How To Craft A Pro-Sounding Result
- Signal Processors > Pitch-shifters
By Mat Skidmore
Published July 2013
Pitch correction of vocal parts is now commonplace in all but afew genres. Find out how to craft aprofessional-sounding result.
Over the last decade or so, vocal tuning has become increasingly accepted as part of the music post-production process. In asimilar way to other performance 'fixing' processes, such as drum quantisation, it's now used so much, on almost all commercial releases, that engineers and the general public alike have become accustomed to hearing it. I'll leave the rights and wrongs of pitch-processing to others to debate, but Iwould say that we engineers and producers should remember that tuning plug-ins are intended to help us achieve the best sound we possibly can — and unless we're trying to create adeliberate effect (a Chris Brown-style robo-voice, say, or aCher-like warble), we really don't want the tuning process itself to be noticeable in the final mix.
Celemony's Melodyne pitch-processing software is one of that select bunch of tools that we can genuinely call revolutionary. When it first burst on to the scene, it seemed a miracle that you could treat recorded audio in much the same way as you could MIDI notes. Initially a stand-alone application, it soon became available as a plug-in. Later still (2009) Melodyne Editor wowed people with the ability to manipulate the pitch of individual notes within a single polyphonic audio file.
Having initiallychosen Melodyne simply because it was cheaper than Antares Auto-Tune, Isoon noticed that there were very few audible artifacts in the tuned audio. I found it intuitive to use, but while instant results were possible, it took time and experimentation to get the best results. In this tutorial, I'll share some tips and techniques that should lead you rather more quickly to pitch-perfect productions.
Melodyne remains the only game in town if you want to work with polyphonic audio, but for vocal tuning that's usually unnecessary. The two other leading pitch processors are Auto-Tune and Cubase/Nuendo's built-in VariAudio, and although the tools are slightly different, much of my more general advice applies equally to users of those tools.
Let's face it: tuning vocals is not the most fun you can have in music production, but good preparation makes the tuning process much simpler and more speedy. Sometimes Itune vocals on my own projects, but Ialso do this work for other engineers and producers. In both scenarios, I tend to work in the same way, starting with the creation of adedicated tuning project, in my DAW, that's separate from the main mixing project. This helps me to keep all the vocal-tuning work neatly together, while still allowing it to be recalled quickly if further edits are required. Another good reason for working in this way is that it avoids having half adozen instances of the Melodyne plug-in hogging computing resources while mixing. While that might not be the limiting factor it once was, tuning needn't be a real-time process, and I'd rather leave resources available for other tasks.
You can use a stand-alone version of Melodyne, but I prefer to use the plug-in in a DAW session, so Icreate anew empty project (Iuse Logic Pro, but the principles apply to any DAW) and import the vocal tracks. Ialso import arough instrumental mix of the song, which is important, as it provides the context you need to make the pitch and time adjustments to your vocals. It's quite common to be working with many layers of lead and backing vocals, and to use different tracks for different song sections, so rather than having dozens of instances of Melodyne running, I'll start with an instance on one track, perform my Melodyne processes, and print the result to anew track before moving on.
Partly this is, again, away of managing computer resources, but it's also an insurance policy: in my early vocal-tuning career Ihad too many experiences of part of avocal erratically shifting out of sync during playback, or even cutting out completely. In other words, while Melodyne's agreat tool, no software is infallible, so it's good to know that the vocal line you've just laboured over is saved as audio in your project.
How to print the results will vary from DAW to DAW, but in Logic, I usually send an output from the un-tuned vocal track to abus and create anew mono track, with the input set to the same bus. I then record the result on the new track as it's playing through. It's possible to do a bounce offline, of course, but you really want to listen through and check the result, so this real-time approach works well.
That's avery basic overview. I'll get into more detail later, but first let's consider how best to set up Melodyne so that using it is intuitive...
When you first open an instance of the Melodyne plug-in, it's agood idea to make the plug-in window as large as possible; just click and drag out its bottom right corner. Having adual-screen setup is extremely useful, but it's not essential. Indeed, I can work reasonably quickly and efficiently even on a17-inch laptop screen.
Before you dive in and start tuning, spend some time familiarising yourself with the user-preference options. Everyone will have their own idea on how best to set things up (that's why they're called user preferences) but I'll explain how Ilike to tweak things and why.
