "oh, anyone can sing now, they can just
fix that all in the mix with Auto-Tune,"
| | 06:34 | think again. The performance
component of recording any instrument is still
| | 06:38 | second to none when it comes to how
great the end result is going to sound.
| | 06:42 | And it is important that you don't
forget that when you set your expectations of
| | 06:46 | what you can and can't do with
software and plug-ins like Auto-Tune.
| | 06:49 | While this information regarding pitch,
frequency, sense and semitones may seem
| | 06:54 | overwhelming at first, don't worry!
| | 06:57 | You can still effectively use Auto-
Tune to correct your tracks, without even
| | 07:00 | knowing what a period waveform looks like.
| | 07:03 | However, I feel that understanding the
theory and origins behind these types of
| | 07:07 | processors can only strengthen
your ability to put them to work.
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| Understanding the interface| 00:00 | Auto-Tune Evo can be used as both a
real-time or AudioSuite plug-in and its
| | 00:05 | interface remains the same, whether you're
using Pro Tools or any other host environment.
| | 00:10 | Auto-Tune's pitch correction
workflows are divided into two major sections
| | 00:14 | of the plug-in, automatic and graphical,
with certain functions spanning both sides.
| | 00:19 | In this tutorial, I will go over the
interface layout and go through some of the
| | 00:22 | basics that you will need to
understand when working in either tuning mode.
| | 00:26 | So, first of all, Auto-Tune works
in Pro Tools as either an RTAS, TDM
| | 00:31 | or AudioSuite plug-in.
| | 00:32 | If you're using Pro Tools HD,
you can use the TDM version.
| | 00:36 | If you're using Pro Tools LE,
you'll work with just the RTAS or
| | 00:39 | AudioSuite version.
| | 00:40 | The AudioSuite version allows you
to process pieces of regions offline.
| | 00:45 | So if you just wanted to tune a certain
word, you could bring up the AudioSuite,
| | 00:51 | make a selection of what you
wanted to work on, and hit Process.
| | 00:56 | Now, if I want to use Auto-Tune in real
time, I can bring up the RTAS plug-in,
| | 01:00 | so I just click on the Insert selector,
go to Pitch Shift, choose Auto-Tune Evo.
| | 01:07 | That brings up the interface here.
| | 01:09 | So, there are two main modes we're going
to work in, right here under Correction
| | 01:12 | Mode, Auto and Graphical.
| | 01:15 | So Automatic compares the input pitch
to a user-defined scale in real time,
| | 01:20 | correcting for any offsets
based on a simple set of parameters.
| | 01:24 | While it is the easiest to use, it's also
the least natural form of pitch correction.
| | 01:29 | It tends to sound more artificial
than a good graphical tuning does.
| | 01:33 | Now, Graphic Mode gives you a set of
tools to manipulate a target pitch curve,
| | 01:39 | allowing you to draw in the
desired pitch on the timeline.
| | 01:43 | While this can be very time-consuming,
it provides the control necessary for a
| | 01:47 | very natural sounding result.
| | 01:49 | Now, both modes are going to use a
common set of parameters up at the top here.
| | 01:55 | Let's go through those, because these are
vital at setting up correctly to get a good tuning.
| | 01:59 | Now, first of all, we have Input Type.
| | 02:02 | This determines the type of audio
signal that you're going to be processing.
| | 02:05 | It helps Auto-Tune kind of get to know
what you're putting into it, so that it
| | 02:09 | detects it correctly.
| | 02:11 | So with vocals we have
Soprano, Alto/Tenor, Low Male.
| | 02:15 | We have one design especially for instruments.
| | 02:17 | Let's say monophonic guitar, violin,
viola, anything monophonic and a special
| | 02:23 | Bass Instrument Mode.
| | 02:25 | Now the only time you choose Bass Instrument
is if you were using something that went,
| | 02:29 | let's say, well under 60 Hz.
| | 02:31 | The Bass Mode allows Auto-Tune to detect
pitch down to 25 Hz, but it wouldn't be
| | 02:37 | appropriate for instruments
with notes higher than A4.
| | 02:40 | It would miss those.
| | 02:41 | Now, the Tracking control
goes between Relaxed and Choosy.
| | 02:46 | The Tracking control determines how
much variation is allowed in the incoming
| | 02:50 | signal before Auto-Tune can
recognize a waveform as periodic.
| | 02:55 | Remember how I told you that Auto-Tune
needs to identify a period of reoccurring
| | 03:00 | waveforms in order to determine a
signal's pitch? Well, oftentimes this is not
| | 03:04 | an exact science, as many other
signals may be present in the recording that
| | 03:08 | mask the algorithm's
ability to see the periodicity.
| | 03:12 | For example breathing,
headphone lead, room noise.
| | 03:16 | These things can affect the
performance of the detection algorithm as it
| | 03:20 | searches for periodicity
in the incoming signal.
| | 03:23 | Now Evo's pitch detection engine has
been significantly improved over previous
| | 03:28 | versions, so even recordings of
questionable quality should not need any
| | 03:32 | adjustment from the default value of 50.
| | 03:35 | However, if the signal is very noisy,
let's say from a live recording,
| | 03:39 | for example, you may achieve better results
with a more relaxed pitch tracking setting.
| | 03:44 | So kind of experiment with this,
going towards the Relaxed side.
| | 03:48 | Sometimes if you get too relaxed,
it kind of picks up the noise and tries to
| | 03:51 | detect that as pitch.
| | 03:53 | But the bottom line when you're
playing with the Tracking setting, if you're
| | 03:56 | used to using Auto-Tune 5 or earlier
versions, try leaving Auto-Tune Evo at 50.
| | 04:02 | I think you'll find in most cases, even with
noisy recordings, it still tracks perfectly.
| | 04:08 | Now, the Pitch Reference is not
going to show up unless you're working on
| | 04:12 | a stereo track and you would choose
either the left side or the right-side
| | 04:16 | to detect pitch from.
| | 04:17 | This is to keep each side in phase with
each other as it changes the pitch so it
| | 04:22 | detects from one and determines
the correction for both sides.
| | 04:25 | In this case, we're working with a mono
vocal track, which is how you're going
| | 04:29 | to be working most of the time.
| | 04:31 | But if you were working with a stereo
signal, you'd want to choose either the
| | 04:34 | left or right side to detect from.
| | 04:36 | Now, the Key and Scale, this is
going to be very important in both modes,
| | 04:40 | especially Automatic Mode, as the Key
and Scale determines the target notes that
| | 04:47 | Auto-Tune will correct to.
| | 04:48 | So if I just chose Chromatic scale,
that's going to be all 12 notes.
| | 04:52 | So what it would do is if the
detected incoming pitch had been let's say 50
| | 04:57 | cents off a C sharp, it would go
ahead and correct that right to the
| | 05:02 | nearest note, C sharp.
| | 05:03 | If that wasn't even in your scale,
it would still correct it to that note.
| | 05:08 | So a lot of times, it's beneficial
to go in and actually define the scale
| | 05:12 | and key of your song.
| | 05:14 | There's actually 29 preprogrammed
scales that you can choose from.
| | 05:17 | Most of the time, you
choosing just major or minor.
| | 05:20 | Generally, you don't get into
some of these exotic scales.
| | 05:23 | So I choose my key. In this case, the key
is Db, and the scale is the Major scale.
| | 05:31 | Now, if I need to fine-tune, I can go in
here and tune it up or down, one cent at a time.
| | 05:39 | Now generally, you want to leave this
at 440, but let's say you're trying to
| | 05:43 | tune to a piano that's not in tune.
You can kind of tweak this setting or maybe
| | 05:48 | you want to tune to a different concert
tuning like 445 or 435 or something like that,
| | 05:54 | but you're generally just going to
leave this at 440, because this is just a
| | 05:57 | really fine scale to be tuned.
| | 05:59 | Now if you want to do serious
transposition, you can use the Transpose function
| | 06:04 | and this is in semitones all the way
up to an octave up and an octave down.
| | 06:09 | Now, this is only going to be in the
RTAS version. If you use the TDM version
| | 06:14 | on Pro Tools HD, you're not going to get the
Transpose and the Throat Length parameters here.
| | 06:19 | So I can transpose. I can also turn
on the Formant correction control.
| | 06:25 | Now when I transpose a lot, the formants
or the resonant qualities of a vocal or
| | 06:31 | an instrument can get shifted.
| | 06:33 | So it can lead to that Mickey
Mouse or kind of Darth Vader sound.
| | 06:37 | Formant correction attempts
to correct for these problems.
| | 06:41 | You can turn it on and see if it helps.
Generally, when you're doing regular
| | 06:44 | pitch correction, you're just tuning
up or down, let's say 50 cents here, 50
| | 06:48 | cents there, you don't
really need to have this checked.
| | 06:51 | However, you do get access to the
Throat Length parameter and this is borrowed
| | 06:55 | from the AVOX line of plug-ins.
| | 06:57 | This actually increases based on
percentage, the virtual throat that it's going
| | 07:01 | to process it through.
| | 07:02 | So you can make sort of a
longer throat or a shorter throat.
| | 07:06 | This would be, let's say, 79% of the original.
| | 07:10 | So, now that we understand some of the
common settings and how to set them up,
| | 07:15 | next we're going to do some actual
pitch correction using Auto-Tune's Automatic Mode.
