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• Live Auto Tune To Match The Tracking

• DAWs >Reason

1. 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.
2. Jul 04, 2016  Are You Committing These Logic Flubs? The 5 Major Errors to Avoid When Working in Logic Pro - Duration: 12:32. Why Logic Pro Rules 131,735 views.
3. Apr 06, 2010  The software tries to match what the. Jay-Z took it upon himself to drive nails into the coffin of the Auto-Tune gerbil-warble with his Death of Auto-Tune track.
4. Mar 29, 2019  If you have started track B slightly off from the beat of track A then you will need to either speed up or slow down track B to get its beats to match. To speed up the track you can either give the record a slight push near the edge of the center label or twirl the spindle clockwise using your index finger and thumb.
5. Auto-Tune EFX+ delivers the same industry-standard Auto-Tune technology that professional artists and producers have relied on for years, in an affordable and easy-to-use package. The variable Retune Speed control lets you fine tune the desired effect for your track, from transparent pitch correction to the full Auto-Tune Effect.

Wetsuits on, as we dive into Record's new pitch‑correction device, Neptune.

Neptune appeared along with Record 1.5 last year, and because it's really designed for use on audio tracks, it appears only in Record, not in Reason. On the face of it, this is a fairly straightforward Auto-Tune clone: You feed the plug‑in monophonic audio and it pulls that audio into tune, according to a musical scale you define, and with varying degrees of naturalness or (intentional) artificiality. Its other abilities (which are extensive, and often jaw‑dropping) we'll look at next time, but for now, let's get stuck into the main game — pitch correction.

Instant Impressiveness

Neptune's pitch adjustment controls.

So you've got your vocal track recorded, and you'd like to tighten up its tuning a bit. Easy.

Start by finding the vocal track's device in the rack. One easy way to do this is to click the 'RACK' button at the bottom of the track's channel strip in the mixer. Record opens up a rack view if necessary and flashes the device. Now right‑click the device and choose Create / Neptune Pitch Adjuster from the contextual menu. This creates and inserts a Neptune within the Audio Track device, in its 'Insert FX' signal path.

Now all you need to do is configure the Neptune for your needs. Towards the right‑hand side make sure the Pitch Adjust button is toggled on, but that Transpose and Formant are both off. Then you might only need to adjust the pitch correction characteristics using the Correction Speed and Preserve Expression knobs. Using them is intuitive, and very much a matter of experimentation, but in general it's the Correction Speed parameter that determines how processed the result sounds — keep this low for an in‑tune but natural performance. Preserve Expression is all to do with vibrato: high values let vibrato through, while low values iron it flat. If you have a very wobbly singer, try switching in the Wide Vibrato option (to the left of the central display), which alters the response characteristics of the system. The Low Freq(uency) option is there for when you're trying to work with very low pitches — below 44Hz to be precise — so Barry White or Jaco Pastorius wannabees should still be served perfectly well without this option switched on.

Choosing a scale type and root note can help ensure more accurate pitch correction, with fewer unwanted wobbles.Although Neptune's default settings work well on a range of material, you'll get tighter results if you also choose one of its predefined musical scales and a corresponding musical key to match your song. This prevents Neptune getting the wrong end of the stick, as it were, and 'correcting' the vocal to pitches that aren't actually used in the song. You'll need to be thinking in music theory terms, of course, to pick the appropriate key and scale, so if you're uncertain, you can do it another way: just work out which notes your melody actually uses, and then program the scale from scratch. Actually 'program' is too grand a term — it's just a case of toggling notes on and off with a few mouse clicks on Neptune's miniature keyboard.

Real‑world Use

Now, choosing or defining scales is all very well, but what if your song switches tonality halfway through, or simply changes key, rendering your settings useless? For this, there's the Scale Memory function. Check out the top right of the central display area and you'll see the four numbered buttons associated with this feature. These are memories for scale settings, so you can have up to four scales ready and waiting for use at any one time. Here's how you might use them:

For 'scales' with very few notes, a wider Catch Zone ensures that Neptune stays on the job.

