In January of 2010, Kesha Sebert, known as ‘Ke$ha’ debuted at number one on Billboard with her album, Animal. Her style is electro pop-y dance music: she alternates between rapping and singing, the choruses of her songs are typically melodic party hooks that bore deep into your brain: “Your love, your love, your love, is my drug!” And at times, her voice is so heavily processed that it sounds like a cross between a girl and a synthesizer. Much of her sound is due to the pitch correction software, Auto-Tune.
Sebert, whose label did not respond to a request for an interview, has built a persona as a badass wastoid, who told Rolling Stone that all male visitors to her tour bus had to submit to being photographed with their pants down. Even the bus drivers.
Yet this past November on the Today Show, the 25-year old Sebert looked vulnerable, standing awkwardly in her skimpy purple, gold, and green unitard. She was there to promote her new album, Warrior, which was supposed to reveal the authentic her.
28 Lady Gaga Stefani Joanne Angelina Germanotta, known professionally as Lady Gaga, is an American singer, songwriter, and actress.read more. Similar to Miley Cyrus, Lady Gaga, who has a talented singing voice, chooses to use autotune and a fabricated media image to win people over. Feb 27, 2013 There is much speculation online about who does — or doesn’t — use Auto-Tune. Taylor Swift is a key target, as her terribly off-key duet with Stevie Nicks at the 2010 Grammys suggests she. Sep 17, 2018 Even Lady Gaga, the queen of all things plastic-fantastical, tried the “this is the real me” switch with 2016’s “Perfect Illusion,” which drastically reduced the Auto-Tune levels on her.
“Was it really important to let your voice to be heard?” asked the host, Savannah Guthrie.
“Absolutely,” Sebert said, gripping the mic nervously in her fingerless black gloves.
“People think they’ve heard the Auto-Tune, they’ve heard the dance hits, but you really have a great voice, too,” said Guthrie, helpfully.
“No, I got, like, bummed out when I heard that,” said Sebert, sadly. “Because I really can sing. It’s one of the few things I can do.”
Warrior starts with a shredding electrical static noise, then comes her voice, sounding like what the Guardian called “a robo squawk devoid of all emotion.”
“That’s pitch correction software for sure,” wrote Drew Waters, Head of Studio Operations at Capitol Records, in an email. “She may be able to sing, but she or the producer chose to put her voice through Auto-Tune or a similar plug-in as an aesthetic choice.”
So much for showing the world the authentic Ke$ha.
Since rising to fame as the weird techno-warble effect in the chorus of Cher’s 1998 song, “Believe,” Auto-Tune has become bitchy shorthand for saying somebody can’t sing. But the diss isn’t fair, because everybody’s using it.
For every T-Pain — the R&B artist who uses Auto-Tune as an over-the-top aesthetic choice — there are 100 artists who are Auto-Tuned in subtler ways. Fix a little backing harmony here, bump a flat note up to diva-worthy heights there: smooth everything over so that it’s perfect. You can even use Auto-Tune live, so an artist can sing totally out of tune in concert and be corrected before their flaws ever reach the ears of an audience. (On season 7 of the UK X-Factor, it was used so excessively on contestants’ auditions that viewers got wise, and protested.)
Indeed, finding out that all the singers we listen to have been Auto-Tuned does feel like someone’s messing with us. As humans, we crave connection, not perfection. But we’re not the ones pulling the levers. What happens when an entire industry decides it’s safer to bet on the robot? Will we start to hate the sound of our own voices?
They’re all zombies!They’re all zombies!
Auto-Tune has now become bitchy shorthand for saying somebody can’t sing
Cher’s late ‘90s comeback and makeover as a gay icon can entirely be attributed to Auto-Tune, though the song's producers claimed for years that it was a Digitech Talker vocoder pedal effect. In 1998, she released the single, “Believe,” which featured a strange, robotic vocal effect on the chorus that felt fresh. It was created with Auto-Tune.