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|
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2. Working with Auto-Tune EvoWorking in Auto-Tune mode: The T-Pain effect| 00:00 | Putting the Auto in Auto-Tune,
Automatic Mode processing has arguably done more
| | 00:04 | for modern pop music production than
any other plug-in in the history of
| | 00:08 | digital signal processing.
| | 00:10 | By analyzing the incoming signal and
re-pitching it at near real time to a user
| | 00:15 | definable scale of notes, you too can
sound like a drunk robot with just a few
| | 00:19 | simple knob tweaks and I am
going to show you how,right here.
| | 00:22 | So, setting up for Auto Mode I
want to reiterate the input type.
| | 00:26 | We are working with a male vocal so
I am going to choose Alto/Tenor and the
| | 00:30 | Tracking for now I am
going to leave at 50, right.
| | 00:33 | EVO has a redesigned tracking engine that
works a lot better than Auto-Tune 5 did.
| | 00:39 | So we can just kind of leave that there.
| | 00:40 | I am going to set my key. The song is
in D flat, Major and I am going to leave
| | 00:45 | the Scale Detune here at 440, no change
here and I'm not transposing right now.
| | 00:51 | So, once I have that setup, I am just
going to turn my Retune Speed to really
| | 00:55 | fast and I am going to go
ahead and listen to this.
| | 00:57 | (Music playing)
| | 00:58 | (Man singing: Trouble bound?.)
| | 01:00 | (Music playing)
| | 01:02 | (Man singing: We hit the town?)
| | 01:06 | (Man singing: And I'll never forget that sound.)
| | 01:12 | (Music playing)
| | 01:14 | So, everything seems to be set up correctly.
| | 01:16 | It's actually retuning the vocal in real
time. The Retune Speed here is set to 0
| | 01:21 | milliseconds is giving me that T-Pain
or Cher effect where it is actually
| | 01:24 | retuning the vocal in real time.
| | 01:27 | So, for every period that's out of
pitch or out of the target key it retunes
| | 01:33 | that near instantly.
| | 01:34 | That's how you getting that's sort of
robot effect of always being in tune and
| | 01:39 | as it falls out of tune or it
transitions between notes it kind of has that
| | 01:43 | vocoder-y effect of
instantly quantizing the note.
| | 01:47 | Now, let's take a look at some of these
Pitch Correction Control parameters here.
| | 01:51 | So, like I said the Retune Speed is
going to be how fast Auto-Tune retunes
| | 01:55 | out of tune signals.
| | 01:57 | So, it's detecting the incoming pitch
in real time and it is correcting it to
| | 02:04 | the key and scale that you have chosen here.
| | 02:07 | And so if it's off of any of those
notes it's going to quantize it to the
| | 02:11 | nearest note that it finds and the speed at
which it does that is based on Retune Speed.
| | 02:17 | Now, this is set in milliseconds and
like I said, if you want to go for the
| | 02:21 | T-Pain effect, you are going to
use 0 or some more close to 0.
| | 02:25 | If you want to do something that's
more natural, start at around 20.
| | 02:30 | That's going to let through some of
the natural pitchiness of the vocal but
| | 02:33 | still kind of grab on to those
sustained notes and put them back in key.
| | 02:37 | (Music playing)
| | 02:38 | (Man singing: Trouble bound?.)
| | 02:40 | (Music playing)
| | 02:42 | (Man singing: We hit the town?)
| | 02:46 | (Man singing: And I'll never forget?)
| | 02:49 | So if you listen to that, "And I'll
never forget" phrase here, we'll turn off Auto-Tune.
| | 02:54 | (Music playing)
| | 02:55 | (Man singing: And I'll never forget?)
| | 02:58 | Back on.
| | 02:59 | (Man singing: And I'll never forget?)
| | 03:03 | Right, you can hear it working a
little but it's actually subtly improving
| | 03:07 | the intonation of that phrase.
| | 03:09 | So, again what you want to do with
your Retune Speed if you want more natural
| | 03:14 | results out of Auto,
set it to a little bit slower.
| | 03:16 | Now you want to set it fast
enough to get those short notes.
| | 03:19 | If you set it too slow, right, let's say
like 400 milliseconds, it is only going
| | 03:23 | to grab those really long sustaining notes.
| | 03:26 | And maybe that's what you want.
| | 03:27 | Maybe you just want to tune up sustained notes.
| | 03:30 | But if it's too slow it will miss
fast phrases,altogether and if it's too
| | 03:35 | fast you'll start getting some of those
artifacts. Maybe you want those artifacts.
| | 03:40 | But play around with the Retune Speed.
| | 03:41 | It's probably the most important
control while working in Auto Mode.
| | 03:46 | Now, Humanize is a feature that works
in conjunction with Retune Speed that
| | 03:51 | allows some of the pitch changes to
come through on more sustained notes,
| | 03:56 | right, some in the Natural Vibrato on
a more sustained note and generally,
| | 04:02 | what you want to do with this control
is if you find that once you have the
| | 04:06 | short notes getting in to tune with
the Retune Speed, you can turn up the
| | 04:11 | Humanize parameter to allow a little
bit more natural pitch to funnel through
| | 04:17 | on the longer notes.
| | 04:18 | So, the way you would set it up is again
first set your Retune Speed, then come
| | 04:22 | over to Humanize and turn that up in
small increments until you feel that the
| | 04:27 | longer sustained notes are sounding
more natural in terms of vibrato and
| | 04:33 | allowing through some of those
pitch differences from the curve.
| | 04:37 | Now, when it comes to vibrato
especially when you retuning things quickly
| | 04:42 | Auto-Tune can present some problems.
| | 04:43 | So, what tends to happen is if
we think about what vibrato is,
| | 04:47 | vibrato is actually modulation in
pitch, mainly modulation in pitch, also
| | 04:53 | modulation in tone and amplitude.
| | 04:55 | But that modulation in pitch, if it's
so wide, what can happen is Auto-Tune can
| | 05:01 | think it is an entirely new note.
| | 05:04 | So, if you are let's say modulating on
F and you modulate so far as to get up
| | 05:10 | into E flat or down into G flat, it will
actually tried to in real time correct those
| | 05:15 | modulations or quantize those
modulations to the next note up or down in the
| | 05:21 | scale and this can sound really, really funky.
| | 05:23 | I mean it may be something that you want,
if you go are go in for an effect,
| | 05:27 | but generally it doesn't sound too good.
| | 05:29 | So, there is two options here, you
can use the Targeting Ignores Vibrato.
| | 05:33 | Now this is one of those
kind of hit or miss ones.
| | 05:35 | So, you can see if that helps the
targeting ignore any vibrato there.
| | 05:40 | It works on some things.
| | 05:41 | It doesn't work any things.
| | 05:42 | If it helps you, turn it on, leave it on.
If it doesn't help you, just turn it off.
| | 05:47 | The Natural Vibrato setting will
actually go in and adjust the amount of vibrato
| | 05:52 | present in the signal so you
can allow more pitch modulation.
| | 05:56 | You can actually tone it down.
| | 05:59 | So, if the vocal has too much vibrato,
you can actually kind of reign it in.
| | 06:03 | So that you still have a little bit
of modulation, but it's not as much as
| | 06:08 | you had originally.
| | 06:11 | So, depending on your skill level, ear,
and the amount of time you want to put
| | 06:15 | into editing a vocal, Auto Mode
can be just what the doctor ordered.
| | 06:19 | While, I personally find that I do my
best work in Graphical Mode, unless
| | 06:23 | I am looking for that specific Auto-Tune
effect, it is important to understand
| | 06:27 | the parameters of Auto Mode as they
will come up later when we are developing
| | 06:31 | a target pitch curve.