Clicking on the top-left corner of the plug-in window reveals the preference settings for the Time and Pitch Grid, as well as general View options. Anew Melodyne instance always defaults to 'Semitone Snap' in the Pitch Grid preferences, and Iprefer to set this to 'No Snap'. Why? Because Iwant to be able to move the notes freely on the grid. Vocal tuning is not an exact science, but something that's best finessed while using your ears; sometimes moving anote ±15 cents sharp or flat of the 'perfect' pitch can make all the difference in the world.
Similarly, the Time Grid preferences allow you to determine how the notes will snap to the grid. This is something I often have enabled, but with the 'Dynamic' option ticked, so that the snap resolution is finer the more I zoom in. This is very helpful when working on material that's been recorded to aclick or programmed on agrid, with afixed tempo, but should you need to break free from the constraints of the grid, holding down the Alt key while adjusting the timing of anote bypasses the snap function, and allows you to make finer adjustments.
The 'View' menu presents lots of options for what information is to be displayed with the analysed audio. The only settings Igenerally have ticked are 'Show Pitch Curves' and 'Show Note Separations'. Pitch Curves are the thin lines that join the notes to show the variation in pitch, and Note Separations are the vertical lines between each note, which make it easy to see how and where Melodyne has decided to separate the notes in aperformance. This is particularly useful when splitting asingle note into smaller pieces, as we'll discover alittle later.
Try This At Home!
As far as I'm concerned, that's it for the preparation stage, so we're ready to look at apractical example. You can download and use audio example 1 if you want to work through the process with me, and my instructions will assume that you are doing this.
First, loop aregion, then click Melodyne's 'Transfer' button. If you've done it right, this button will turn orange. Now play the looped section. Once Melodyne has analysed the audio, it will appear as orange Blobs (Melodyne's terminology, not mine!). Now, when you press play on your DAW, you're hearing the audio that's captured inside Melodyne, rather than the audio whose waveform is displayed on the DAW track on which the plug-in is inserted — so any edits you now make on that DAW track will not affect what's played back (unless you bypass Melodyne).
Now magnify the captured area using the horizontal and vertical sliders, so that the Blobs are as large as possible, while still seeing the loop you've set. The slider in the bottom-right corner of the plug-in controls how large the Blobs will appear on the grid. There are anumber of different sliders for zooming in on the desired section of audio in Melodyne. The bottom right one adjusts the size of the Blobs themselves.
Before you do anything else, listen back to the passage and look at how Melodyne has analysed the vocal. In audio example 1, the vocalist sings, "Comfort, it comes to me...”. Mostly, he's singing legato and staccato notes, which Melodyne has tracked accurately, but notice that the singer bends the note up at the start of the words "Comfort” and "to”. Melodyne has interpreted these as single notes, so we'll need to separate them before further processing, to prevent these nuances of performance from being lost or minimised. Use the Note Separation tool to split the note where the vocalist hits the B note in "Comfort” and the C# on "to”.Melodyne is generally very good at tracking pitch, but some nuances are usually missed. In these two screens, you can see where two notes were read as one, and how the author has used the Note Separation tool to split them at the appropriate point.
If the vocals have been well sung and require very little tuning, as in this example, Melodyne's Correct Pitch function provides areally quick way to get everything sitting in the right place. Highlighting the captured vocal and clicking the Correct Pitch button opens awindow with Correct Pitch Centre and Correct Pitch Drift slider controls. As long as any note splits such as those we've just done have been performed, pushing both sliders up to 100 percent usually makes for adecent starting point. From there, only afew minor tweaks will usually be needed to get the vocal sounding really sweet.As long as you've done all the necessary note splits, it can be good to set the pitch-centre and pitch-drift correction settings to 100 percent. For one thing, this will show you clearly if Melodyne is trying to force aBlob to the wrong note!
Ifound that the Correct Pitch function in my example shifted the word "to” down to C natural, when it should have been aC#. Correcting this by clicking and dragging makes the line sound much better, and A/B comparison with the original untuned vocal should reveal asubtle improvement, as demonstrated in Audio Examples 2 and 3. However, to achieve the best result, alittle further attention is still required.