The technology, which debuted in 1997 as a plug-in for Pro Tools (the industry standard recording software), works like this: you select the key the song is in, and then Auto-Tune analyzes the singer’s vocal line, moving “wrong” notes up or down to what it guesses is the intended pitch. You can control the time it takes for the program to move the pitch: slower is more natural, faster makes the jump sudden and inhuman sounding. Cher’s producers chose the fastest possible setting, the so-called “zero” setting, for maximum pop.
“Believe” was a huge hit, but among music nerds, it was polarizing. Indie rock producer Steve Albini, who’s recorded bands like the Pixies and Nirvana, has said he thought the song was mind-numbingly awful, and was aghast to see people he respected seduced by Auto-Tune.
“One by one, I could see that my friends had gone zombie. This horrible piece of music with this ugly soon-to-be cliché was now being discussed as something that was awesome. It made my heart fall,” he told the Onion AV Club in November of 2012.
The Auto-Tune effect spread like a slow burn through the industry, especially within the R&B and dance music communities. T-Pain began Cher-style Auto-Tuning all his vocals, and a decade later, he’s still doing it.
“It’s makin’ me money, so I ain’t about to stop!” T-Pain told DJ Skee in 2008.
“It’s makin’ me money, so I ain’t about to stop!”
Kanye West did an album with it. Lady Gaga uses it. Madonna, too. Maroon 5. Even the artistically high-minded Bon Iver has dabbled. A YouTube series where TV news clips were Auto-Tuned, “Auto-Tune the News”, went viral. The glitchy Auto-Tune mode seems destined to be remembered as the “sound” of the 2000s, the way the gated snare (that dense, big, reverb-y drum sound on, say, Phil Collinssongs) is now remembered as the sound of the ‘80s.
Auto-Tune certainly isn’t the only robot voice effect to have wormed its way into pop music. In the ‘70s and early ‘80s, voice synthesizer effects units became popular with a lot of bands. Most famous is the Vocoder, originally invented in the 1930s to send encoded Allied messages during WWII. Proto-techno groups like New Order and Kraftwerk (ie: “Computer World,”) embraced it. So did American early funk and hip hop groups like the Jonzun Crew.
‘70s rockers gravitated towards another effect, the talk box. Peter Frampton (listen for it on “Do you Feel Like We Do”) and Joe Walsh (used it on “Rocky Mountain Way”) liked its similar-to-a-vocoder sound. The talk box was easier to rig up than the Vocoder — you operate it via a rubber mouth tube when applying it to vocals. But it produces massive amounts of slobber. In Dave Tompkins’ book, How to Wreck a Nice Beach, about the history of synthesized speech machines in the music industry, he writes that Frampton’s roadies sanitized his talk box in Remy Martin Cognac between gigs.
The use of showy effects usually have a backlash. And in the case of the Auto-Tune warble, Jay-Z struck back with the 2009 single, D.O.A., or “Death of Auto-Tune.”
I know we facing a recession
But the music y'all making going make it the great depression
All y'all lack aggression
Put your skirt back down, grow a set man
Nigga this shit violent
This is death of Auto-Tune, moment of silence
That same year, the band Death Cab for Cutie showed up at the Grammys wearing blue ribbons to raise awareness, they told MTV, about “rampant Auto-Tune abuse.”
The protests came too late, though. The lid to Pandora’s box had been lifted. Music producers everywhere were installing the software.
Everybody uses it
Everybody uses it
“I’ll be in a studio and hear a singer down the hall and she’s clearly out of tune, and she’ll do one take,” says Drew Waters of Capitol Records. That’s all she needs. Because they can fix it later, in Auto-Tune.
There is much speculation online about who does — or doesn’t — use Auto-Tune. Taylor Swift is a key target, as her terribly off-key duet with Stevie Nicks at the 2010 Grammys suggests she’s tone deaf. (Label reps said at the time something was wrong with her earpiece.) But such speculation is naïve, say the producers I talked to. “Everybody uses it,” says Filip Nikolic, singer in the LA-based band, Poolside, and a freelance music producer and studio engineer. “It saves a ton of time.”
On one end of the spectrum are people who dial up Auto-Tune to the max, a la Cher / T-Pain. On the other end are people who use it occasionally and sparingly. You can use Auto-Tune not only to pitch correct vocals, but other instruments too, and light users will tweak a note here and there if a guitar is, say, rubbing up against a vocal in a weird way.
