How do you use auto tune in Logic Pro? I have been watching videos of artists using auto tune to help fix their vocals and I was curious if anyone knows a good tutorial to follow. I really am interested in hip hop auto tune.

Autotune Plugin Logic Pro X

Logic Pro’s bundled pitch correction effect is a solid contender when it comes to this category of plugins. With its aesthetically pleasing interface and intuitive controls, it’s a great way to add pitch correction to your songs without having to spend any extra money on a dedicated plugin. Autotune On Logic Pro X; Autotune Settings Logic Pro X; Best Auto-tune Settings; Logic Auto Tune Settings Pro Tools; How do you use auto tune in Logic Pro? I have been watching videos of artists using auto tune to help fix their vocals and I was curious if anyone knows a good tutorial to follow. I really am interested in hip hop auto tune.

Prior to the digital age, life in the studio was all about moderating the effects of human touch.

Compressors evened out the dynamics of the bass player while a side chain feed kept them matched with the drummer. The drummer had a metronome feed playing to maintain tempo.

Singers, well, you could keep their dynamics in control, but when they sang flat, about all you could do was tell them to smile as they sang and aim above the problem notes.

Smiling has the mysterious effect of raising singers' pitch. Aiming high is probably wishful thinking on everyone's part, but sometimes it works.

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The Advent of Auto-Tune

You wouldn't think earthquakes have a lot to do with singing in pitch and they don't, really.

However, it was seismi c research that provided the background for Dr. Andy Hildebrand, the creator of Auto-Tune and its parent company Antares.

He left that field and returned to his early love of music, bringing knowledge that created seismic interpretation workstations and applied it to issues arising in the early days of digital music.

Hildebrand's expertise with digital signal processing led to a series of audio plug-ins, including 1997's Auto-Tune, which could correct the pitch of a voice or any single-note instrument with surprisingly natural results.

Audio engineers now had a weapon against the occasional bum note. Rather than scrapping an entire take, Auto-Tune offered a repair tool that quickly caught on.

Auto-Tune as an Effect

It was only a year later in 1998 that use of Auto-Tune as an effect rather than repair tool happened.

Called the 'Cher Effect' after the singer's hit, 'Believe,' artificial and abrupt pitch changes came into vogue. Later, real-time pitch correction hardware brought both effects and repairs to the stage.

In the studio, Auto-Tune proved another weapon to 'fix it in the mix.'

Issues with Auto-Tune started soon after, with lines drawn between the purist and users camps. Many felt that using pitch correction was an artistic cheat, a way to bypass craft.

The arguments resemble the resistance synthesizers received in the 1970s and 80s that led Queen to note that none were used on their albums.

The other side of the argument pointed out that tools such as compressors and limiters and effects such as audio exciters had already been modifying the sound and behavior of voices throughout the history of recording. Though the anti-Auto-Tune camp seems vocal and large, rarely does a session go by without some use of pitch correction. It's nearly impossible to detect when used judiciously, nowhere near as obvious as when used for effect.

Auto-Tune is no longer the only player in the pitch correction game either. Celemony's Melodyne software substantially improves on Auto-Tune's interface and brought the full power of pitch correction to a plug-in ahead of the tool's originator, which still leads the pack when it comes to response and set-and-forget capability.

'Generic' Auto-Tune

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The Antares version of the effect has achieved 'Kleenex' status. Its brand name is now synonymous with the generic effect it originated. It joins 'Pro Tools' from the audio world and 'Photoshop' from digital imaging in this manner.

Unlike some digital music signal processors, pitch correction hasn't generated a huge number of knock-offs. Melodyne is a serious contender, due to its far more intuitive interface. GSnap is an open source alternative that produces similar results. While iZotope's VocalSynth includes pitch correction features, it's more of a full vocal processor rather than a dedicated pitch correction app.

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The 4 Best Auto-Tune VST Plugins

Now, lets get into the top 4 autotune plugins​. Each one offers unique features and I assure you that one of these plugins have exactly what you are looking for

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The originator is now a full-featured and functional vocal processor that still masters the innovative pitch correction duties it brought to the market, but adds a wide range of additional features and effects to help nail down the perfect vocal take.

Auto-Tune 7 forms the core of the Vocal Studio package, still tackling the pitch and time correction duties it always has. Since its earliest days, automatic and graphical modes handle the various chores for the main Auto-Tune module.