1. Set up the scales you need for each section of your song: for each one just click a Scale Memory button and then choose a predefined scale or program your own. Settings 'stick' as you go along — you don't have to save anything.

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2. If your Neptune is inserted in an Audio Track device, it won't have got a sequencer track for itself by default. So right‑click the Neptune and choose 'Create Track for Neptune'

3. In the sequencer, select this new Neptune track (it may well be selected already) and then click the Track Parameter Automation button at the top of the track list and choose the 'Scale Memory' option.

If you've recorded acoustic parts that are not tuned to an A-440Hz pitch centre, the Master Tune slider in Preferences allows you to tweak Neptune's pitch recognition to match.

4. Switch to Edit Mode, and in the Scale Memory lane use the Pencil tool to write an automation event relating to one of the four values, at the appropriate point in your song. In Record 1.5.1, at least, the values range, unhelpfully, from 0‑3 rather than 1‑4, but it's not difficult to work out.

5. Now, on playback, Neptune's scale settings will be switched at the appropriate moment.

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Another scenario that comes up quite often is the need to switch off pitch correction completely for a section of a song. For this, we need to automate Neptune once more. Start off by repeating most of steps 2 and 3 above, but instead of choosing 'Scale Memory' opt for 'Pitch Adjust On/Off'. Then, in Edit Mode, in the Pitch Adjust automation lane, use the pencil tool to write a value of 1 (on) or 0 (off) at the relevant locations in your song.

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The MIDI factor

The Scale Memory feature lets you set up a number of different scale types and then switch between them using Record's automation — essential if your song changes key.

So far we've only considered what Neptune can do using pre-defined scales. But there is another way to feed it pitch correction information: with notes from a MIDI controller, either played live or recorded into a track. This approach can generate both delightfully subtle and downright bonkers results.

1. Right‑click Neptune and 'Create Track' for it if it doesn't have one already.

2. Record‑enable the newly created sequencer track.

3. Back in Neptune, make sure the '[MIDI] To Pitch Adjust' option at the left of the central display is selected.

Now, during playback (or indeed recording), try playing some notes on your controller. The display indicates the target pitch you're playing with a green rectangle, and Neptune should pull the current pitch towards it, subject to the Correction Speed setting. Interestingly, MIDI works in addition to the normal scale system, overriding it for as long as there's note input. That means you can use it for brief overrides, perhaps for when your melody steps outside of your programmed scale. But you can also toggle off all the scale pitches, using the mini‑keyboard, and then you'll get a natural, uncorrected performance except when there's MIDI input. This is good if there's just one or two notes out of tune in a vocal take.

It goes without saying, too, that the MIDI input allows you 'play' the pitch correction in remarkable ways, twisting vocal and other lines into bizarre and wonderful shapes. Many hours of happy noodling lie ahead..

Catch Zones

If you program a lot of your own scales, and especially if you ever select just one or two pitches for a scale, to force some very 'quantised' pitch correction, you'll see gaps appear in the red line above the pitch display. The red lines (for there are actually many, one associated with each pitch) are called 'Catch Zones'. To put it simply, Neptune won't even attempt to correct a note's pitch unless it falls within a catch zone. However, the size of the zones is adjustable, using the horizontal slider above the pitch display. So how do we use Catch Zones to best advantage?

In some circumstances, reducing Catch Zone size is good. Let's say you're working with a really good jazz singer. You might already have set pitch-correction parameters to allow a more natural effect, but going a step further and setting Catch Zone Size to its minimum forces Neptune to only correct notes that are a tiny bit out of tune, and to actually completely ignore a microtonal pitch range between scale pitches. This can allow portamento, swoops, glissandos and deliberate note bends to pass through more naturally.