Attending To Details
Listening more forensically to the last example, you should be able to hear that the vocalist takes atiny amount of time to settle into the notes at the start and end of the word "Comfort”, as well as during the legato transition between "to” and "me”. If you want Melodyne to give natural-sounding results with such fine details, you need to split the notes and work on the resulting parts separately — so let me break this down and take you through how I assessed and processed each note.
• "Comfort”: In the first syllable of the word, there were two small wavers in pitch at the beginning of the note, and then aslight variation about athird of the way through. First, I split the note into four sections at the appropriate points. This made it possible to use the manual Pitch Tools to bring all four parts of the note into tune.It's not uncommon to find considerable variation within anote. In these cases the best results are usually obtained from splitting the note into even smaller segments, and using the manual pitch-correction tools. I find the Pitch Drift tool the most useful for this job, because it irons out those little deviations, but the Pitch Transition tool (which appears when you hover the mouse over the start of any Pitch Transition line, if you have the main Pitch tool selected) is also invaluable, as it smooths out any joins created whilst splitting and moving the audio. In this instance, it was also useful for slightly accentuating the bend into the note. The final process was to slightly raise the pitch of the tail end of the syllable, so that it dropped sweetly from the B to the G#.
Now for the second syllable, "fort”. The only part of this that Ifelt needed addressing was the very tail, where the note drops off slightly. Using exactly the same Splitting, Drift and Transition tools, I was able to bring this nicely into line.
• "Comes”: This is delivered with anice vibrato, but it also drops in pitch alittle at the end. Atouch of the Transition tool smoothed the edit, but Ifound that Ialso wanted to use the Modulation tool, just to calm the vibrato effect a tiny bit on the tail of the note. This is apowerful tool and over-use may inadvertently introduce the robo-voice effect, so proceed with caution!
• "To”: Isimply nudged the initial note down to B and added awhisker of Drift with the Drift tool. Iliked the way the part rose to C#, but could hear the tail of the note go slightly sharp. Using the Drift tool on the whole note would make it dip in pitch in the middle (not pleasant!), so to straighten it out unobtrusively, the note needed to be split.
• "Me”: This final word sounded fine, and just atouch of the Drift tool straightened the note out perfectly. The building vibrato at the end rounded off the whole line neatly.
With all your tweaks done, it's important to listen back to the part, comparing the tuned with the untuned original. You're checking that you've got the pitching right in the context of the track, and listening out for any artifacts that may have crept in during processing. If you've just followed this example and the tweaks are subtle, you shouldn't detect any such artifacts, but you do want to be sure! In audio examples 1 (original) and 5 (processed), you can hear that the notes have become more definite and strong, but, importantly, the character that defines the vocal part remains intact. The difference between the two examples is subtle, but it's noticeable, and such changes add up, particularly when there are a number of different parts.
Everything we've covered so far has been about finessing apart in atrack with afixed tempo and time signature, but not every track is so regimented! Trying to use Melodyne without telling it about atempo or time-signature change will result in the playback from the plug-in slipping gradually out of sync with the rest of the track. In atrack with asingle, fixed tempo, the Chain button next to the tempo display will remain grey (unlit), but if Melodyne detects atempo change, the button will slowly flash orange. Note that Melodyne hasn't acted on the tempo change: it's simply telling you that the plug-in is no longer in sync with the DAW.
Although it's easiest to use Melodyne on material that's played at afixed tempo, it can also handle tempo changes — and will even alert you if it has lost sync with the DAW and present you with options to remedy the situation.
The next example (audio examples 6 and 7) changes at bar 69, from 150bpm in 3/4 time to 160bpm in 4/4. To get Melodyne to 'learn' the tempo change, you need to set up aloop around the bar where the tempo changes. Clicking on the Chain button opens asub-window where you can edit the tempo preferences. Click on 'Tempo Variation', and then, leaving the sub-window open, play the looped section through. Melodyne should pick up the tempo change automatically. In the example, it displays 150-160bpm.We can now capture this vocal, safe in that knowledge that Melodyne and the DAW will remain in sync.
Now let's look at this vocal part in more detail. The line is "The voice in your ear is the voice in my head”. Listen to the untuned and tuned parts (audio examples 6 and 7). You should be able to hear that I've done quite abit of work. Ihad to split the words "In your”, "ear” and "head” before Iapplied any processing. Iaccentuated the bend into the word "ear”, but then decided to straighten the word "head”, so that it stayed on the B note. Why? It just seemed to have more impact. You always need to be thinking in this way, applying your musical judgment throughout.