“I’ll massage a note every once in a while, and often I won’t even tell the artist,” says Eric Drew Feldman, a San Francisco-based musician and producer who’s worked with The Polyphonic Spree and Frank Black.
But between those two extremes, you have the synthetic middle, where Auto-Tune is used to correct nearly every note, as one integral brick in a thick wall of digitally processed sound. From Justin Bieber to One Direction, from The Weeknd to Chris Brown, most pop music produced today has a slick, synth-y tone that’s partly a result of pitch correction.
However, good luck getting anybody to cop to it. Big producers like Max Martin and Dr. Luke, responsible for mega hits from artists like Ke$ha, Pink, and Kelly Clarkson, either turned me down or didn’t respond to interview requests. And you can’t really blame them.
“Do you want to talk about that effect you probably use that people equate with your client being talentless?”
Um, no thanks.
In 2009, an online petition went around protesting the overuse of Auto-Tune on the show Glee. Those producers turned down an interview, too.
The artists and producers who would talk were conflicted. One indie band, The Stepkids, had long eschewed Auto-Tune and most other modern recording technologies to make what they call “experimental soul music.” But the band recently did an about face, and Auto-Tuned their vocal harmonies on their forthcoming single, “Fading Star.”
Were they using Auto-Tune ironically or seriously? Co-frontman Jeff Gitelman said,
“Both.”
“For a long time we fought it, and we still are to a certain degree,” said Gitelman. “But attention spans are a certain way, and that’s how it is…we just wanted it to have a clean, modern sound.”
Hanging above the toilet in San Francisco’s Different Fur recording studios — where artists like the Alabama Shakes and Bobby Brown have recorded — is a clipping from Tape Op magazine that reads: “Don’t admit to Auto-Tune use or editing of drums, unless asked directly. Then admit to half as much as you really did.”
Different Fur’s producer / engineer / owner, Patrick Brown, who hung the clipping there, has recorded acts like the Morning Benders, and says many indie rock bands “come in, and first thing they say is, ‘We don’t tune anything,’” he says.
Brown is up for ditching Auto-Tune if the client really wants to, but he says most of the time, they don’t really want to. “Let’s face it, most bands are not genius.” He’ll feel them out by saying, with a wink-wink-nod-nod: “Man, that note’s really out of tune, but that was a great take.” And a lot of times they’ll tell him, go ahead, Auto-Tune it.
Marc Griffin is in the RCA-signed band 2AM Club, which has both an emcee and a singer (Griffin’s the singer.) He first got Auto-Tuned in 2008, when he recorded a demo with producer Jerry Harrison, the former keyboardist and guitarist for the Talking Heads.
“I sang the lead, then we were in the control room with the engineer, and he put ‘tune on it. Just a little. And I had perfect pitch vocals. It sounded amazing. Then we started stacking vocals on top of it, and that sounded amazing,” says Griffin.
Now, Griffin sometimes records with Auto-Tune on in real time, rather than having it applied to his vocals in post-production, a trend producers say is not unusual. This means that the artist hears the tuned version of his or her voice coming out of the monitors while singing.
“Every time you sing a note that’s not perfect, you can hear the frequencies battle with each other,” Griffin says, which sounds kind of awful, but he insists it “helps you hear what it will really sound like.”
Singer / songwriter Neko Case kvetched about these developments in an interview with online music magazine, Pitchfork. “I'm not a perfect note hitter either but I'm not going to cover it up with auto tune. Everybody uses it, too. I once asked a studio guy in Toronto, ‘How many people don't use Auto-Tune?’ and he said, ‘You and Nelly Furtado are the only two people who've never used it in here.’ Even though I'm not into Nelly Furtado, it kind of made me respect her. It's cool that she has some integrity.”
That was 2006. This past September, Nelly Furtado released the album, The Spirit Indestructible. Its lead single is doused in massive levels of Auto-Tune.
