Voice Auto Tune Meaning

08.08.2020by

What I find most fascinating about Antares Auto-Tune is that everyone and their mother knows what it is, despite the fact that it's just another digital audio plugin used in bedroom and professional studios alike. Even people who have no clue what an EQ or compressor does somehow at least know of the word 'Auto-Tune' and even the general effect it has on the human voice.

Auto-tune definition is - to adjust or alter (a recording) with Auto-Tune software especially to correct sung notes that are out of tune.

But even though Auto-Tune has evolved to become this cultural phenomenon, very few artists or producers truly understand how to get it to sound like the way it sounds on major records.

In case you don't know what it is, Auto-Tune, in a nutshell, is a pitch correction software that allows the user to set the key signature of the song so that the pitch of the incoming signal will be corrected to the closest note in that key (and does so in real time). There are other pitch correction programs out there that do similar functions: Waves Tune, Waves Tune Real-Time, and Melodyne (which is pitch correction, but not in real time), but Auto-Tune seems to have won the standard for real-time pitch correction.

  1. Voloco: Auto Voice Tune Harmonizer and Karaoke Free. Voloco is a real-time voice-processing app that combines automatic tuning, pitch-shifting, and vocoding.
  2. StarMaker is an amazing free karaoke app that lets you sing your own cover of top songs from a massive catalog of more than 2,000,000 songs and sing karaoke like.

Auto-Tune traditionally is used on vocals, although in some cases can be used on certain instruments. For the sake of this article we will be discussing Auto-Tune and its effect on the human voice. Listen to this early example from the 'King of Auto-Tune,' the one artist who did more to popularize its effect than any other, T-Pain.

T-Pain - 'Buy U A Drank'

Working as a full-time engineer here at Studio 11 in Chicago, we deal with Auto-Tune on a daily basis. Whether it's people requesting that we put it on their voice, something we do naturally to correct pitch, or even for a specific creative effect. It's just a part of our arsenal that we use everyday, so over the years we have really gotten to know the ins and outs of the program—from its benefits to limitations.

So let's delve further into what this software really is and can do, and in the process debunk certain myths around what the public or people who are new to Auto-Tune may think. If you were ever wondering why your Auto-Tune at home doesn't sound like the Auto-Tune you hear from your favorite artists, this is the article for you.

To set the record straight, as I do get asked this a lot of times from clients and inquiring home producers, there really are no different 'types' of Auto-Tune. Antares makes many different versions of Auto-Tune—Auto-Tune EFX, Auto-Tune Live, and Auto-Tune Pro—that have various options and different interfaces, but any of those can give you the effect you're after. Auto-Tune Pro does have a lot of cool features and updates, but you don't need 'Pro' to sound pro.

I wanted to debunk this first, as some people come to me asking about the 'the Lil Durk Auto-Tune,' or perhaps that classic 'T-Pain Auto-Tune.' That effect is made from the same plugin—the outcome of the sound that you hear depends on how you set the settings within the program and the pitch of the incoming signal.

So if your Auto-Tune at home sounds different from what you hear on the radio, it's because of these factors, not because they have a magic version of Auto-Tune that works better than yours at home. You can achieve the exact same results.

In modern music Auto-Tune is really used with two different intentions. The first is to use it as a tool in a transparent manner, to correct someone's pitch. In this situation, the artist doesn't want to hear the effect work, they just want to hit the right notes. The second intent is to use it as an audible effect for the robotic vocals you can now hear all over the pop and rap charts.

But regardless of the intent, in order for Auto-Tune to sound its best, there are three main things that need to be set correctly.

  1. The correct key of the song. This is the most important part of the process and honestly where most people fail. Bedroom producers, and even some engineers at professional studios who might lack certain music theory fundamentals, have all fallen into the trap of setting Auto-Tune in the wrong key. If a song is in C major, it will not work in D major, E major, etc.—though it will work in C major's relative minor, A minor. No other key will work correctly. It helps to educate yourself a bit about music theory, and how to find the key of a song.