The next thing that Inoticed was that the words "in your” and "is the voice in my” sounded alittle rushed. Such aspects of aperformance can be easily tweaked by using the Timing tool to slightly shift the notes. Ifind the Activate Grid setting alittle extreme for this job; you usually lose the feeling from the vocal line if all the words start exactly on the beat. It's much more effective to use your ears to find the natural rhythm and perform manual edits. Listen again to audio examples 6 and 7. The last line, in particular, sounds better when the phrases are more evenly spaced.
The Amplitude Tool
The final thing to note about this line is the slight variation in level between some of the words. Most notably, the first word ("the”) is rather quiet, and the second time it occurs, the word "voice” is slightly over-accentuated. These level issues could have been gradually smoothed out with some suitable limiting and compression, but using the Amplitude tool I was able to raise or lower the amplitude of those words by afew decibels, and that made all the difference.Although best known for its pitch processing, Melodyne includes anumber of other useful vocal editing tools. Listen again to the final tuned and edited vocal (audio example 7). It already sits in the mix better than it previously did, and to me it makes sense to perform such adjustments while tuning, as you're already listening critically to the vocal part.
The Formant tool is another useful feature. In very simple terms, formants are the harmonic frequencies that occur in the human voice. They help to define its timbre and play avery important part in how we identify the sound of words as they're spoken or sung. Changing the formants can enable you to alter the perception of how avocal has been performed. Let me explain this with another example...
The vocal line in audio example 8 is "I'd love it if you loved to watch”, and it has already been tuned using the processes explained earlier in this article. It's now ready to be printed back into my project. However, if you listen to the long, drawn-out word "loved”, you can hear alot of mid-range and high frequencies around the 700Hz-8kHz region. In fact, using afrequency analyser on this note reveals that the fundamental, at around 350Hz, is quite quiet, but that there's alot of upper mid-range energy. It's not hard to guess that this will need to be controlled in the mix in some way, to prevent the vocal from sounding harsh.
Traditional mixing tools such as EQ and compression will help, of course, but the Formant tool can also take us in the right direction. When the tool is selected, Melodyne displays formants as thick lines. If Iselect the long, held note, Ican drag all the formant bars down, lowering the harmonic frequencies atouch. In performance terms, this gives the impression that the note is being sung more from the diaphragm than the throat, as you can hear in audio example 9.As you can see from the spectrum analyser screen (bottom left), the fundamental of the unprocessed vocal part is quite weak relative to the mid-range harmonics. The Formant tool (see the 'Tools Of The Trade' box, eslewhere in this article) can be used to drag down its formants (bottom right), creating an impression that the part was sung more from the diaphragm than from the throat.
As Iwrote this article, Irealised just how difficult it is to articulate the judgements I make and the processes Iapply when tuning avocal track. But while it may take me afew thousand words to explain the processing of only afew vocal lines, the job itself becomes quick and intuitive once you know what to look out for. The key thing that you need to keep in mind is that your aim is always to enhance the vocal take where needed, while striving to preserve the expressiveness of the vocalist's performance. It's a real balancing job, and neglecting either side of the scales will leave you with a less than perfect result. Get both right, though, and you'll be surprised at the difference subtle tuning makes to even the best vocal take. Do remember, however, that vocal tuning is a tiny part of the overall production process, and that it's only going to make asignificant improvement if the vocal performance and recording are good to start with.
Finally, note that humility and diplomacy are required skills: this is absolutely not about crushing egos! Tuning is usually an operation best performed when the band aren't around. I'd much prefer avocalist to come into the studio during mixing and think that their vocal sounds amazing, without knowing that it has been tuned!
The examples I've used in this workshop are taken from the tracks 'Hold' and 'Manson', that Irecently mixed for aband called Blisseyes (www.facebook.com/blisseyesband). The vocals were tracked using aPeluso P12 valve microphone, aFocusrite ISA828 preamp, Lynx Aurora converters and Pro Tools 10. Many thanks to the vocalist, Ryan, and the band for allowing me to use the track. You can find all the examples on the SOS web site at the address below.