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| Understanding the Scale Editor and Keyboard| 00:00 | While most times you can set and forget
a Major or Minor key in scale sometimes
| | 00:05 | it is necessary to modify the scale to
achieve a specific tuning response from
| | 00:09 | the plug-in's pitch correction algorithms.
| | 00:11 | So what we see here once I have chosen
the scale of D flat Major, I have the option
| | 00:16 | to bypass or remove any notes within that scale.
| | 00:21 | Now what bypassing does is ignore that note.
| | 00:24 | So, if he was hitting a D flat or anywhere around
a D flat, it would not try to correct that note.
| | 00:31 | If I bypass all the notes in scale
except for one, what it would do is only
| | 00:39 | correct the vocal when it was
on or around a C in this case.
| | 00:43 | If I choose Bypass for all the
notes, no tuning would be active.
| | 00:49 | (Music playing)
| | 00:50 | (Man singing: Trouble bound?)
| | 00:54 | (Man singing: We hit the town?)
| | 00:58 | (Man singing: And I'll never forget?.)
| | 01:00 | So for example if there is just one spot
I wanted to tune up, like that sound,
| | 01:07 | I could bypass everything but the D flat.
| | 01:08 | (Man singing: ...that sound.)
| | 01:10 | (Music playing)
| | 01:12 | And see how it just cleans up that D flat of sound.
| | 01:16 | Let me set the Retune
Speed to about 20 milliseconds.
| | 01:18 | (Music playing)
| | 01:19 | (Man singing: ...that sound.)
| | 01:21 | So I just clean up that one word.
| | 01:24 | So a lot of times what people will do
is they'll actually use the Audio Suite
| | 01:28 | version of Auto-Tune and go through
phrase by phrase, word by word sort of
| | 01:35 | selecting which notes to include or
bypass and remove, on the other hand,
| | 01:42 | actually ignores that note completely.
| | 01:45 | So, if he was hitting a D flat there, it
would move on to either the E flat or the C
| | 01:51 | depending if it was sharp or flat.
| | 01:54 | So in this case turning off the D flat
it would still go ahead and try to tune that vocal.
| | 02:00 | (Man singing: ...that sound.)
| | 02:02 | But here it's actually trying
to tune that to another pitch.
| | 02:06 | Now if I removed everything but
one note, we actually get a kind of
| | 02:11 | interesting result.
| | 02:12 | (Man singing: ...that sound.)
| | 02:14 | (Music playing)
| | 02:17 | (Man singing: Tonight I fell asleep at the wheel?)
| | 02:23 | It sounds kind of funny I know.
| | 02:24 | What you're hearing there is you're
hearing it tuned everything to C.
| | 02:29 | It's basically removing all the other
notes in the key of D flat Major and taking
| | 02:35 | whatever the input pitch is and tuning it
to C, because I have removed all other notes.
| | 02:40 | Now again you could use the same process
of finding just that one word or even a
| | 02:45 | part of a word and determining what
note that's going to be and using the Audio
| | 02:51 | Suite version under Pitch Shift Auto-
Tune, you could just go select that word
| | 02:56 | and apply really focused
pitch correction just there.
| | 03:00 | You can also use this if you
wanted to automate the Bypass control.
| | 03:04 | So you could set it up, let's say they're
having trouble just hitting that one pitch.
| | 03:08 | Everything else is fine.
| | 03:09 | They are just having
trouble hitting that one note.
| | 03:12 | You could go in and either
remove or bypass certain notes.
| | 03:15 | Obviously in that case
you'd use Bypass not Remove.
| | 03:19 | Say they were only having trouble
hitting C and I can actually automate the
| | 03:23 | Bypass to turn on and off just for
those phrases, so that there is no way that
| | 03:30 | was going to tune any other phrase in the track.
| | 03:33 | Now when you have a scale that's non-
diatonic, that is, it includes more than
| | 03:38 | seven notes, you'll get two new
features here in Scale Editor.
| | 03:42 | So if we switch to let's say D-
Chromatic and I'm going to C-Set Major and Set
| | 03:48 | Minor show up here, and what this allows
me do is remove the keys that aren't in
| | 03:55 | the Major Scale or in this case the
Minor Scale here and I actually see the
| | 03:59 | keyboard light up at the bottom.
| | 04:02 | And what I can do here to better
understand this is let's say you are working in
| | 04:07 | D flat Major, but you want it to allow a
certain note in just a certain octave that
| | 04:14 | wasn't part of that scale.
| | 04:15 | Let's say in the higher octave you
want it to actually allow D. So you could
| | 04:20 | click there and allow that.
| | 04:22 | You could even go in and choose
Bypass to bypass specific notes.
| | 04:26 | So when notes are gray they're removed;
when notes are brown, they're bypassed.
| | 04:31 | And you can switch between Remove
and Bypass here under Keyboard Edit.
| | 04:38 | So we allowed that D or not allow
that D. You can even switch to what's called
| | 04:43 | Momentary Mode that allows you
to momentarily allow a pitch.
| | 04:48 | Now I generally find when you get to
this level of choosing specific notes for a
| | 04:54 | scale or let's say automating the
switching between the scales, the scales will
| | 05:00 | remember what notes you are allowing
or not allowing and you can actually
| | 05:04 | automate the switching between keys and scales.
| | 05:07 | At that point I generally find that
Graphical Mode offers the kind of control I need.
| | 05:13 | If I need to tune something to a
specific note in a specific place in the song,
| | 05:17 | I generally find that this is a
whole lot more work than it is worth and
| | 05:21 | Graphical Mode is going to
be the ticket in that case.
| | Collapse this transcript |
| Adding artificial vibrato| 00:00 | While we discussed the variables to
ignore or control naturally occurring
| | 00:04 | vibrato in a signal using Automatic Mode,
you can also create artificial vibrato
| | 00:09 | and apply it automatically to the
signal independent of the pitch correction.
| | 00:14 | So let's go back to
understanding first what vibrato is.
| | 00:17 | The characteristics of vibrato are
important, because as we manipulate these
| | 00:22 | settings, we want to exactly know
what they are affecting on that signal.
| | 00:26 | So vibrato is mostly a function of pitch
modulation, so the pitch changing at a certain rate.
| | 00:33 | But it's also a function of amplitude
or volume change as well as tonal change.
| | 00:39 | So when you hear vbrato on a voice,
depending on the singer, the vibrato
| | 00:43 | characteristic can change.
| | 00:44 | Some have more pitch modulation, some have
more amplitude modulation or a tone modulation.
| | 00:50 | So I find that the Create Vibrato
section in Auto-Tune is one of the least
| | 00:55 | understood portions of Auto Mode here.
| | 00:58 | A lot of people I will see setting this
up. They'll pull up Auto-Tune, set their scale,
| | 01:03 | set their retune speed and they will
come over here and start working on the
| | 01:06 | Vibrato section, thinking that it's
actually doing something, and when this is
| | 01:10 | set to No Vibrato, none of
these controls are doing anything.
| | 01:14 | So this is artificial vibrato.
| | 01:16 | This is vibrato that is going to
impart on the signal using an LFO.
| | 01:21 | The rate of the LFO is determined here.
| | 01:23 | We have Onset Delay.
Variation in the pitch modulation.
| | 01:28 | We also have amplitude modulation
and formant or tonal modulation.
| | 01:33 | And I find that the best way to
understand these parameters is to go ahead and
| | 01:38 | take the AudioSuite plug-in,
under Other called Signal Generator.
| | 01:44 | Make yourself a nice, long sine wave.
| | 01:47 | I will just make a sine wave, let's say 440
A, turn it up a little bit and hit Process.
| | 01:56 | And so what I have here,
if I bypass Auto-Tune and listen.
| | 01:59 | (Beep)
| | 02:03 | Nice, simple sine wave, and so what I will
do here in Auto-Tune, I will just set this to
| | 02:09 | Chromatic, so it includes the A there.
| | 02:11 | You don't have to worry about retune speed.
| | 02:14 | If I play this back, you can see
nothing is going to happen, because it's
| | 02:17 | detecting that pitch of A 440 fairly easily.
| | 02:20 | Now, if I go over here to the Create
Vibrato section, I can change the shape
| | 02:25 | to sine, square, or sawtooth. Each is going
to provide a different kind of modulation.
| | 02:30 | If you have ever worked with a synth
modulation parameter, so either filter
| | 02:34 | frequency modulation or pitch
modulation, you can choose the LFO, shape, sine
| | 02:38 | wave, square, sawtooth, or other shapes.
| | 02:41 | Let's start with sine wave.
| | 02:42 | This is going to be most like the
vibrato we would have naturally on a vocal.
| | 02:48 | Now, the Rate again is the speed
of the LFO and so let's just listen.
| | 02:54 | (Beep)
| | 03:07 | Now, if I want more modulation at
that rate, I can choose to increase pitch amount.
| | 03:12 | (Beep)
| | 03:18 | And that's in cents right here,
so up to 100 cents of modulation.
| | 03:24 | (Beep)
| | 03:28 | I can randomize that amount using Variation.
| | 03:33 | (Beep)
| | 03:38 | And I can change the Amplitude within that also.
| | 03:42 | (Beep)
| | 03:44 | You hear that more in an actual bocal,
the Formant and the Amplitude amount.
| | 03:47 | Right now this pure sine wave is not going
to have a lot of formant or tone information.
| | 03:51 | It's just a pure tone there.
| | 03:53 | Now, the Onset Delay and the Onset
Rate are kind of neat parameters,
| | 03:58 | because what this does is it
delays the onset of that vibrato by 500
| | 04:03 | milliseconds in this case, and the
Onset Rate slowly eases in to the full
| | 04:09 | amount of pitch modulation.
| | 04:12 | And so if we play with this here,
let's say 1 second, get close, and then
| | 04:20 | an Onset Rate of 1 second.
| | 04:24 | It's going to take a second for the
vibrato to start and then take a full other
| | 04:27 | second for it to reach its
full amount of modulation.
| | 04:30 | (Beep)
| | 04:38 | So this is really trying to mimic how
vocal would naturally modulate its pitch
| | 04:43 | in the case of sustained notes.
| | 04:45 | Oftentimes you will find that singers
will start with a solid sustained note,
| | 04:49 | with no pitch modulation or amplitude
modulation, and then as the note carries
| | 04:55 | on or sustains, they will add more and more
vibrato. So this is simulating that Onset Delay.