  2. The input type. You have the option to choose from Bass Instrument, Instrument, Low Male, Alto/Tenor, and Soprano. Bass Instrument and Instrument are, of course, for instruments, so ignore them if you're going for a vocal effect. Low Male would be selected if the singer is singing in a very low octave (think Barry White). Alto/Tenor will be for the most common vocal ranges, and soprano is for very high-pitched vocalists. Setting the input type correctly helps Auto-Tune narrow down which octaves it will focus on—and you'll get a more accurate result.

  3. Retune speed. This knob, while important, is really all dependent on the pitch of the input source, which I will discuss next. Generally speaking, the higher the knob, the faster it will tune each note. A lower speed will have the effect be a bit more relaxed, letting some natural vibrato through without affecting a vocalist's pitch as quickly. Some view it as a 'amount of Auto-Tune knob,' which isn't technically true. The amount of correction you hear is based off the original pitch, but you will hear more effects of the Auto-Tune the faster it's set.

So let's say you have all of these set correctly. You have the right key, you choose the right range for the singer, and the retune speed is at its medium default of 20ms. You apply it on the singer expecting it to come out just like the pros. And while their voice does seem to be somewhat corrected, it's still not quite corrected to the right pitch.

Here's why your Auto-Tune doesn't sound like the pros:

The pitch of the vocalist prior to Auto-Tune processing must be close enough to a note in the scale of the key of the song for Auto-Tune to work its best. In other words, the singer has to be at least near the right note for it to sound pleasing to the ears.

Whether you're going for a natural correction or the T-Pain warble, this point still stands. If the note the singer originally sings is nowhere near the correct note in the key, Auto-Tune will try to calculate as best it can and round up or down, depending on what note is closest. And that's when you get undesirable artifacts and hear notes you weren't expecting to hear. (Here is an example of how it sounds when the incoming pitch isn't close enough to the scale, resulting in an oddly corrected pitch.)

So if you put Auto-Tune on a voice and some areas sound good, some sound too robotic and a bit off, those are the areas that the singer needs to work on. Sometimes it can be difficult for non-singers to hear slight sharp or flat notes, or notes that aren't in the scale of the song, so Auto-Tune in many cases can actually help point out the problem areas.

This is why major artists who use Auto-Tune sound really good, because chances are they can sing pretty well before Auto-Tune is even applied. The Weeknd is a great example of this—he is obviously a very talented singer that has no problem hitting notes—and yet his go-to mixer, Illangelo, has said before that he always uses at least a little bit of Auto-Tune on the vocals.

If you or the singer in your studio is no Weeknd, you can correct the pitch manually beforehand with a program like Melodyne, or even with built-in pitch correction tools in your DAW, where you can actually go in and change the pitch of each syllable manually. So if you find yourself in a situation where you or an artist you are working with really want Auto-Tune on their vocals, but it's not sounding right after following all the steps, look into correcting the pitch before you run it through Auto-Tune.

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If you get the notes closer to the scale, you'll find the tuning of Auto-Tune to be much more pleasing to the ears. For good reason, T-Pain is brought up a lot when discussing Auto-Tune. Do you want to know why he sounds so good? It's not a special Auto-Tune they are using, its because he can really sing without it. Check it out:

T-Pain's unplugged and Auto-Tune-free medley

Hopefully this helps further assist you in your understanding and use of Antares Auto-Tune, and debunk some of the myths around it. Spend some time learning some basic music theory to help train the ear to identity keys of songs, find which notes are flat and which notes are sharp. Once you do, you'll find you'll want to use Auto-Tune on every song, because let's face it—nearly a decade after Jay-Z declared the death of Auto-Tune on 'D.O.A.'—it still sounds cool.