On the other hand, increasing Catch Zone Size has its uses too. Imagine you've programmed a 'scale' with only three pitches, relating to the notes of a minor chord. You're aiming for a highly processed, robot‑like effect of a vocal line jumping between these pitches, almost in the manner of sa synth arpeggiator. As well as the obligatory settings of maximum Correction Speed and minimum Preserve Expression, it's also essential to increase Catch Zone Size so that the zones fully cover the gaps between the pitches. In this instance a setting of above 260 cents does the trick. In fact a higher setting makes no difference — Catch Zones can't overlap.

Reference Material

One thing conspicuous by its absence in Neptune is any sort of pitch reference parameter. You need this if the fundamental pitch centre of your song is a little way flat or sharp of A-440. This could have happened if you sang to a guitar accompaniment, but the guitar was only in tune with itself.

Actually the parameter does exist, but it's a global setting, in Record's Preferences, on the Audio page. There's a Master Tune slider there that allows you to adjust either side of A-440Hz by up to a semitone.

• Signal Processors >Pitch-shifters

Is it really possible to carry out studio-quality pitch-correction in real time? Waves think so..

Love it or loathe it, automated pitch-correction is here to stay. Antares’ Auto-Tune first made it possible, and has become so well-known that its name is often used generically to describe all such tools, but there are plenty of other software-based pitch-correction tools out there. However, most are primarily intended for studio use, where they will be applied as post-recording processes.

For live performance there have, of course, been a number of dedicated hardware devices that offer pitch-correction in real time, including the now-discontinued Antares ATR-1 and various TC-Helicon products. It’s easy enough to see two sides to the desirability of such a tool in a live setting and I’ll leave you to have that discussion amongst yourselves but, in a world where the computer sits centre stage in so many music-making environments, the user control and flexibility offered by software-only solutions could have obvious benefits in a live context too.

Well, Antares obviously think so, because they have a version of Auto-Tune called Auto-Tune Live targeted at precisely this role, and Waves have now joined the roll-call with their own take on the genre: Tune Real-Time. Providing the rest of your system doesn’t create a processing bottleneck somewhere along the line, Tune Real-Time is designed to operate with sufficiently low latency to be fast enough for even the most demanding live-performance situation. And, as I’ll get to in a minute, the plug-in can also be used as a standard post-recording pitch-correction tool.

Holding A Tune

Waves are not new to the business of pitch-correction. Indeed, SOS reviewed the original Waves Tune way back in the November 2006 issue. While Tune can carry out pitch-correction automatically as well as manually, like the Melodyne plug-in it requires your audio to be ‘tracked’ into the plug-in before this can take place. However, faster computer systems mean that, 10 years on, real-time pitch-correction with a plug-in is now a viable prospect.

Once installed via the slick Waves Central licence management system, how you configure Tune Real-Time will depend upon your type of use. For routine automatic pitch-correction of previously tracked vocals, you would, of course, simply insert the plug-in on your vocal track and get cracking with tweaking the control set to suit. However, if you are interested in live pitch-correction — whether that’s during tracking in the studio or for live performances — a different arrangement is going to be required.

While the specifics will undoubtedly depend upon your exact hardware/software configuration, Tune Real-Time is going to need to be inserted in your signal flow in a way that allows the engineer (studio or front-of-house) and the singer to monitor through it in real time. As when applying any software processing to a live audio signal, that means a return journey for the audio through your computer system and back out to your monitor setup, making low latency all round an obvious requirement.

Waves can’t do anything about latency introduced elsewhere within your system, but by reporting zero latency to the host, Tune Real-Time ensures that no delay compensation is applied on its account. Its actual latency varies between 0 and 4 ms depending on the frequency of the current note. Different performers have differing sensitivities to audio latency. In order to achieve a more comfortable monitoring experience, I found myself having to change the buffer sizes for my audio interface from 256 samples to 64 samples in my 44.1kHz/24-bit project. Smaller buffer sizes do, of course, mean a higher system load, but that may be a price you have to pay in order to prioritise the pitch-corrected vocal monitoring. (Alternatively, by running Tune Real-Time on one of Waves’ SoundGrid servers, you could eradicate the round trip through your computer and DAW.)