Dr. EvilDr. Evil
Somebody once wrote on an online message board that the guy who created Auto-Tune must “hate music.” That could not be further from the truth. Its creator, Dr. Andy Hildebrand, AKA Dr. Andy, is a classically trained flautist who spent most of his youth playing professionally, in orchestras. Despite the fact that the 66-year old only recently lopped off a long, gray ponytail, he’s no hippie. He never listened to rock music of his generation.
“I was too busy practicing,” he says. “It warped me.”
The only post-Debussy artist he’s ever gotten into is Patsy Cline.
Hildebrand’s company — Antares — nestled in an anonymous looking office park in the mountains between Silicon Valley and the Pacific Coast, has only ten employees. Hildebrand invents all the products (Antares recently came out with Auto-Tune for Guitar). His wife is the CFO.
Hildebrand started his career as a geophysicist, programming digital signal processing software which helped oil companies find drilling spots. After going back to school for music composition at age 40, he discovered he could use those same algorithms for the seamless looping of digital music samples, and later for pitch correction. Auto-Tune, and Antares, were born.
Watch Diamond Factory, Anthrax Investigation, Auto-Tune, Luis... on PBS. See more from NOVA scienceNOW.
Auto-Tune isn’t the only pitch correction software, of course. Its closest competitor, Melodyne, is reputed to be more “natural” sounding. But Auto-Tune is, in the words of one producer, “the go-to if you just want to set-it-and-forget-it.”
In interviews, Hildebrand handles the question of “is Auto-Tune evil?” with characteristic dry wit. His stock answer is, “My wife wears makeup, does that make her evil?” But on the day I asked him, he answered, “I just make the car. I don’t drive it down the wrong side of the road.”
“I just make the car. I don’t drive it down the wrong side of the road.”
The T-Pains and Chers of the world are the crazy drivers, in Hildebrand’s analogy. The artists that tune with subtlety are like his wife, tasteful people looking to put their best foot forward.
Another way you could answer the question: recorded music is, by definition, artificial. The band is not singing live in your living room. Microphones project sound. Mixing, overdubbing, and multi-tracking allow instruments and voices to be recorded, edited, and manipulated separately. There are multitudes of effects, like compression, which brings down loud sounds and amplifies quiet ones, so you can hear an artist taking a breath in between words. Reverb and delay create echo effects, which can make vocals sound fuller and rounder.
When recording went from tape to digital, there were even more opportunities for effects and manipulation, and Auto-Tune is just one of many of the new tools available. Nonetheless, there are some who feel it’s a different thing. At best, unnecessary. At worst, pernicious.
“The thing is, reverb and delay always existed in the real world, by placing the artist in unique environments, so [those effects are] just mimicking reality,” says Larry Crane, the editor of music recording magazine, Tape Op, and a producer who’s recorded Elliott Smith and The Decemberists. If you sang in a cave, or some other really echo-y chamber, you’d sound like early Elvis, too. “There is nothing in the natural world that Auto-Tune is mimicking, therefore any use of it should be carefully considered.”
“I’d rather just turn the reverb up on the Fender Twin in the troubling place,” says Arizona indie rock pioneer Howe Gelb, of the band Giant Sand. He describes Auto-Tune and other correction plug-ins as “foul” in a way he can’t quite put his finger on. ”There’s something embedded in the track that tends to push my ear away.”
Lee Alexander, one time boyfriend of Norah Jones and bass player and producer for her country side project, The Little Willies, used no Auto-Tune on their two records, and says he doesn’t even own the program.
“Stuff is out of tune everywhere…that to me is the beauty of music,” he wrote in an email.
In 2000, Matt Kadane of the band The New Year, and his brother, Bubba covered Cher’s “Believe”, complete with Auto-Tune. They did it in their former Texas Slo-Core band, Bedhead. Kadane told me hated the original “Believe,” and had to be talked into covering it, but had surprisingly found that putting Auto-Tune on his vocals “added emotional weight.” He hasn’t, however, used Auto-Tune since.
“It’s one thing to make a statement with hollow, disaffected vocals, but it’s another if this is the way we’re communicating with each other,” he says.
For some people, I said, it seems that Auto-Tune is a lot like dudes and fake boobs. Some dudes see fake boobs, they know they’re fake, but they get an erection anyway. They can’t help themselves. Kadane agreed that it “can serve that function.”