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Overdubbing (the process of making an overdub, or overdubs) is a technique used in audio recording where a passage (typically musical) has been pre-recorded, and then during replay, another part is recorded to go along with the original. The overdub process can be repeated multiple times. This technique is often used with singers, as well as with instruments, or ensembles/orchestras. Overdubbing is typically done for the purpose of adding richness and complexity to the original recording. For example, if there is only one or two artists involved in the recording process, overdubbing can give the effect of sounding like many performers.[1]

In vocal performances the performer usually listens to an existing recorded performance (usually through headphones in a recording studio) and simultaneously plays a new performance along with it, which is also recorded. The intention is that the final mix will contain a combination of these 'dubs'.[2]

Another kind of overdubbing is the so called 'tracking' (or 'laying the basic tracks'), where tracks containing the rhythm section (usually including drums) are recorded first, then following up with overdubs (solo instruments, such as keyboards or guitar, then finally vocals). This method has been the standard technique for recording popular music since the early 1960s. Today, overdubbing can be accomplished even on basic recording equipment, or a typical PC equipped with a sound card,[2] using digital audio workstation software.

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Because the process of overdubbing involves working with pre-recorded material, the performers involved do not have to ever have physically met each other, nor even still be alive. In 1991, decades after her father Nat King Cole had died, Natalie Cole released a 'virtual duet' recording of Unforgettable where she overdubbed her vocals onto her father's original recording from the 1960s. As there is no limit in timespan with overdubbing, there is likewise no limit in distance, nor in the number of overdubbed layers. Perhaps the most wide-reaching collaborative overdub recording was accomplished by Eric Whitacre in 2013, where he edited together a 'Virtual Choir' of 8,409 audio tracks from 5,905 people from 101 countries.[3]

History[edit]

Perhaps the earliest commercial issue of recordings with overdubs was by RCA Victor in the late 1920s, not long after the introduction of electric microphones into the recording studio. Recordings by the late Enrico Caruso still sold well, so RCA took some of his early records made with only piano accompaniment, added a studio orchestra, and reissued the recordings.[citation needed]

A foreshadow of overdubbing can be seen with Sidney Bechet, an American jazz musician who made a pair of famous overdubbed sides in 1941 entitled 'The Sheik of Araby' and 'Blues of Bechet'. The multi-instrumentalist recorded the clarinet, soprano, tenor saxophone, piano and the bass and drum parts for both songs, and then he recorded each track separately on top of one another to create two single tracks . The recordings were then issued as 'Sidney Bechet's One Man Band'[4]

In 1948 experiments mixing sound effects and musical instruments made by Pierre Schaeffer at the Radio Télédiffusion Française experimental studio in Paris led to Étude aux Tourniquets, the first avant garde composition using recording as a composition technique, recorded and mixed directly on acetate records as tape recorders were not yet available. Similar sound collage experiments had been made by Edgard Varèse in the 1920s but Varèse, also a French composer, wrote scores later played live by musicians. As from 1949, Schaeffer composed and recorded on acetates with Pierre Henry (Symphonie pour un homme seul, 1950), who also recorded with Varèse in 1954. Together they used some of the earliest tape recorders available in the early 1950s.

The invention of magnetic tape opened up new possibilities for overdubbing, particularly with the development of multitrack recording with sel-sync. One of the first known commercially released overdubbed recordings was 'Confess' for Mercury Records by Patti Page in 1948, although this overdubbing was done with acetate. With the popularity of this recording Page recorded 'With My Eyes Wide Open I'm Dreaming' using the same overdubbing technique.[5] The vocals were listed as 'Voices by: Patti Page, Patti Page, Patti Page, Patti Page'.[citation needed]

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Les Paul was an early innovator of overdubbing, and began to experiment with it around 1930.[6]:213 He originally created multi-track recordings by using a modified disk lathe to record several generations of sound on a single disk,[7] before later using tape technology, having been given one of the first Ampex 300 series tape recorders as a gift from Bing Crosby.[8] His 1950 #1 hit, How High The Moon, performed with his then-wife Mary Ford, featured a then-significant amount of overdubbing, along with other studio techniques such as flanging, delay, phasing and varispeed.[6]:xxii-xxiii[9]