When you have more than one vocal line, and particularly when you're tuning backing or other layered vocal parts, there are afew things that are worth particular consideration.
First, although it's outside the remit of this article to explore the subject in depth, remember to pay attention to the timing of your layered parts, including note and syllable onsets and lengths. Getting that right (which isn't necessarily the same thing as getting it theoretically perfect!) is as important to the feel of the track as is the tuning itself. It's possible to perform timing edits using Melodyne, of course, but Ifind that it's often more practical to edit multiple tracks on the DAW arrange page, as the waveforms of the different tracks provide useful visual clues.
When it comes to pitch-processing, you'll usually find that it's possible to tune backing vocals more aggressively than lead vocals, because the parts are less prominent in the mix and any artifacts will therefore be less noticeable. But there's no reason to tune the backing vocals harder than the lead part unless absolutely necessary. In other words, Ifind that the best way to deal with layered vocals is to treat each part individually as if it were another lead vocal: try to use the same subtlety of approach, and to retain as much of the character of the natural vocal as possible.
Sometimes, you'll find that when the individual parts are all added back together in the track, they begin to create unnatural 'phasing' sounds, particularly with longer, held notes. The vocals may also seem to move around the stereo field. The reason for this is simply that they've been tuned too harshly; it's really just adifferent symptom of the user error described in the preceding paragraph. The more aggressively vocals are tuned, the more they take on the characteristics of pure tones (sine waves). The natural timbre, harmonics and tiny pitch variations that give each part its individual character are diminished to the point that there's aphased, beating effect when the parts are mixed.
The Pitch Modulation sub-tool is the biggest culprit for creating these unnatural-sounding effects, so it's best to use it as sparingly as possible. If you find you still have problems, try swapping out the offending vocal for another take. With caution and subtlety, you'll find that even adouble-tracked lead vocal can be perfectly tuned and layered up against the lead without creating any unnatural-sounding effects.
Sometimes you may need to tune avocal to fit atrack that has not been recorded at astandard pitch. For example, the whole song may have been played slightly sharp or flat. Melodyne's Global Tuning feature can compensate for this quickly and efficiently. In fact, since the release of Version 2, Melodyne has also had the ability to continuously alter the Global Tuning, should you have a reason to do so. Selecting Scale Editor and Selection and Master Tuning from the top-left menu displays aReference Pitch ruler. You can then click and drag any note on the ruler up or down to alter the global pitch. The grid changes in real time, so it's very easy to see what you're doing and to get the notes properly aligned and centred again. Once anote is clicked, afrequency ruler is also displayed, to help aid fine adjustment.
Looking at awhole track of lead, double-track and backing vocals that need tuning can seem daunting, and is best managed by splitting asong into bite-sized chunks, tuning awhole verse or chorus at atime, and working on all the parts in each section before moving on to the next. If the track doesn't have many words, perhaps I'll tackle averse and chorus at the same time, but otherwise it's best to concentrate on small sections and get them right, rather than rushing through the process. Itry to tune with the same degree of accuracy in every project, but each track and each voice is different, so my only hard and fast rule is that if Inotice the tuning when listening back to the track, I've gone too far.
Tools Of The Trade
One of the first things any would-be Melodyne expert needs to do is learn the names and functionality of the various different tools that can be found in the toolbar. Here's aquick summary of their functions, running from left to right:
1. Main tool: This is acontext sensitive tool which allows you to perform anumber of functions, including moving the start/end of anote, altering the note pitch and separating or stretching notes. The Alt key is used as amodifier to enable finer adjustments.
2. Pitch tool: Used at the start or middle of anote, this allows you to manipulate anote's pitch. Double-clicking will quantise the note to the nearest semitone, and moving the tool to the end of the note gives you control over the pitch transition between the selected note and the next one. Note-modulation Sub-tools are available from adrop-down list.
3. Formant tool: See the main article for amore detailed discussion of formant processing, but this tool essentially gives you control over the vocal timbre. Again, moving the cursor to the end of anote makes the tool control the transition between the formant of the selected note and that of the next one.
4. Amplitude tool: This can be used to raise or lower the level of individual Blobs: although you could alternatively use DAW automation, it can make sense to use this tool to take care of problematic level variations in the vocal recording at the same time as you're scrutinising and tweaking pitch.