While still presenting a learning curve for the new user, the Auto-Tune 7 interface remains familiar enough for experienced users. Since it's the best-selling pitch correction software going -- and by a huge margin -- there are a lot of existing Auto-Tune users. Even if you're new to the plug-in, chances are you know someone who's used it.

The rest of the Vocal Studio package focuses on vocal manipulations such as automatic doubling, harmony generation, tube amp warmth and vocal timbre adjustment. The range and nature of these adjustments takes vocal processing into some new territory.

The MUTATOR Voice Designer lets you manipulate voices from subtle to extreme, permitting organic or alien manipulations but with results that still sound like voices, though perhaps not of this world. The ARTICULATOR Talk Box produces effects such as the guitar talk box of Peter Frampton and Joe Walsh, but also Alan Parsons-ish vocoder sounds, combining the features of sung or spoken voice with an instrument's output.

While the Auto-Tune Vocal Studio remains pricey, it remains at the top of a niche market of audio processing.

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If Auto-Tune has a serious competitor in the pitch correction universe, it's Celemony's Melodyne. The interface, layout and operation of Melodyne is inherently more musical than the Antares take, so newcomers to pitch correction will likely find Melodyne easier to work with.

The Melodyne 'blob' is an easy to grasp analog of a sung note. It's far more intuitive than a waveform to understand. With the focus on graphical interface, Melodyne makes sense more quickly and easily than Auto-Tune. The latter's switching between automatic and graphical modes creates a comparative disconnect between functions.

Even long-time users of Auto-Tune will find moving to Melodyne natural, as there's enough in common that, once a user gets their bearings, familiar functions remain available.

Many Melodyne functions perform on polyphony too. Correcting a track with a multi-voice choir or chording instrument can work too. It's not a perfect function, but it's uncanny how often Melodyne senses chords clearly enough to allow changing of a single element.

What Melodyne doesn't do is the advanced vocal pyrotechnics offered by Auto-Tune. The Celemony product is all about pitch and time correction and it accomplished these with grace and ease.

Those looking for an affordable entry into digital pitch correction can turn to Melodyne 4 Essential. It's a plug-in that handles the pitch and time corrections of its big brother, but with fewer advanced features and without the full-featured price tag.

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Though pitch correction isn't the focus of this iZotope plug-in, it resembles the full Auto-Tune Studio package. At a fraction of the cost of the big boys in this class, VocalSynth doesn't offer the depth of control experienced with either Auto-Tune or Melodyne, yet it still manages to provide a reasonable job of pitch correction.

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There's no graphical representation such as Melodyne's or Auto-Tune's graphical mode. That makes fine-tuning performances a little beyond the reach of VocalSynth, but for reasonable performances, it's not a major limitation. Think of the iZotope product as a first-aid kit rather than an emergency department.

The four voice synthesis modules are where the fun resides with VocalSynth. Talkbox, Compuvox, Polyvox and Vocoder modules emulate many of the vocal effects you've heard on hits from a wide range of artists. This is also just the most overt extra in the VocalSynth package.

A variety of additional modules let you tune up or tear up your vocal tracks. Add harmony, filter vocals, create radio and phone effects. These modules can either optimize your track or take it to new and exciting places.

VocalSynth may be the country cousin to the serious pitch manipulators, but it has capability with a high fun factor.

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Autotune On Logic Pro X

Don't let the download page fool you, GSnap is a VST plug-in that works with any DAW platform that supports VST, not simply Windows-based DAWs. Both 32 and 64-bit support is included. Completely free, it does come with limits. While there is more graphic information than iZotope offers, it doesn't offer direct edits.

While not as flexible as pro pitch correction, it's a low-cost alternative for users who can't swing the big time prices. It's difficult to use GSnap subtly. That's not an issue for those seeking pitch correction effects, such as Cher or T-Pain. Backup vocals are also a good candidate.

This is the entry level of pitch correction, and because of that, it's included here. The effect is so ubiquitous that anyone working in the field needs to know how it works. GSnap represents the place to start.

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Wrapping It Up

Love it or hate it, pitch correction is here to stay, both as tool and effect. These four plug-ins aren't the only ones out there, but they represent the spectrum of pitch correction treatment. Auto-Tune is the originator. Melodyne is the refinement. It works just as well as the Antares product in nearly every way with an interface that easy to grasp.