| | 05:02 | Now, I tend to find that this fake
vibrato, like I said, it's only going to be
| | 05:06 | on when you actually choose
one of these three LFO shapes.
| | 05:10 | Under No Vibrato, that's exactly
what you are going to get, no vibrato.
| | 05:15 | I tend to find this can be cool on synthesizers.
| | 05:19 | It can be a cool way to introduce pitch
or amplitude modulation to a sustained
| | 05:23 | synth note because you have this
cool Onset Delay and Onset Rate here.
| | 05:27 | For vocals, unless you are looking for
an effect, the automatic vibrato creation
| | 05:34 | in Auto Mode can tend to be a little bit hokey.
| | 05:38 | Now again, this is in addition to
any vibrato that already exists.
| | 05:43 | So the problem is going to be is
that if it doesn't fit with the original
| | 05:46 | vibrato, it can kind of work
against it and sound weird.
| | 05:49 | So unless you are retuning really fast
and ignoring any natural vibrato that's
| | 05:55 | occurring, this is going to be on top of that.
| | 05:58 | So I tend to find this can
be a little bit unnatural.
| | 06:02 | So go ahead and play with this, with the
sine wave, get a feel for the controls,
| | 06:07 | and then maybe try
introducing it slowly in Auto Mode.
| | 06:10 | Don't be surprised if it
sounds a little fake or hokey.
| | 06:14 | You can in Graphical Mode actually take
the shape of the vibrato and apply it in
| | 06:20 | a little more focused way.
| | 06:22 | So if I do use the Create Vibrato
function, I tend to use that as part of
| | 06:27 | Graphical Mode to do so on only
specific notes for specific amounts.
| | Collapse this transcript |
| Working in Graphical mode| 00:00 | While Auto Mode is great at providing
that synthetic hypertuned vocal sound,
| | 00:04 | which, don't get me wrong, can sound
great in some arrangements, I find that for
| | 00:08 | my ear, most of my pitch correction gets
done in Graphical Mode, where I have an
| | 00:12 | array of precision tools and graphs at
my disposal to get just the right amount
| | 00:16 | of correction I need to
strengthen the performance.
| | 00:19 | Auto-Tune's Graphical Mode allows me
to manually adjust a note's pitch and
| | 00:23 | intonation by drawing in a target
pitch curve or manipulating a note object
| | 00:27 | for the incoming signal to track to.
| | 00:30 | This provides the ultimate amount of
control when deciding what notes or parts
| | 00:34 | of notes to tune and how to tune them.
| | 00:37 | Working in Graphic Mode
does however come with a price.
| | 00:40 | You need to have a better grasp of
pitch and key, as it relates to the melody
| | 00:45 | you are working on, and it helps to
understand how different vocal phrasings
| | 00:48 | factor into the equation, as it is up
to you to determine what pitch and note
| | 00:52 | will be corrected to.
| | 00:54 | But I am sure with a little practice and
patience you will be tuning vocals like
| | 00:57 | the pros do in no time.
| | 00:59 | So for this example, I have chosen a
very simple melody, "Twinkle, Twinkle
| | 01:03 | Little Star." Everybody is
familiar with the notes in that melody.
| | 01:07 | We can just play this back
here as a tune by Graphic Mode.
| | 01:10 | (Man singing: Twinkle, twinkle little star?)
| | 01:16 | (Man singing: How I wonder what you are.)
| | 01:22 | (Man singing: Up above?)
| | 01:27 | Now, as opposed to Auto Mode, what I
see here in Graphical Mode is a graph that
| | 01:32 | shows time going left to right and then
pitch as a piano roll going vertically.
| | 01:41 | Now, what I can see here if I zoom in
on the Pitch Curve here is I have a red
| | 01:48 | line, which is the tracked pitch.
That represents the original signal's pitch as
| | 01:53 | tracked in by Auto-Tune.
| | 01:55 | Then I have a green line, which is
the output or the corrected pitch.
| | 02:00 | So that's what Auto-Tune
is sending out, its output.
| | 02:03 | Now, the blue line, if you can see the
blue line here, what that represents is
| | 02:09 | the target pitch curve.
| | 02:10 | So when I actually manually draw in a
pitch curve or I modify a pitch curve
| | 02:15 | that I build from the original pitch
curve, the blue line represents sort of my goal,
| | 02:20 | whereas the green line is the
output, because what you are going to see
| | 02:24 | is I am able to actually adjust how
closely the output matches my target pitch
| | 02:30 | line that I draw in.
| | 02:32 | Now, at the bottom here of
Graphical Mode, I see a waveform display.
| | 02:37 | That's the waveform of everything that
I have tracked in here and I can go and
| | 02:40 | zoom in just by clicking and
dragging on a specific section.
| | 02:44 | I can move left to right
here, to show the performance.
| | 02:48 | I can zoom out, zoom in,
and up or down in pitch.
| | 02:56 | I can even change the size of the pitch lines.
| | 03:03 | And sometimes it's nice to see,
instead of a line going through the center of
| | 03:07 | the pitch, to see what's called the lane.
| | 03:09 | So I can click the Show Lanes option
to actually see a lot like a MIDI Matrix
| | 03:14 | display would show me.
| | 03:15 | So I see the actual note represented
here on the piano roll and the center is
| | 03:21 | just this center of that lane.
| | 03:24 | Now, up at the top I have all
my Graphical Mode editing tools.
| | 03:28 | So I have my Clear, Undo, Redo, Snap
to Note function, which would snap any
| | 03:33 | changes to the next note.
| | 03:37 | I have my editing tools, so I have the
Line tool, the Pitch Curve tool, the Note
| | 03:43 | Object tool, the Pointer, the Scissors,
the Zoom tool, the Selector, and the Hand,
| | 03:48 | that allows me to move around.
| | 03:52 | I have my Select All, Cut,
Copy, and Paste buttons here.
| | 03:56 | Now, the Graphical Mode shares a set
of common preferences up at the top
| | 04:00 | with Auto Mode.
| | 04:01 | So I would still go ahead and choose my
Input Type, my Tracking, Relaxed or Choosy.
| | 04:07 | And the key here, even though we are
going to draw in our pitch, the key is
| | 04:12 | important, because we are actually
going to use some automated tools to build
| | 04:16 | our curve to start with.
| | 04:18 | So the key and scale is actually fairly
important, even in Graphical Mode, and
| | 04:23 | I can still use my Transpose, Throat Length,
and Formant controls here in this mode.
| | 04:29 | Down at the bottom of the display,
I will see my Clock Position, so when
| | 04:33 | it's playing back.
| | 04:34 | (Man singing: Twinkle, twinkle little star?)
| | 04:40 | That Timeline is linked to the Pro
Tools Timeline, so you can see my Clock
| | 04:44 | Source here is set to Host.
| | 04:46 | In modern DAWs, I am working in Pro
Tools 8, the host is always going to be able
| | 04:51 | to give information to the plug-in.
| | 04:53 | So you are always going to want to use
Clock Source as Host, so that stays synced up.
| | 04:57 | Older versions of Auto-Tune, in older
DAWs, Auto-Tune would actually have to use
| | 05:02 | an internal clock, because it wasn't
able to sync up with the Timeline of a DAW
| | 05:07 | like Pro Tools, early back
in the six days and before.
| | 05:10 | Now it syncs up pretty seamlessly.
| | 05:12 | You can actually track from different
positions and you don't have to worry
| | 05:15 | about starting from the same position
every time or worrying about tracking
| | 05:20 | everything in all at once.
| | 05:22 | We also have our Sample Rate, the Track
Pitch button, which we are going to use
| | 05:26 | to actually track in the
red line or the pitch curve.
| | 05:29 | I have my Make Curve,
Import Auto, Make Note buttons.
| | 05:33 | I will talk about those later.
| | 05:34 | I have my Retune Speed, very similar
to the Retune Speed that we find in Auto
| | 05:39 | Mode, and that allows me to retune
each object as fast or as slow as I would like,
| | 05:45 | and then I have my Nudge options for
nudging pitch curves or objects up or down in pitch.
| | 05:52 | Now again, Graphic Mode gives you
total control over the Pitch Curve, almost
| | 05:56 | too much control for some, and will
require a bit of practice to get the hang of.
| | 06:00 | So don't give up, because it is
truly the secret of how the pros are able
| | 06:04 | to achieve natural and convincing
corrections to an otherwise intonation
| | 06:08 | challenged vocal take.
| | Collapse this transcript |
| Tracking audio and creating a pitch curve| 00:00 | Before we can begin graphing out a
target pitch curve for Auto-Tune to follow,
| | 00:04 | let's first track in the
incoming pitch to the graph.
| | 00:08 | This will give us a reference of what
we have and help us determine if it needs
| | 00:11 | correction and what type and how much.
| | 00:15 | So to track a pitch graph, I am going
to bring up Auto-Tune in Graphic Mode and
| | 00:20 | before I track this in, I am going to
go into my Options and I am going to
| | 00:24 | check to make sure my buffer is set appropriate.
| | 00:28 | So the idea is if I am going to be
tracking something longer than the default of
| | 00:33 | 240 seconds. I mean that's pretty long,
but you can have a really long song.