5. Time tool: Used at the beginning or middle of aBlob, this will enable you to move the Blob forward or backward on the timeline, and at the end of the note it performs atime-stretch. Quantise and non-snap options are also available via double-click and the Alt key respectively.
6. Note separation tool: Clicking above or below aBlob separates anote into two, whereas clicking on the note allows you to move or delete separations.
Buy PDF version
This plugin is really useful for pitch correcting a vocal, but you can also use it on pretty much any other instrument. People often call it “autotune,” and it does have auto-correcting features. But the best way to use it is manually (more on that below). You can also manipulate the formant.Can Melodyne fix bad vocals? ›
But can Autotune or Melodyne really fix a bad vocal take? Generally speaking, Melodyne can make a bad vocal recording sound decent, but it's better for making a great performance excellent.How do you use Melodyne to correct pitch? ›
Choose the pitch tool from the toolbar or the context menu in the editing area. Drag a note up or down to alter its pitch. If the note is one of several selected, all the notes in the selection will move up or down en bloc.Do most singers use pitch correction? ›
Today, pitch correction is used across many musical styles and genres and is found in every major studio because it's hard for a vocalist to hit all the notes of a song perfectly. While it's always been that way, back in the day, a certain amount of imprecision was commonly accepted.Do most artists use Melodyne? ›
Melodyne is often used in song production, but most often it's not the singers who use this software but their mix engineers. As you know, the most important thing in a song is emotion and the right vocal expression.Does Melodyne sound better than Auto-Tune? ›
Another consideration to take is how you want to use pitch-correction. In the studio, Melodyne really has no competition for accuracy, but if you need tuning in a live scenario you need something that processes the audio in real-time so Auto-Tune is your only choice.Is anything better than Melodyne? ›
The 4 Best Paid Melodyne Alternatives
Antares Auto-Tune. Waves Tune. Soundtoys Little Alterboy. Logic Pro Flex Pitch.
If your vocal is dynamic in volume, the compressor may have to work hard to level things out. When a compressor is working too hard, it can cause your vocal to sound “squashed.” If this is the case, you may need to ride the volume of your vocal to reduce the amount of hard peaks in volume.How do I fix poorly recorded vocals? ›
- Use LEVELS To Identify Problems In The Mix.
- Use Editing Tools To Tighten Up Performance Issues.
- Use a High-Pass Filter to Remove Unwanted Low End.
- Use a Surgical EQ to Isolate and Remove Resonances.
- Use a De-Esser to Prevent Harshness and Sibilance.
As long as you respect your source material and don't go too far, pitch correction is a helpful tool. When you're tracking a great singer you have to make sure you don't do more harm than good!
How to sing on pitch better. The method of training is simple. Play a note on a tuned, accurate instrument, then recreate that note exactly while memorising its name. Play it again as you hold that note to check if you match up and adjust accordingly.How do you Auto-Tune pitch correction? ›
- Choose Input type. First, I set Input type. ...
- Find your Key and Scale. ...
- Choose between Auto and Graph mode. ...
- Play with Formant and Throat. ...
- Don't change Transpose. ...
- Use Detune if you have a different reference pitch. ...
- Set up your Tracking. ...
- Choose Retune speed for your recording.
- Freddie Mercury.
- Mariah Carey.
- Julie Andrews.
- Lea Salonga.
- Brian Wilson.
- David Foster.
- Celine Dion.
Attractive male voices are around 96 Hz and the most attractive women voices are up to 280 Hz. Men and women with more attractive voices reported more sexual partners and a younger age for their first intercourse.What percentage of singers have perfect pitch? ›
From 1 to 5 people per 10,000 have absolute pitch, according to estimates. Perfect pitch occurs in musicians at higher rates, from less than 1 percent up to 11 percent, according to some studies. It runs in families, suggesting a genetic link, and occurs most often in people who had musical training before age 6.How is Melodyne so good? ›
Melodyne is renowned for its superior, artifact-free sound and comprehensive control over numerous elements of recorded performances—pitch, timing, volume, vibrato, sibilance, formants, and length. You can surmise based on the parameters above that Melodyne 5 is primarily a vocal plugin.Is Melodyne destructive? ›
Melodyne is a plug‑in, so the editing it does is non‑destructive until you decide to render the audio.What are the benefits of Melodyne? ›
Melodyne is a software tool that allows you to manipulate the pitch, timing, and formant (more about this later) of an audio track on a note-by-note basis. While this is particularly useful for vocals, you can also use it to manipulate audio for any recording including bass, guitar, piano, etc.Why do I sound bad with Auto-Tune? ›
Autotune uses software algorithms to quickly change the current pitch of a note to the desired pitch. This is not something a human being can do, therefore it tends to sound quite unnatural, even robotic.What Auto-Tune do professionals use? ›
Antares Autotune Pro by Antares Audio Technologies
Their software is used as the standard when it comes to the big leagues in many of the top recording studios worldwide. This is due to its ease of use and trusted reputation. After all, Antares do actually own the trademark “Autotune”.