Autotune Settings Logic Pro X

iZotope VocalSynth represents the cream of the mid-priced plug-ins. It's capable and creative, even if it's not as flexible on pitch correction as the top-line apps. GSnap represents pitch correction for everyman. You can't knock the price of freeware.

Best Auto-tune Settings

The debate will likely rage over the ethics of pitch correction in popular music. While you wait for the dust to settle, give one of these packages a try.

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Best free plugin for Auto-tune? Logic Pro X is the one being used. Checking into some but curious what the most recommended one is. Save hide report. Get One Of The Best Pro Tools Instrument Plug-ins Xpand!2 For Studio One Free - Normally $69.99 Free Plug-in Of The Week - U-he Protoverb New Free Snapshot Plug-in Offers Hardware Lovers The Chance To Store Settings In Studio One.

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The Vocoder has been around for a long time—originally developed in the 1930s (!), and used for voice synthesis and even encryption (in WWII), it was adapted for musical use (by Bob Moog, among others) in the ’60s and ’70s, where its range of effects was heard on recordings by artists like Kraftwerk, Wendy Carlos (the Clockwork Orange score), ELO (“Mr Blue Sky”), Styx (“Mr Roboto”), and even Doctor Who (at least one version of the theme music). More recently, Vocoder effects have been incorporated into music by various artists, ranging from Coldplay to Daft Punk.

Vocoders are capable of quite a number of effects, from harsh, metallic Robot Voices (Cylons), to a quantized pitch effect similar to the Auto-Tune effect. But the classic Vocoder synthetic voice effect is the “singing instrument” or “singing synthesizer”. This is where a vocal is superimposed on an instrument, so it sounds like the instrument is singing—some classic examples of this particular effect are ELO’s “Mr. Blue Sky” (middle and end), and The Cars’ “Dangerous Type” (at the very end).

How Vocoders Work

The effect requires two signals—the instrument or synthesizer, which provides the tone and music—chords and/or melody—and the vocal, which articulates the words. The vocal doesn’t have to be sung (though it can be)—even a spoken word recording is fine—the pitches come from the instrument or synth. Here’s an example:

Fig 1 Logic’s EVOC 20 Vocoder processes a spoken word vocal recording

Audio Example 1 A spoken word vocal recording is used to create the classic “singing synthesizer” effect with Logic’s EVOC 20 Vocoder plug-in:

The EVOC 20

Logic has been good enough to include a Vocoder in its collection of effect plug-ins—the EVOC 20 (the E comes from the old days (Emagic) and the 20 is the maximum number of frequency bands—see below). In fact, Logic has not one, but three versions of this effect—two audio processors and an Instrument, which incorporates its own synthesizer.

These are fairly deep, complex processors, so I’m not going to explain them in full detail (that would be more of a book then an article!). For this article, I’m just going to show how to get that one classic “singing synth” effect, so I’ll cover a little of the basic theory and only the most key settings.

Of the three versions of the EVOC 20, two can be used for the classic effect we’ll be looking at here—the EVOC 20 PolySynth (the Instrument) and the EVOC 20 TrackOscillator (audio processor). Both can take a vocal and superimpose it on music—the PolySynth version uses its own synthesizer to provide the music (chords/melody), while the TrackOscillator version lets you apply Vocoding to an existing Instrument track (I used an organ in my example).

Filter this

Fig 2 The EVOC 20 Vocoder—the PolySynth (Instrument) version

The term Vocoder is short for VOice EnCODER. It encodes the characteristics of the voice using a bank of narrow-band filters—the EVOC lets you choose anywhere from 5 to 20. Looking at the EVOC 20 front panel (Fig 2) , you’ll see these in the center—more filters means a cleaner effect, fewer, a more pronounced artificial quality (somewhere in the middle (8–10–12) is a good choice). There are actually two filter banks—the Analysis and Synthesis banks.

The Vocoder works by breaking up an analysis signal (the voice, in these examples, but it could be anything) into narrow frequency bands; the included Synthesizer is broken up into the same, corresponding bands. Each of the analysis bands is coupled to its own Envelope Follower, which controls the envelope of the corresponding Synthesizer band. This superimposes the shape of the analysis wave—the vocal—onto whatever the synthesizer is playing (chords, melody).