| | 00:37 | The Evo tracking engine
actually ties to the host very well.
| | 00:41 | So you could track five, six minutes
of a vocal track all the way through and
| | 00:45 | it's able to handle that.
| | 00:47 | So you want to come in here and set
this to an appropriate level before you
| | 00:52 | start tracking the pitch curve, and so
in this case we are doing a really short
| | 00:55 | passage, so the default is fine.
| | 00:59 | Now what I can do is I can set my
cursor in Pro Tools to the beginning of the
| | 01:03 | region that I want to track.
| | 01:04 | I could even just double-click that
region with the Selector tool, and now I can
| | 01:09 | click Track Pitch, and that sort of
record enables if you will Auto-Tune to
| | 01:15 | track in a pitch curve.
| | 01:16 | Now I am going to set my Input Type for
an Alto/Tenor vocal and I'll leave the
| | 01:21 | tracking at 50, and I'll just hit Spacebar.
| | 01:25 | (Man singing: Twinkle, twinkle little star?)
| | 01:32 | (Man singing: How I wonder what you are.)
| | 01:38 | (Man singing: Up above the world so high?)
| | 01:44 | (Man singing: Like a diamond in the sky.)
| | 01:50 | (Man singing: Twinkle, twinkle little star?)
| | 01:56 | (Man singing: How I wonder what you are.)
| | 02:05 | So now what I have is this red line and
I am going to uncheck Track Pitch here
| | 02:10 | And it automatically centers that line
and I can go zoom in and I can actually
| | 02:14 | see the pitch as it's tracked in.
| | 02:17 | Now at this point, if you are having
problems with the tracking, you might go
| | 02:23 | and play with the tracking volume, make
it more relaxed or more choosy depending
| | 02:28 | on your input signal and how much
background noise is in it, and you might try
| | 02:33 | playing with the Input Type here.
| | 02:35 | So for this it seems to track this fairly well.
| | 02:38 | We can even see the modulation and in
some cases you'll even see if there is a
| | 02:42 | lot of reverb or ambiance on the vocal,
| | 02:44 | it will even try to track the pitch of that
ambiance so we actually won't work on that.
| | 02:49 | Now just by having this
tracked in, so zoom out a bit.
| | 02:54 | It's not doing anything.
| | 02:56 | If I hit Spacebar right now,
I'll see it trace through here.
| | 03:00 | (Man singing: Twinkle, twinkle little star?)
| | 03:07 | But it's not correcting the pitch.
| | 03:09 | So at this point the key
and scale doesn't matter.
| | 03:12 | I haven't done any target
pitch curve drawing at this point.
| | 03:17 | All I have done is just track in the pitch.
| | 03:19 | Now it's important to understand that Auto
-Tune didn't record in the audio signal.
| | 03:24 | So if you have ever used Melodyne you
may be used to having the program actually
| | 03:29 | record in the audio file and store
that somewhere else on your computer.
| | 03:34 | Auto-Tune is not storing any audio.
| | 03:36 | It's merely tracking the pitch of the
incoming audio to have as a reference.
| | 03:41 | So if I were to go delete or move or
let's say I used elastic audio to change
| | 03:47 | the phrasing or I removed a breath or
I removed a word or a phrase, I'd have to
| | 03:51 | re-track that in and that's not a big problem.
| | 03:55 | All I need to do is just place my cursor.
| | 03:57 | I can select the portion
that I want to re-track.
| | 03:59 | So I'll just go here with SLIP Mode and
re-track this first phrase and turn on
| | 04:06 | Track Pitch and hit Play.
| | 04:08 | (Man singing: Twinkle, twinkle little star?)
| | 04:14 | It would replace the tracked
pitch graph with the new graph.
| | 04:19 | So if you do any edits or changes to
your audio, you're going to want to make
| | 04:24 | sure you re-track in that pitch
because it does not store anything.
| | 04:27 | Now this is actually kind of cool
because it means you can go from computer to
| | 04:31 | computer and everything you need
is contained within the session.
| | 04:34 | You don't have to worry about moving
along another folder that might include
| | 04:39 | tracked audio from another
pitch correction program.
| | 04:42 | Now that we have successfully tracked
a clean pitch graph for the material we
| | 04:46 | want to correct, we can start thinking
about how we want to correct it, and what
| | 04:49 | tools will best complete the job.
| | Collapse this transcript |
| Using Note Object to correct pitch| 00:00 | One of the coolest new features in
Auto-Tune Evo is the Note Object system.
| | 00:05 | Much like editing MIDI notes in a sequencer
Note Objects give editors an easy handle
| | 00:10 | on individual notes allowing them to be
corrected without the use of tricky hand
| | 00:14 | drawn lines or curves.
| | 00:16 | Note Objects are in a way a best of both
worlds, providing the click button ease
| | 00:21 | of Auto Mode or giving you the visual
power and manual editing capabilities of
| | 00:25 | Graphical Mode when needed.
| | 00:27 | Note Objects is where I always like to
start, with further refinement using manual
| | 00:31 | lines and curves if necessary.
| | 00:33 | So there is two ways you
can approach Note Objects.
| | 00:36 | You can use the key and scale here.
| | 00:39 | So we have A flat Major as the key of
our "Twinkle, Twinkle Little Star" and I can
| | 00:45 | use the Make Notes option if I click Make Notes.
| | 00:49 | What I get is automatic Note Object
creation and I can use the Number of Note
| | 00:56 | Objects as a sort of threshold to
cover more of the transitions or less.
| | 01:02 | So generally depending on your
source, there is a lot of variation in
| | 01:08 | the transitions.
| | 01:09 | I tend to like to leave that intact and
actually draw those in by hand, if necessary.
| | 01:14 | So I'll go on the less side than the more side.
| | 01:18 | If you're looking for more of that
control T-Pain effect where it doesn't just
| | 01:23 | skate randomly between notes, but you
definitely want to be able to place each
| | 01:27 | one of those, you can use the More
option so that you have access or a handle on
| | 01:31 | each and every pitch variations.
| | 01:33 | So we will turn this down here and I am
going to zoom in here on a section and
| | 01:41 | we'll take a look at what exactly it's doing.
| | 01:43 | Remember, the red line is what was
tracked in and the green line you can see in
| | 01:47 | this Note Object is the
output or the corrected pitch.
| | 01:53 | Now it's easier to look at Note
Objects using the Show Lanes view.
| | 01:56 | So I can see this sits it
right in the middle here.
| | 02:00 | Now everything is selected right now, so
I am going to go and use my Cursor tool
| | 02:04 | and this message comes up
the first time you click that.
| | 02:06 | I am going to say "cool, you don't need
to show me that again," and I can click to
| | 02:11 | clear that out to get a little
bit better visual representation.
| | 02:16 | So what's happening here is within that
object Auto-Tune is tuning that red line
| | 02:22 | to the output of the green line.
| | 02:24 | I can take and grab these objects
and push them up or down in pitch and I
| | 02:32 | can even use the Arrow tool to resize them
to tune less or more of that incoming pitch.
| | 02:40 | Now in the case of Note Objects, it's
only tuning the area around the objects.
| | 02:46 | So if I only wanted to tune the first
half of this note, you could draw it like that.
| | 02:52 | So let's take a listen to before.
| | 02:55 | (Man singing: Twinkle, twinkle little star?)
| | 03:01 | (Man singing: How I wonder what you are.)
| | 03:07 | And after.
| | 03:09 | (Man singing: Twinkle, twinkle little star?)
| | 03:16 | (Man singing: How I wonder what you are.)
| | 03:22 | (Man singing: Up above the world so high?)
| | 03:27 | Now what we are hearing is because I
have so many objects here, it's actually
| | 03:32 | retuning the transitions and
sometimes it's grabbing on to notes too fast.
| | 03:37 | So what I'll ultimately do is
I'll go in and resize those objects.
| | 03:41 | So what I did with that first note is I
decided, you know what, this is a little
| | 03:46 | bit flat, but if I tune the whole note
like this, that vibrato is really going
| | 03:52 | to get squeezed and it might not
sound too natural if we listen.
| | 03:58 | (Man singing: Twinkle, twinkle?)
| | 04:02 | So I am going to turn off Auto Scroll
here, so I can just stay in one spot.
| | 04:06 | If I pull that back, I might
decide to only tune the first half.
| | 04:12 | Now you don't always have to just
tune everything that seems out of tune.
| | 04:15 | Sometimes just leaving stuff the way
it is, especially in the transitions or
| | 04:20 | where there is a lot of natural vibrato,
it's easier just to kind of correct
| | 04:25 | a part of the note and sort of get a
sense of pitch there and let some of
| | 04:30 | those errors through.
| | 04:31 | It's kind of tuning some,
not tuning other stuff.
| | 04:34 | I tend to find this is much more
natural than just hard pining everything.
| | 04:39 | Now, the other thing that you can do
is with your Note Objects each one has a
| | 04:43 | unique Retune Speed down here.
| | 04:46 | Now what this does is it just like the
Retune Sped in Auto Mode it's measured
| | 04:51 | in milliseconds and it's how fast Auto-Tune
is going to try to correct that input pitch,
| | 04:57 | the red line, to the target pitch.