The control set allows you to select a voice type to focus the pitch-correction within a certain note range.

Corrective Measures

You can define your own scale using the keyboard display, and the plug-in includes a huge number of preset scale types.The user interface shares many common elements with that of the studio-orientated Waves Tune and, indeed, other pitch-correction tools. For example, the bottom third of the panel provides scale/key selection and a choice of voice types — which, in turn, set a default note range within which pitch-correction will be applied. The small MIDI Input/Keyboard panel allows you to give your singer a reference tone or use an external MIDI keyboard to set target notes. Other parameters in the control set can also be controlled via MIDI, including the Speed parameter, so you can, for instance, apply ‘robotic’ pitch-correction just to a few notes as a special effect.

The central keyboard strip provides a visual guide to the notes being detected as the plug-in does its thing. As well as letting you drag the left/right boundaries of the active note range, this includes an interesting additional feature whereby clicking above each note allows you to toggle its behaviour in the pitch-correction process. This includes modes for ‘legal’ (grey), ‘illegal’ (pink with a ‘-‘ icon) or ‘bypass’ (grey with an ‘x’; the note is legal but no pitch-correction is applied); but there are also two other ‘illegal’ options, both with pink arrow icons that can point to notes above or below the current note. If the pitch-detection algorithm identifies such a note, it will force the correction in the direction indicated by the arrow. This is a useful feature, as it allows you to handle the correction of specific notes in a very particular fashion.

The keyboard section allows you to define how the pitch-correction behaves for individual notes.

For example, a singer might end up consistently flat with notes at the top of their range or sharp towards the bottom of it. Tune Real-Time can accommodate that and I could imagine that in a live setting, where an FOH engineer gets to know a specific singer’s strengths and weaknesses night after night, this could offer very precise control. You can set these five different correction states either on individual notes or, with the Group Octaves button engaged, for every octave.

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House Of Correction

The topmost panel contains both familiar and less familiar elements. Familiar is the large arc-shaped pitch-correction display that shows the amount of correction being applied in real time. Also familiar is the Speed dial, which controls just how quickly pitch-correction is applied at the onset of a note. Values in the 40-60 ms range produce fairly aggressive correction, while slower speeds provide a more transparent result. And, yes, by setting it to zero you can get the ‘Cher effect’.

The Correction subpanel allows you to adjust just how tightly the pitch-correction is applied. Backing off from 100 percent here does help in terms of keeping the result transparent. If you want something more in the special effects category, you can also turn formant correction off; in conjunction with MIDI control of the notes, you can then move towards Micky Mouse or Darth Vader if you so wish.

The Note Transition controls provide interesting additional options for handling the pitch-correction process across note boundaries.

Perhaps more interesting are the Note Transition and Tolerance controls. While the Speed control deals with the first note of a legato phrase, in the Wave Tune algorithm (in both its real-time and non-real-time formats), the Note Transition control influences the speed of correction applied as one note transitions into another during a phrase. In addition, the Cents and Time controls provide further influence over note transitions, allowing you to tolerate wider pitch drift before correction kicks in. OK, so the pitch-correction is still automatic, but these additional options do seem to offer an extra level of control.

Auto Tune Live

Rather neatly, you can also dampen or exaggerate any natural vibrato present in the vocal (although you can’t add artificial vibrato). This is actually well worth experimenting with as its on/off status, and the slider value, interacts with the pitch-correction process; if you find yourself with the occasional unwanted ‘pitch flutter’ on a sustained note, tweaking these settings can sometimes tame it.

The Real Thing?