“But at some point you’d say ‘that’s fucked up that I have an erection from fake boobs!’” he says. “And in the midst of experiencing that, I think ideally you have a moment that reminds you that authenticity is still possible. And thank God not everything in the world is Auto-Tuned.”
The Beatles actually suckThe Beatles actually suck
Does your brain get rewired to expect perfect pitch?
The concept of pitch needing to be “correct” is a somewhat recent construct. Cue up the Rolling Stones’ Exile on Main St., and listen to what Mick Jagger does on “Sweet Virginia.” There are a lot of flat and sharp notes, because, well, that’s characteristic of blues singing, which is at the roots of rock and roll.
“When a (blues) singer is ‘flat’ it’s not because he’s doing it because he doesn’t know any better. It’s for inflection!” says Victor Coelho, Professor of Music at Boston University.
Blues singers have traditionally played with pitch to express feelings like longing or yearning, to punch up a nastier lyric, or make it feel dirty, he says. “The music is not just about hitting the pitch.”
Of course that style of vocal wouldn’t fly in Auto-Tune. It would get corrected. Neil Young, Bob Dylan, many of the classic artists whose voices are less than pitch perfect – they probably would be pitch corrected if they started out today.
John Parish, the UK-based producer who’s worked with PJ Harvey and Sparklehorse, says that though he uses Auto-Tune on rare occasions, he is no fan. Many of the singers he works with, Harvey in particular, have eccentric vocal styles -- he describes them as “character singers.” Using pitch correction software on them would be like trying to get Jackson Pollock to stay inside the lines.
“I can listen to something that can be really quite out of tune, and enjoy it,” says Parish. But is he a dying breed?
“That’s the kind of music that takes five listens to get really into,” says Nikolic, of Poolside. “That’s not really an option if you want to make it in pop music today. You find a really catchy hook and a production that is in no way challenging, and you just gear it up!”
If you’re of the generation raised on technology-enabled perfect pitch, does your brain get rewired to expect it? So-called “supertasters” are people who are genetically more sensitive to bitter flavors than the rest of us, and therefore can’t appreciate delicious bitter things like IPAs and arugula. Is the Auto-Tune generation likewise more sensitive to off key-ness, and thus less able to appreciate it? Some troubling signs point to ‘yes.’
“I was listening to some young people in a studio a few years ago, and they were like, ‘I don’t think The Beatles were so good,’” says producer Eric Drew Feldman. They were discussing the song “Paperback Writer.” “They’re going, ‘They were so sloppy! The harmonies are so flat!”
Just make me sound goodJust make me sound good
John Lennon famously hated his singing voice. He thought it sounded too thin, and was constantly futzing with vocal effects, like the overdriven sound on “I Am the Walrus.” I can relate. I love to sing, and in my head, I hear a soulful, husky, alto. What comes out, however, is a cross between a child in the musical Annie, and Gretchen Wilson: nasal, reedy, about as soulful as a mosquito. I’m in a band and I write all the songs, but I’m not the singer: I wouldn’t subject people to that.
Producer and Editor Larry Crane says he thinks lots of artists are basically insecure about their voices, and use Auto-Tune as a kind of protective shield.
“I’ve had people come in and say I want Auto-Tune, and I say, ‘Let’s spend some time, let’s do five vocal takes and compile the best take. Let’s put down a piano guide track. There’s a million ways to coach a vocal. Let’s try those things first,’” he says.
Recently, I went over to a couple-friend’s house with my husband, to play with Auto-Tune. The husband of the couple, Mike, had the software on his home computer – he dabbles in music production – and the idea was that we’d record a song together, then Auto-Tune it.
We looked for something with four-part harmony, so we could all sing, and for a song where the backing instrumental was available online. We settled on Boyz II Men’s “End of the Road.” One by one we went into the bedroom to record our parts, with a mix of shame and titillation not unlike taking turns with a prostitute.