| | 05:00 | In this case it's A flat.
| | 05:02 | Now if I select this note by clicking
on it and I turn up the Retune Speed,
| | 05:07 | notice how that green line flattens out
and that's what's really going to give
| | 05:11 | me that Cher or T-Pain
style effect on that first note.
| | 05:15 | (Man singing: Twinkle, twee?)
| | 05:18 | Versus a little bit more natural sound,
say about 23 milliseconds.
| | 05:25 | (Man singing: Twinkle, twinkle?)
| | 05:29 | And I still find that tuning that vibrato using
a Note Object is really not going to work for me.
| | 05:35 | So again, what I would most likely do
in this scenario is to just leave it.
| | 05:39 | Maybe I would leave this vibrato, maybe
correct the part by drawing in manually
| | 05:46 | a Note Object, this is the
second way you can use Note Objects.
| | 05:49 | Just sort of drawing in a little bit
of correction where I feel that it goes
| | 05:53 | the most out of tune.
| | 05:55 | Now the other thing I can do is I can
actually go in and just cut that Note
| | 06:01 | Object out to get rid of it.
| | 06:03 | I don't want that Note Object, is I want
to make sure that my transitions aren't
| | 06:08 | being tuned too abruptly.
| | 06:10 | So along with the individual object
Retune Speed, I want to make sure that going
| | 06:16 | between notes, the object
doesn't get applied too quickly.
| | 06:20 | So what's happening at some parts
here, you see it's dropping too quickly
| | 06:25 | between those pitches.
| | 06:26 | So what I can do is kind of ease up on
how that Note Object is easing in there.
| | 06:38 | Sometimes, I'll
completely get rid of Note Objects.
| | 06:41 | That is going to give that
that really robotic pitch change.
| | 06:45 | So I might come in here and just cut that out.
| | 06:49 | Unfortunately, a lot of the key
commands that you normally use in Pro Tools get
| | 06:53 | targeted toward the editing screen.
| | 06:55 | So a lot of times you have to use the
buttons in here and selectors and the tools
| | 07:00 | and things like that as opposed to
using the traditional key commands that you
| | 07:04 | would use inside of Pro Tools.
| | 07:06 | So I'll go in here and grab this one,
get rid of that, and what I might do is
| | 07:11 | just select all this stuff, you see
how it selects all those notes, and I am
| | 07:16 | going to change the Retune
Speed to be a little bit slower.
| | 07:19 | Then we'll go ahead and listen to that again.
| | 07:21 | Let's Auto Scroll.
| | 07:25 | (Man singing: Twinkle, twinkle little star?)
| | 07:31 | (Man singing: How I wonder what you are.)
| | 07:37 | (Man singing: Up above the world?)
| | 07:41 | So you can hear where I didn't go
in and resize those Note Objects.
| | 07:44 | You are definitely hearing the tuning a lot
more because you are hearing those transitions.
| | 07:49 | Even with the slower Retune Speed, I am
still hearing the transition between the notes.
| | 07:53 | I am hearing it mark a note
transition up to another note and fix on that
| | 07:59 | for just a little bit and that's what
really gives it that artificial sound
| | 08:02 | which you may want.
| | 08:04 | However, I find to get a natural
tuning I just resize those objects.
| | 08:09 | Now what you can do is a lot of times
I won't use the Make Notes option.
| | 08:14 | I'll just paint in what I want to correct.
| | 08:17 | So I will listen. You always want
to listen first to see if it actually
| | 08:21 | sounds Auto-Tune, because what it
looks like and what it sounds like are
| | 08:25 | often two different things.
| | 08:26 | Now I'll go in and I'll paint in the
correction where I think it needs some.
| | 08:31 | Now if I go ahead and I just select
all and I am just going to cut all those out.
| | 08:35 | I don't want any of those and I
am going to go to my Options, and I am
| | 08:38 | going to change the Default
Retune Speed for Note Objects.
| | 08:42 | So I'll change that to 20 milliseconds.
| | 08:45 | Now we'll go in and using these
alternate method, what I'll do is I'll just
| | 08:50 | take the Note Object tool and I am
just going to paint in where I think it
| | 08:54 | needs a little bit of work.
| | 08:56 | That automatically set my Retune Speed.
| | 08:59 | I am going to leave that vibrato alone.
| | 09:01 | Later what I might do is actually make a
curve out of it and then nudge it up or down.
| | 09:08 | Notice when you are actually
moving Note Objects its snaps to note.
| | 09:11 | If you feel like you need to bring it up
or down without that note snap, you can
| | 09:17 | un-check this option Snap to Note.
| | 09:19 | Otherwise, it's just going to snap to
that key which is generally what you
| | 09:22 | want, but there are some situations
where you kind of just need to tweak it up
| | 09:25 | or down just a little bit.
| | 09:26 | Like I said what you see and what it
tracks is not always what you are going to hear.
| | 09:31 | So I'll come through here and I'll
kind of paint in where I think it needs a
| | 09:37 | little bit of help.
| | 09:38 | Sometimes in this case,
it has a pretty extreme vibrato.
| | 09:41 | Messing with the vibrato can be more
obvious than just leaving it intact.
| | 09:48 | So I'll kind of go through here
kind of paint this in and this one is
| | 09:52 | just really kind of out.
| | 09:53 | So we can go in and paint that in.
| | 09:57 | Sometimes we really have no option.
| | 09:59 | Like I said later I am actually going
to go and build a curve and then nudge
| | 10:02 | that down to be better in tune.
| | 10:04 | Let's take a listen to this.
| | 10:08 | (Man singing: Twinkle, twinkle little star?)
| | 10:14 | (Man singing: How I...)
| | 10:15 | That's still a little out.
| | 10:17 | We can probably work on that a little
bit more with a hand drawn curve.
| | 10:21 | So because Note Objects can be
easily manipulated up or down and you can
| | 10:26 | actually build a set of Note Objects
fairly easily, I find this is a great way
| | 10:31 | to ease into Graphical Mode.
| | 10:32 | You can actually achieve a really
natural sounding tuning in a very short amount
| | 10:37 | of time and it doesn't take
you a whole lot of practice.
| | 10:41 | Now I also find that Note
Objects are great for building harmony.
| | 10:44 | So if you duplicate the track and
build some Note Objects, because you can
| | 10:48 | move them up or down easily if you use
semitones, you can actually build a quick
| | 10:53 | harmony on a few notes.
| | 10:55 | Remember, the Note Objects only
affect what you've painted them.
| | 10:58 | So in the place where the graph is
still red, Auto-Tune is not doing anything
| | 11:02 | and sometimes it's best to just leave
it doing nothing, if it sounds worse
| | 11:07 | when it's turned on.
| | 11:08 | Now, I was really excited when Antares
introduced this Note Objects feature.
| | 11:12 | This is one of the things I've always
really liked about Melodyne blobs and the
| | 11:16 | ability to edit pitch like
MIDI notes on a piano roll.
| | 11:20 | Having the ability to choose between
Note Objects for easy sections and manual
| | 11:24 | lines and curves for tougher
transitions is really a dream come true for me.
| | 11:30 | It's like Melodyne style editing when
you want it with the manual control of
| | 11:33 | Auto-Tune when you need it.
| | 11:35 | Even if you only use Graphical Mode
with the Note Objects exclusively,
| | 11:38 | you will be able to achieve an
infinitely better result than Auto Mode does
| | 11:42 | choosing your notes for you.
| | 11:43 | But I think you'll find that by adding
in just a touch of manual pitch curve
| | 11:47 | manipulation is the real key to
complete control over a vocal's pitch.
| | Collapse this transcript |
| Asserting total control with lines and pitch curves| 00:00 | Earlier we dipped our feet into the water
with Note Objects in the Graphical Editor.
| | 00:04 | Now I want to show you how to
achieve absolute control of pitch using
| | 00:08 | pitch lines and curves.
| | 00:10 | So, let's re-familiarize
ourselves with the editing tools.
| | 00:13 | What we have up here are
Clear, Undo, Redo, Snap to Note.
| | 00:19 | I have my selection of tools.
| | 00:21 | We've already worked with objects
where I can paint in note quantization.
| | 00:25 | So if I needed to tune a note, I could
simply paint in that object, and then
| | 00:31 | move that object up or down.
| | 00:33 | It's the easiest way to
use the Graphical Editor.
| | 00:35 | Go ahead and cut that out.
| | 00:38 | Now, I also have a Line tool, which
allows me to draw a pitch, a Pitch Curve
| | 00:44 | tool, a Scissors tool for cutting lines,
the Zoom tool, and the Selector tool.
| | 00:51 | The Hand tool is used to
just move my view around.
| | 00:54 | It doesn't actually select
objects, just moves the view around.
| | 00:58 | I can scale the zoom here using
the Plus and Minus keys, up or down.
| | 01:03 | And depending on how you like to see
pitch, you might like to use the Show Lanes
| | 01:07 | function here, so you
can actually see that lane.
| | 01:10 | I'll switch that off.