When you install the Melodyne plug-in, it will also install the standalone app. The standalone app lets you record audio directly into the software. You can also import any existing audio file. Standalone mode is especially useful if you don't use a DAW or need to edit an individual track.What type of audio can Melodyne detect and edit? ›
Any instrument, any sample
With Melodyne essential and assistant, you can edit monophonic sources; with Melodyne editor and studio, polyphonic ones like the guitar or piano as well – even each note individually and always with all the typical Melodyne functions.
To make vocals sound better, start by editing - when editing, cut out background noise, use clip gain to balance dynamics, and even remove plosives or unwanted sibilance. Then you can introduce subtractive EQ, Compression, Additive EQ, Saturation, Exciters, and various forms of short and long reverb.Should vocals be louder then the beat? ›
Your vocals should sound louder than the beat between -10dB and -15dB. A reliable method would be to set your lead vocal track to -12dB, then push back your instrumental tracks accordingly.What causes harsh vocals? ›
The true problem with harsh vocals is that they are caused by specific frequency resonances within the high frequencies of the vocal track. These resonances often don't happen all the time but rather only when certain consonants, phrases and notes occur within the vocal performance.Why are my vocals getting worse? ›
There are many factors that can go into losing your voice. It can be as simple as having some acid reflux, or a mild sore throat that is causing you pain and now allowing you to sing. The vocal cords might have been strained, or maybe you have bronchitis or laryngitis.Why does my voice sound annoying in recordings? ›
The discomfort we have over hearing our voices in audio recordings is probably due to a mix of physiology and psychology. For one, the sound from an audio recording is transmitted differently to your brain than the sound generated when you speak.Should pitch correction go before or after compression? ›
Pitch correction always goes first, as this plug-in works best on dry (without effects) audio. Next in line are EQ and compression. You might want to add compression before EQ, but there's no right or wrong here, so go for the disposition that sounds best to your ear.Do professional singers use Auto-Tune? ›
Virtually everyone in the music industry today uses autotune, even just a little bit. It helps everything blend together by correcting any off notes that would distract the listener. It's pretty much impossible to sing perfectly in tune all of the time, so autotune is a subtle tool to tighten up a singer's performance.Can Auto-Tune make anyone sound good? ›
Autotune can be used by a skilled audio engineer to transparently support a compelling vocal performance that had a few pitch shortfalls, or it can be used to quasi-synthesize a vocal for effect. What it doesn't do is make someone a better singer.
The Reasons Singers Go Flat
They're not getting off the consonants and onto the vowels quickly enough. They're swooping and sliding up to words and/or vowels. There isn't proper support and placement. The song/notes/runs are too high for them.