If Waves Tune Real-Time is to be considered a success, it must be able to satisfy on two obvious points. First, is the processing actually fast enough for real-time use? Second, is the quality, flexibility and stability of the automatic pitch-correction processing up to the job?

While my own testing was studio-based, in terms of the first question, I think the answer is a very clear yes. OK, in a recording session, I’m not sure I’d generally want to track with pitch-correction in my signal chain but, if it is something you need — perhaps as a special effect or to provide a bit of a comfort blanket to an insecure singer — Tune Real-Time can do it. The trick, both in the studio and in a live performance context, is to ensure that the rest of your monitoring signal chain doesn’t scupper the plug-in’s efficient, low-latency operation. In a mission-critical live context, that might mean putting Tune Real-Time’s needs at the top of your performance priority list.

In terms of the second question, as an automatic pitch-correction tool, Tune Real-Time is most certainly competitive with the other leading contenders. I tested it alongside Antares Auto-Tune Live; both were capable of meeting the need for speed required for real-time use and, with the obvious qualification that I’ll get to next, both delivered very good results. What’s more, the Waves control set — and in particular the note transition features and ability to configure the direction of pitch-correction on individual notes — makes for a lot of flexibility. Yes, you are still in the hands of an automated correction process, but these controls give you useful ways to influence the operation of that process.

And that obvious qualification? Automatic pitch-correction will not turn a Friday night karaoke singer into a Christina Aguilera or a Michael Bublé; this technology is impressive, and in many ways remarkable, but is not a substitute for actual vocal skills. If you set Tune Real-Time to fast pitch-quantise, even a pub singer might get away with a few bars of ‘special Cher effect’ but, if it’s a more natural performance you are seeking, Tune Real-Time will not rescue someone who really can’t sing.

That is, of course, a very good thing and, in one sense, it means the whole argument about pitch-correction in a live-performance context is still a bit moot. If your singer has his or her skills down, yes, software like Waves Tune Real-Time can support and enhance their performance, and perhaps help compensate for situations where poor monitoring or tiredness can make even a good singer’s pitch a little off. In the studio, it is perhaps possible to do more to overcome a singer’s limitations, but this would really require the offline processing options provided by the likes of Melodyne or the full version of Auto-Tune. However, it is worth emphasising that Tune Real-Time is also a great option in the studio providing all you need is automatic pitch-correction. Don’t expect miracles of this or any automatic pitch-correction tool, but if you are starting with a solid singer, Waves Tune Real-Time is more than capable of tidying up any loose edges that might occur.

Alternatives

From a software perspective, the obvious competition is Antares’ Auto-Tune Live, currently costing about the same as Tune Real-Time at its full price.

There are also hardware alternatives, and in particular, TC-Helicon have developed a number of products aimed at live performance that include some pitch-correction options. A current example is the Mic Mechanic footpedal: this includes chromatic pitch-correction and is competitively priced, but does not provide the flexibility or level of user control offered by Tune Real-Time.

Pros

• Latency of the plug-in is low enough for live use, providing the rest of the system configuration is up to the task.
• For an automated process, it offers plenty of user control.
• The quality of the automated pitch-correction processing is certainly a match for the obvious competition.

Cons

• Requires a low-latency computer/audio system for ‘live’ real-time use.

Summary

Live Auto Tune To Match The Tracks

If you don’t need the option of manual pitch editing, Waves Tune Real-Time is a very capable automatic pitch-correction tool for studio use and, given the low latency of the plug-in itself, a viable option for use in a live performance context — providing you are dealing with a competent singer in the first place.

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Live Auto Tune To Match The Track Video

Test Spec

Live Auto Tune To Match The Tracking

• Waves Tune Real-Time v9.6.14.12 Build 87243.
• Apple iMac with 3.5GHz Intel Core i7 CPU and 32GB RAM, running Mac OS 10.10.5, with Soundcraft Signature 12MTK mixer/interface.
• Tested with Steinberg Cubase Pro 8.5.