| | 01:12 | I'd like to use the Line option when I
am working with drawing pitch curves.
| | 01:17 | So, the idea behind drawing in a target
pitch curve that I am actually going to
| | 01:23 | draw in that blue line.
| | 01:25 | Remember, we talked about the blue
line being our target and the green
| | 01:29 | line being the output.
| | 01:30 | So the blue line works in
conjunction with the Retune Speed,
| | 01:33 | in order to take the input,
the red line, and tune that.
| | 01:37 | So if I go here, and look at this
first word, the "twinkle, twinkle."
| | 01:41 | (Man singing: Twinkle?)
| | 01:44 | It's a little bit flat, so
that should be an A-flat.
| | 01:47 | So what I can do is using the Line tool,
I can click once, drag and click again,
| | 01:55 | and I'll double-click to end it, and
I get a blue line and the green line
| | 02:00 | representing the output
based on the Retune Speed.
| | 02:04 | So much like Note Objects in this case,
I'm sort of painting in the target pitch.
| | 02:08 | For this first word, the "twinkle,
twinkle," I want that to be an A-flat
| | 02:13 | all the way through.
| | 02:14 | Now if I change the Retune Speed to 0,
the green output line is going to match
| | 02:21 | the pitch line that I drew in, because
it's retuning that in near real-time.
| | 02:26 | Each cycle that gets out of tune,
| | 02:28 | it tunes that back to the desired pitch curve.
| | 02:31 | So let's listen.
| | 02:32 | (Man singing: Twinkle, twinkle? Twinkle?)
| | 02:37 | As opposed to.
| | 02:38 | (Man singing: Twinkle?)
| | 02:40 | So a little flat.
| | 02:41 | (Man singing: Twinkle?)
| | 02:43 | And now that's fixed.
| | 02:44 | So, that's maybe too much.
| | 02:46 | So what I'll do is I'll go back and
make sure this line is selected and
| | 02:51 | change the Retune Speed.
| | 02:53 | And so you can see some of the natural
pitch coming through here, some of the
| | 02:57 | natural vibrato is preserved there.
| | 03:01 | Change that to let's say 20. And so
what we find is that's not so flat anymore,
| | 03:07 | but it's allowing through a
lot of that original vibrato.
| | 03:10 | (Man singing: Twinkle, twinkle?)
| | 03:12 | And what we might find in this case is
that the vibrato again-- any tuning on
| | 03:19 | this guy's vibrato seems to sound a
little bit weird, so we might find that just
| | 03:25 | tuning the sustained notes that don't
have vibrato, and maybe trying something a
| | 03:29 | little bit different for the
vibrato is going to work for us.
| | 03:32 | So what I can do is, if I go in here
and I select this vibrato, I can choose
| | 03:41 | the Make Curve option.
| | 03:44 | And what that's going to do, it's going to
make a target curve from what was tracked in.
| | 03:49 | So right now, this isn't going to sound
like anything. Essentially it's telling it
| | 03:52 | to retune it to the input, so no change.
| | 03:55 | And what I can do with that is if I feel
like, well, manipulating the vibrato using
| | 04:01 | a Line tool or the Note
Object sounds a little bit funky,
| | 04:05 | what I can do is use the Nudge option
here, after making that curve to nudge it
| | 04:12 | down if I feel that it's sharp, or
nudge it up if I feel that it's flat, to sort of
| | 04:19 | average it out more here across that phrase.
| | 04:22 | (Man singing: Twinkle, twinkle?)
| | 04:25 | And that's a little bit more natural.
| | 04:28 | This vocal has a lot of vibrato in it,
so there is a lot of pitch modulation.
| | 04:33 | Now another technique I could use in
this case as opposed to just drawing the
| | 04:37 | pitch trade in or using a Note Object,
as I can use the Adjust Vibrato function.
| | 04:42 | How this works is again I use this
Selector tool, and I'm going to go in, and
| | 04:48 | this works a lot like Auto
Mode's Natural Vibrato function.
| | 04:53 | And I'll go in, and as I turn this,
notice that it makes a curve automatically,
| | 04:58 | so it's going to wipe out anything
you already have, and notice how that
| | 05:01 | tightens up that vibrato there.
| | 05:03 | And I can even go into the specific
sections here, kind of work on those more.
| | 05:12 | And tighten that up, and then I might
be able to take that whole thing, and
| | 05:16 | nudge it up or down.
| | 05:23 | (Man singing: Twinkle, twee...)
| | 05:25 | So that's good.
| | 05:26 | That's a lot better than just
drawing in that straight line.
| | 05:29 | Now, another type of tool I have
is called the Pitch Curve tool.
| | 05:35 | So unlike the Line tool, again, the
Line tool allows me to kind of draw a line,
| | 05:39 | and I can draw another line and double-
click to finish that off, so I can see
| | 05:45 | this transition here if I set
the Retune Speed to really fast.
| | 05:49 | Let's go ahead and listen to that.
| | 05:51 | (Man singing: Twinkle, twinkle little?)
| | 05:55 | And you see that kind of pitches up into that.
| | 05:59 | So literally, I am drawing in the
pitch curve in the case of having a
| | 06:03 | Retune Speed of 0.
| | 06:04 | Now what I can do here, I'm
going to go ahead and cut these out.
| | 06:10 | With this tool, I can actually draw in.
| | 06:12 | So I can click-and-drag to draw in a
line, again setting the Retune Speed.
| | 06:18 | 0 is going to follow that line
exactly and I can actually set the
| | 06:24 | default Retune Speed here.
| | 06:25 | If I go into my Options, I can set
the Default Retune Speed for Curves.
| | 06:32 | So let's set that to 5 milliseconds there.
| | 06:36 | So it's a good idea to set the
default Retune Speed for Curves to something
| | 06:40 | different than the Line tool.
| | 06:41 | A lot of times what I will do is I will
use these Line and Curve tools to paint
| | 06:45 | in transitions, and use the Note
Objects for the sustained portion.
| | 06:50 | So I might go like this over this
portion here, and we'll retune that.
| | 06:57 | And then for the transitions,
I might draw in using the Line tool.
| | 07:03 | So we'll go here and draw a line up to
that transition, and we'll retune that a
| | 07:09 | little faster, and listen to that.
| | 07:11 | (Man singing: Twinkle, twinkle little star?)
| | 07:16 | And so, that's sounding a little bit weird.
| | 07:18 | So I might make that a little sharper,
and then set that Retune Speed to be a
| | 07:25 | little faster, sort of match
what was going on originally.
| | 07:29 | And a lot of times, what I'll do at
those transitions is just straight up
| | 07:32 | leave them alone, just totally cut
them out, and not have Auto-Tune doing
| | 07:37 | any work in that case.
| | 07:39 | Now again, with the vibrato as a good
technique here, if I listen to this phrase.
| | 07:45 | Let's go here.
| | 07:46 | (Man singing: ...little star?)
| | 07:49 | So that sharp, we want to bring that
down and instead of drawing in a Note
| | 07:53 | Object, where I instead of doing this--
| | 07:56 | (Man singing: ...little star?)
| | 08:00 | That works okay, but if I want to retain
that vibrato, what I'll go ahead and do
| | 08:04 | is just select this, and I'll say
Make Curve and let me move that up a little bit,
| | 08:10 | and I'll just drop it
down, because it was sharp.
| | 08:14 | (Man singing: ...little star?)
| | 08:18 | (Man singing: How I wonder what you are.)
| | 08:21 | So, you don't always have to hard tune stuff.
| | 08:24 | You can use these tools to
draw in or make those curves.
| | 08:29 | Now another technique I'd like to do,
especially if I am curious as to what Auto
| | 08:33 | Mode is doing, is use the Import Auto function.
| | 08:37 | So, it's a little bit like making Note
Objects based on your key, but if we go
| | 08:43 | to Auto Mode, and we listen to this.
| | 08:45 | Let's just listen to what it's
doing here in the key A flat.
| | 08:47 | (Man singing: ?little star?)
| | 08:50 | (Man singing: How I wonder what you are.)
| | 08:56 | So let's say I am really trying to go
for that T-Pain kind of effect or that
| | 09:00 | Cher effect, but I find that just having it
in Auto Mode it's kind of all over the place.
| | 09:05 | And sometimes that's the aesthetic, but
sometimes you really just want to pin that down.
| | 09:09 | What you can do is set it up for Auto Mode.
| | 09:13 | Come into the Graphical.
| | 09:14 | Track your pitch.
| | 09:15 | Let me go ahead and zoom out here a little bit.
| | 09:17 | I am just going to hold down Option or Alt
on the PC while I click on the Zoom tool.
| | 09:23 | I am going to select all, and
I am going to say Import Auto.
| | 09:29 | The Import Auto button, what that does
is it takes my Auto settings including
| | 09:34 | the Retune Speed, and it
builds a pitch curve for me.
| | 09:39 | And I can see, wow, that's really
where those errors are occurring.
| | 09:43 | It's really trying to trace the vibrato here.
| | 09:47 | And I can actually come
in here, and correct that.
| | 09:49 | I can just take the Curve tool, and
just draw in some of those correct and say,
| | 09:54 | "no man, you really got it wrong," just do that.