So why does this make it sound like the Synthesizer is singing? Well, a human voice produces a number of resonant peaks called Formants—several of these combine to create the different vowel sounds. As we speak or sing, we’re changing the formants, each of which occupies a narrow frequency band, as we change vowels—that’s how we form words. The Vocoder captures the changing envelopes of these Formants with its narrow Frequency bands, and the Envelope Followers apply those envelopes to the synth sound, making the synth, in effect, produce vowels, as if it were speaking the words of the vocal signal. Since the synth is holding notes and chords, it appears to be singing those words—and there it is, the “singing synth”.

The consonants in the vocal (analysis) signal are detected and passed through, or used to generate a separate noise signal—this lends greater clarity and articulation to the “singing synth”. All of these aspects can be tweaked with the various controls in the EVOC, giving you the option to push the effect either toward clarity or away, towards a more synthetic or edgy quality.

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Welcome to the EVOC PolySynth

Here’s how to get the classic effect with the EVOC 20 PolySynth. You’d insert one on an Instrument track, and you’ll need a second track, with a vocal recording (spoken or sung) to provide the words/syllables. The vocal track will be routed to the EVOC’s Sidechain input, using the standard Logic plug-in sidechain menu, in the upper right (Fig 3 A).

Fig 3 Setting up the EVOC 20 PolySynth for the classic Vocoder effect

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There’s an Attack and Release control that determines the response to this signal—for the most intelligible vocal effect, set the fastest Attack that sounds clean (Fig 3 B). Just below right, choose the number of bands (Fig 3 C)—as I mentioned, more bands = cleaner, fewer bands = more pronounced effect (Audio Example 2).

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Audio Example 2 The same signal, first with 20 bands, then 12, then 8:

Below the graph are the Formant Stretch and Formant Shift controls (Fig 3 D). These will alter the corresponding Synth Formants only, providing familiar tonal-shifting special effects (Audio Example 3). The Resonance control, to the right, can also be used to intensify the effect.

Audio Example 3 A Vocoded signal, with the Formant Stretch knob narrowed, then gradually widened; then the Formant Shift knob shifted down, then gradually shifted up:

Seafoam trans tune advance auto. Above the graph, you can set the overall bandwidth (Fig 3 E)—narrower bandwidths will also have a more pronounced synth-y effect (Audio Example 4).

Audio Example 4 The same signal, first with a wider bandwidth (150-6400 Hz), then a narrower one (300-3200 Hz):

To the left are the Synth controls (Fig 3 F), where you can dial up anything from an analog to an FM-type synth sound. These are your standard synth controls, so I won’t go over them here.

To the right, there’s a section labelled U/V Detection (Fig 3 G). U/V stands for “un-voiced”. These are the un-pitched portions of speech—the consonants. EVOC can detect these, and it will either pass them through, or generate a noise sound for them (or a blend of both), before passing the voiced components (the vowels/Formants) over to the analysis filter bank. The Sensitivity knob determines the response to the un-voiced components—too low, and the effect will lack clarity and intelligibility. The default setting (40%) is a good starting point (Audio Example 5).

Audio Example 5 The vocoded signal, first with the U/V Detection Sensitivity and Level settings at zero; then at their defaults (40% and 30%, respectively):

The Output section adds a Chorus option, and the Stereo Width knob can create either a mono effect (all the way down), or a stereo effect, by panning the different bands between left and right—centered, the bands ascend from left to right, at maximum, they alternate left and right (this control’s been at maximum for all the audio examples).

Vocode Your Own

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Besides generating the classic Vocoder effect with the EVOC 20 PolySynth’s built-in synthesizer, you can also apply it to another Instrument. To do this, you’d turn to the EVOC 20 TrackOscillator audio plug-in instead. Simply insert it in any slot in the Instrument track of your choice—I’ve picked an organ track.

Fig 4 The EVOC 20 TrackOscillator lets you Vocode the Instrument of your choice

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As you can see (Fig 4), the key controls are mostly the same. If you wanted to preserve more of the Instrument’s natural sound, you could set a wider bandwidth, and more neutral Formant settings.

Audio Example 6 The EVOC 20 TrackOscillator creates a “singing organ”:

Cooking fever hack apk download android. Obviously, there are a lot more controls in these plug-ins, and a lot more effects on tap as well, but this is all we have room for now. If you’ve got Logic, and you’ve never bothered to play around much with the EVOC 20, there’s a wealth of cool effects waiting in there for you to discover!

Learn more about how to use the vocoder in Logic Pro X with this excellent video course by David Earl HERE.