Les Paul's advancements in recording were seen in the adoption of his techniques by artists like Buddy Holly. In 1958 Holly released 'Words of Love' and 'Listen to Me,' which were composed with overdubbing for added instrumentation and harmonies.[10]

Peter Ustinov performed multiple voices on 'Mock Mozart', in a recording produced by George Martin. Abbey Road Studios had no multitrack recorders at the time, so a pair of mono machines were used. Martin used the same process later for a Peter Sellers comedy record, this time using stereo machines and panning.[citation needed]

Examples[edit]

Overdubs can be made for a variety of reasons. One of the most obvious is for convenience; for example, if a bass guitarist were temporarily unavailable, the recording can be made and the bass track added later. Similarly, if only one or two guitarists are available, but a song calls for multiple guitar parts, a guitarist can play both lead and rhythm guitar. Overdubbing is also used to solidify a weak singer; doubletracking allows a singer with poor intonation to sound more in tune. (The opposite of this is often used with sampled instruments; detuning the sample slightly can make the sound more lifelike.) The effect is used to give one singer a fuller sound. They would effectively harmonize with their own vocals, like a choir but with just one voice.

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Overdubbing has sometimes been viewed negatively, when it is seen as being used to artificially enhance the musical skills of an artist or group, such as with studio-recorded inserts to live recordings, or backing tracks created by session musicians instead of the credited performers. The early records of the Monkees were made by groups of studio musicians pre-recording songs (often in a different studio, and some before the band was even formed), which were later overdubbed with the Monkees' vocals. While the songs became hits, this practice drew criticism. Michael Nesmith in particular disliked what overdubbing did to the integrity of the band's music.[11] Additionally in working with producer Butch Vig, Kurt Cobain had expressed a disdain for double-track recording. Vig had to reportedly convince Cobain to use the recording technique by saying, 'The Beatles did it on everything. John Lennon loved the sound of his voice double-tracked.' [12]

See also[edit]

References[edit]

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  1. ^The Carpenters - Richard explains overdubbing (YouTube, published Feb 11, 2011)
    During a live concert by The Carpenters, Richard Carpenter explains how the two voices of himself and his sister are made to sound like many voices by the technique of overdubbing. The band then gives a demonstration of layering voices.
  2. ^ abBruce Bartlett. Practical Recording Techniques: The Step- by- Step Approach to Professional Audio Recording. CRC Press. p. 209. ISBN978-1-136-12533-1.
  3. ^Eric Whitacre's Virtual Choir 4: Fly to Paradise
  4. ^Palmer, R (February 3, 1982). 'The Pop Life'. New York Times.
  5. ^Sylvester, B (May 30, 2003). '10 questions for patti page'. Goldmine. 29: 26.
  6. ^ abMichael Zager (2011). Music Production: For Producers, Composers, Arrangers, and Students. Scarecrow Press. ISBN978-0-8108-8202-7.
  7. ^Mary Alice Shaughnessy (1993). Les Paul: an American original. W. Morrow. p. 140. ISBN978-0-688-08467-7.
  8. ^Cleveland, B (December 2009). 'Les paul 1915–2009: Les paul's new sound'. Guitar Player (43): 86–87.
  9. ^Johnston, R (April 1997). 'Gearheads: Les paul'. Guitar Player. 31: 31–32.
  10. ^Dahl, B (February 1, 2008). 'The crickets are chirping'. Goldmine. 34: 20–21.
  11. ^Andrew Sandoval (2005). The Monkees: The Day-by-Day Story of the 60s TV Pop Sensation. Thunder Bay Press. p. 80. ISBN1-59223-372-4.
  12. ^Fricke, D (September 13, 2001). 'The tenth anniversary of nirvana's 'nevermind': A guide to nirvana's bootlegs - vital episodes in kurt cobain's life'. Rolling Stone Magazine.

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Further reading[edit]

Voice Auto Tune Meaning In English

  • Modern Recording Techniques, by David Miles Huber and Robert E. Runstein. October 1, 2009 0240810694

Auto Tune Your Voice Free

External links[edit]

Look up overdub in Wiktionary, the free dictionary.

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