| | 09:58 | And this is what I'll do.
| | 09:59 | I'll go through. If I really want
that effect, but I kind of want to
| | 10:02 | control what's happening,
| | 10:03 | you'll see a lot of times it'll
kind of pick these pitches here, and
| | 10:06 | sometimes that can be cool.
| | 10:08 | That's the effect that it kind of
skates between pitches, but stays on all the
| | 10:13 | notes of that scale.
| | 10:15 | So it works really well when you pick a
major and minor; you're not just doing chromatic.
| | 10:19 | But it sounds really good if I go in
here and kind of tune this up just a
| | 10:22 | little bit using these pitch curves
or lines to kind of fix those problems.
| | 10:28 | So you can see here how it drops down.
| | 10:30 | That's probably not going to sound so good.
| | 10:32 | It's going to give me some artifacts.
| | 10:33 | We'll just draw that line straight over,
but this is the cool stuff, where it
| | 10:36 | kind of just drops down like that.
| | 10:38 | Let's fix a more of these.
| | 10:39 | See how it's kind of trying
to follow the modulation there.
| | 10:42 | Let's go ahead and draw this in.
| | 10:45 | Now you see we'll want to kind of
drawing some interesting modulation, and
| | 10:51 | let's try that, and let's set the
Retune Speed really fast, and see what that
| | 10:55 | sounds like right here.
| | 10:56 | (Man singing: ?little star?)
| | 11:00 | And I can even draw in a
completely different melody, if I wanted to.
| | 11:06 | Select that line right there
and we'll change the Retune Speed.
| | 11:10 | (Man singing: ?little star?)
| | 11:13 | (Man singing: How I wonder...)
| | 11:16 | So again there it kind of made a mistake.
| | 11:18 | If I want to maintain that hard-tune
effect, what I am going to do is go
| | 11:22 | and draw in that fix.
| | 11:25 | Just draw in that curve right there.
| | 11:28 | So that's going to sound a lot better.
| | 11:29 | (Man singing: ?little star?)
| | 11:32 | (Man singing: How I wonder what you are.)
| | 11:38 | Again, always on those vibratos is
where it kind of gets it wrong in Auto Mode.
| | 11:42 | So I'll come in, and I'll correct
those by hand using either the Line tool or
| | 11:48 | the Pitch Curve tool.
| | 11:50 | So, ultimately, what I do is I'll
use the objects, as notes sustain, get
| | 11:55 | them into a specific pitch and then
during the transitions, I'll either
| | 12:01 | ignore the transition.
| | 12:02 | If I think it sounds okay,
I won't try to correct it.
| | 12:05 | If the transition is a little sharp
or a little flat or let's say someone
| | 12:10 | has to kind of rise up to a note, that
can be really, really hard to correct
| | 12:14 | with a Note Object, because you can
really hear that quick quantization of that note.
| | 12:20 | Sometimes just drawing in that
transition is a really great way to fix that.
| | 12:25 | Now, as you're drawing this, try to
follow the original curve just making
| | 12:29 | changes there and watch your Retune Speed.
| | 12:32 | I tend to find that faster changes
work better than really slow transitions
| | 12:38 | where you can hear it kind of pitching up.
| | 12:40 | But if they are too fast, you tend to
get that kind of quantized artificial
| | 12:46 | sound out of Auto-Tune.
| | 12:48 | So, again, lines and curves are
extremely powerful ways of editing pitch and at
| | 12:52 | times can even sound unnatural if
you're not disagree in their use.
| | 12:56 | I find a balance between working with
the Natural Pitch Curve, Note Objects,
| | 13:01 | Manual Curve Transitions, and Retune
Speeds for each event is an art that
| | 13:06 | doesn't come instantly.
| | 13:08 | You almost need to work with the tools
and come across every different scenario
| | 13:12 | to know how to best handle
the tracking stage of a vocal.
| | 13:15 | Knowing what can be fixed and what can't,
and it varies from vocalist to vocalist.
| | 13:20 | Practice by listening to how different
note transitions, pitch modulations, and
| | 13:24 | drifts are affected by different curve shapes.
| | 13:27 | Try to think about how the vocalist
would naturally transition from one pitch to
| | 13:31 | another and visualize that shape in your head.
| | 13:34 | When in doubt, remember, leaving out
the correction is often better than having
| | 13:38 | something sound too unnatural and ear jarring.
| | 13:41 | Little imperfections can add character
to a track and will often go unnoticed
| | 13:46 | by the listener if the
performance as a whole is solid.
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| Using Auto-Tune's MIDI inputs| 00:00 | Auto-Tune is capable of receiving MIDI
input to both facilitate the selection of
| | 00:05 | a scale in the Scale Editor, as well
as actually follow the pitch of incoming
| | 00:10 | MIDI notes as a creative Vocoder style effect.
| | 00:13 | To use MIDI with Auto-Tune in Pro Tools,
you must create a MIDI control track to
| | 00:18 | feed Auto-Tune sequence data, because
audio tracks do not have the capability of
| | 00:22 | importing or recording MIDI.
| | 00:24 | So, in this session I've created a
MIDI track, not an instrument track, but a
| | 00:28 | MIDI track called AT Control, Auto-Tune Control.
| | 00:32 | You can name it whatever you like.
| | 00:33 | I have set the output--
| | 00:35 | This is the critical part.
| | 00:36 | The output has been set to ATEm,
so Auto-Tune, EVO, MIDI, R Task 20.
| | 00:41 | The 20 comes from inside
the Auto-Tune plug-in here.
| | 00:46 | That's the instance count.
| | 00:48 | So, this is the 20th time I've used the Auto-
Tune plug-in since Pro Tools has been opened.
| | 00:53 | Not just in this session, so
sometimes this number can seem arbitrary.
| | 00:56 | But if you have lots of Auto-Tune
instances that's how you could match up the
| | 01:01 | MIDI output with the plug
-in on a specific track.
| | 01:06 | Now, inside Auto-Tune what I am going to do
is choose the Target Notes via MIDI option.
| | 01:12 | This is going to give me that cool
Vocoder Style Effect where I am actually
| | 01:16 | going to play the note I
want the pitch track to follow.
| | 01:20 | Now, I can choose As Played here, so
that's going to be whatever octave I play
| | 01:25 | the key in or I can choose All.
| | 01:29 | So, it's just going to follow
that pitch as it's played in.
| | 01:32 | (Man singing: Twinkle, twinkle little star?)
| | 01:38 | (Man singing: How I wonder what you are.)
| | 01:44 | (Man singing: Up above the world so high?)
| | 01:50 | (Man singing: Like a diamond in the sky.)
| | 01:56 | (Man singing: Twinkle, twinkle little star?)
| | 02:02 | (Man singing: How I wonder what you are.)
| | 02:12 | Now, in this case I can
still use the Retune Speed.
| | 02:14 | (Man singing: Twinkle, twinkle little star?)
| | 02:21 | I find that tends to work best in this
case where I am trying to get that kind
| | 02:25 | of vocoder style effect, I am
actually playing in the pitch.
| | 02:27 | Now, I tracked out a MIDI performance that
follows the pitch of "Twinkle, Twinkle, Little Star."
| | 02:34 | So, you can see this follows
the pitch that I want here.
| | 02:38 | But I could change that.
| | 02:39 | I could make that radically different.
| | 02:41 | I can transpose that up or down or
I could just straight play the keyword.
| | 02:45 | So, I could even go in and move
this note here up, draw another note.
| | 02:53 | (Man singing: Twinkle, twinkle little star?)
| | 03:00 | If I had a MIDI keyboard controller
where I could actually perform in the note
| | 03:04 | that I wanted, and sometimes that's the
best way to track in one of these MIDI
| | 03:09 | performance tracks, right.
| | 03:10 | So, a MIDI track that you are
going to just to follow the pitch from.
| | 03:15 | So, I'll just listen and I'll
just play along with the melody.
| | 03:19 | Now, this tends to be more of a special effect.
| | 03:22 | It can be useful in situations where
you're just going to tune a few specific parts.
| | 03:28 | You just want to say, hey, be
this note, and you are going to use a
| | 03:32 | laid-back Retune Speed.
| | 03:34 | It can be more effective than
trying to mess with this scale so much.
| | 03:39 | We talked about, remember,
actually going in and editing your scale.
| | 03:43 | You can also learn scale from MIDI, so
you could actually play in the notes you
| | 03:47 | wanted to include in your scale.
| | 03:50 | But I find sort of this MIDI Input
feature of Auto-Tune to not be of the most
| | 03:56 | natural sounding thing.
| | 03:57 | It can be really fun and it can you really
creative if you want to do it as an effect.
| | 04:01 | If you've ever heard them do that sort
of "Auto-Tune the News" thing on YouTube
| | 04:06 | where they take Carl Sagan and
they'll auto-tune him to a song. They are
| | 04:11 | generally using the target notes via MIDI.
| | 04:13 | They are taking in what is a speech and
they are giving it a pitch by targeting
| | 04:18 | that pitch with the MIDI keyboard.
| | 04:20 | That's how they can get it to
follow a specific song in a specific key.
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