Tuning and pitch problems can often take a few months to correct; Strengthening your lower range will come relatively quickly; Smoothing your break may take a few months depending on the issue; and. Developing your voice to professional level (including belting and mastering tone) most certainly takes years.Why did Cher use autotune? ›
Auto-Tune was popularized by Cher's 1998 song "Believe". While Auto-Tune was designed to be used subtly to correct vocal performances, the "Believe" producers used extreme settings to create unnaturally rapid corrections in Cher's vocals, thereby removing portamento, the natural slide between pitches in singing.Should you compress before autotune? ›
In general, effects like high pass/low cut filters, subtle EQ, de-essers, and gentle compression/dynamics should be used before Auto-Tune in the effects chain. All other processing such as delay, reverb, spatial effects, distortion, etc should be applied after Auto-Tune.Is Post Malone's vibrato natural? ›
Although some refer to it as the "Post Malone Effect" or "Post Malone Vibrato" — he has a natural vibrato but you can hear it infused with this feature on songs like "Circles" — it's also jokingly referred to as "Billy Goat Vibrato" or "Goat Vibrato," used to describe anyone who may have a noticeably strong vibrato in ...Did Michael Jackson have perfect pitch? ›
Jackson had several incredible skills, like beatboxing, singing falsetto, and a perfect pitch. One of the more interesting parts of his voice was how high it was.Is Billie Eilish pitch perfect? ›
Billie Eilish's vocal range spans from D3 – B4 – A5, approximately 2 octaves and a perfect fifth. What is Billie Eilish's voice type or fach? Billie Eilish is undoubtedly a soprano, either a Light Lyric Soprano or a Soubrette.Was Freddie Mercury a pitch perfect? ›
His vocal control is like no other. He had the magical ability to blend highs, lows, and mid-range notes with immense precision, all thanks to his perfect pitch sense. In fact, his vocals and pitch were so impressive that it had been a matter of study for so many years.
How rare is perfect pitch? Out of every 10,000 people, only between 1 to 5 of them will have perfect pitch. Out of every 10,000 musicians, however, between 100 and 1100 (that's 1-11%) may have the gift. Perfect pitch is also observed to run in families, which suggests it's at least partially genetic.What is considered a pretty voice? ›
Their study revealed that males find female voices that indicate a smaller body size—high-pitched, breathy voices with wide formant spacing—most attractive. Females, on the other hand, prefer to hear a low-pitched voice with narrow formant spacing, reflecting a larger body size.
Celine Dion is said to have perfect pitch according to a source list that includes composer David Foster. It's not hard to believe that she possessed the skill with her amazingly accurate live performance notes, along with her effortless riffs and runs.Is perfect pitch genetic or learned? ›
Genetics of absolute pitch
This cognitive trait is generally considered a musical “gift” or enhancement. The prevalence in the general population is not known, however it has been estimated that 1 of 1,500 school age children experience it. We have established that absolute pitch has a strong genetic basis.
The research indicates that most people who have absolute pitch have had it from an early age. It seems to be a combination of nature and nurture. Its accuracy and reliability tends to vary over an individual's life. It is possible to develop this skill at a later age.How can I tell if I have perfect pitch? ›
- You are able to name a musical note played with a musical instrument or object (example: a bell)
- You are able to sing a particular note without any reference note.
- You are able to name several notes played one after the other.
- You can identify the key of a musical piece.
Select from the toolbox or the context menu in the editing area either the pitch modulation or the pitch drift tool. The pitch modulation tool is the one in the middle and the pitch drift tool the one at the bottom. With the tool selected, click on a note and – without releasing the mouse button – drag up or down.What is pitch drift in Melodyne? ›
'Pitch drift' is our term for slow fluctuations in pitch of the kind that are usually unintentional and symptomatic of poor technique.How do I fix my vocal pitch? ›
To free up your voice, simply breathe in, and then as you breathe out perform a vocalised sigh. You'll notice this sounds like a pitch sweeping downwards, but it will probably feel more natural than regular singing exercises. Try and make your sigh as vocalised as possible so it's close to actually singing.How do I get better pitch selection? ›
- Establish your damage zone. Your damage zone is the area of the pitch location that you get the best results when you swing the bat. ...
- Practice. You can find your damage zone through practice and games. ...
- Be on time.
Editor adds Polyphony and Tempo Editing. Studio adds Multi-track, Sound Editor and Quantize-to-track functionality.Where should Melodyne be in vocal chain? ›
So where should you put Melodyne in the signal chain then? Generally speaking, Melodyne should always be the first plugin in your signal chain. You want Melodyne to transfer the cleanest audio signal possible, that way you don't highlight any artifacts or sounds created by things like EQ, compression, or other effects.
When you install the Melodyne plug-in, it will also install the standalone app. The standalone app lets you record audio directly into the software.What is the difference between pitch drift and pitch modulation Melodyne? ›
The term 'pitch modulation' covers rapid and usually intentional variations in pitch such as trills or vibrato. 'Pitch drift' is our term for slow fluctuations in pitch of the kind that are usually unintentional and symptomatic of poor technique.