When we were finished, Mike played back the finished piece, without Auto-Tune. It was nerve wracking to listen to, I felt like my entire body was cringing. Although I hit the notes OK, there was something tentative and childlike about my delivery. Thank God these are my good friends, I thought. Of course they were probably all thinking the same thing about their performances, too, but in my mind, my voice was the most annoying of all, so wheedling and prissy sounding.
Then Mike Auto-Tuned two versions of our Boys II Men song: one with Cher / T-Pain style glitchy Auto-Tune, the other with “natural” sounding Auto-Tune. The exaggerated one was hilariously awesome – it sounded just like a generic R&B song.
But the second one shocked me. It sounded like us, for sure. But an idealized version of us. My husband’s gritty vocal attack was still there, but he was singing on key. And something about fine-tuning my vocals had made them sound more confident, like smoothing out a tremble in one’s speech.
The Auto-Tune or not Auto-Tune debate always seems to turn into a moralistic one, like somehow you have more integrity if you don’t use it, or only use it occasionally. But seeing how really innocuous-yet-lovely it could be, made me rethink. If I were a professional musician, would I reject the opportunity to sound, what I consider to be, “my best,” out of principle?
The answer to that is probably no. But then it gets you wondering. How many insecure artists with “annoying” voices will retune themselves before you ever have a chance to fall in love?
Video stills from:
TiK ToK by Ke$ha
Animal by Ke$ha
Believe by Cher
In The Air Tonight by Phil Collins
Buy U A Drink by T-Pain
Hung Up in Glee
Big Hoops by Nelly Furtado
Piano Fire by Sparklehorse and P.J. Harvey
Imagine by John Lennon
If i were a professional musician, would I reject the opportunity to sound 'my best,' out of principal?
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Today we bring you a rundown on the very best Autotune Plugins (VSTs) available right now in 2020 for your DAW or Beat Maker. We will review their cost, which ones are free Autotune VST plugins, their pros and cons, pricing and our recommendations for purchase.
Before we get started, let’s clarify what Autotune is and how this is different to a Vocoder.
What is Autotune (aka Audio Tuning or Auto Tuning)? The Autotune definition is an Autotune program that corrects any pitch issues either in post-production or in real-time whether you’re in the recording studio or performing live.
This auto tune effect is widely used by many studio personnel and usually comes standard as part of the production workflow in modern pop music no matter the vocalists’ natural abilities.
So how does autotune work? Well, in simple terms it takes any audio file and measures it’s pitch perfect and key through a software audio processor device and measures it against a specific key and pitch, altering it (correction) so that the pitch of a vocal or auto tune voice is matched to an instrumental music recording or performance.
How to use Autotune? Whether you’re using it to subtly fit slightly off-tune vocals into place or using it to achieve the obvious autotune software effect used in many popular records and trap songs heard on the radio today, you’ll be sure to learn a lot in our rundown of the best pitch correcting plug-ins on the market.
How is an Autotune device different from a vocoder?
Vocoders and the vocoder effect, on the other hand, are techniques used primarily in electronic popular music and Hip Hop, to give the voice sound a synthetic fine tuning sound by setting an instrument such as a synthesizer as the input to a filter bank and this being blended with the vocal recording.
There are many plug-ins on the market that can achieve this effect and many daws come with stock plug-ins that have a vocoder preset available such as Logic’s classic EVOC 20 synth.
1. ANTARES AUTOTUNE PRO by Antares Audio Technologies
Pricing – $399 | Standalone Plug-in
Considered by many to be the best auto tune and pitch correction software, Antares has been at the top of the game for decades. Their software is used as the standard go-to when it comes to the big leagues in many of the top recording studios worldwide due to its ease of use and trusted reputation, Afterall, Antares do own the trademark “Autotune”.
It all started with them back in the mid-’90s after it was launched by Andy Hildebrand, a PhD specialist in digital signal processing and it became an instant hit. It quickly grew to fame & notability after it was used on Cher’s 1998 classic “Believe”. And has since been the go-to plug-in for many music producers & recording artists.
PROS
– User-friendly interface
One of the best features of the auto tune program is its ease of use and how simple it is to figure out while achieving a super high level of accuracy and a natural tone. It’s aesthetically pleasing to the eye but beneath the surface, it’s a machine.
– Autokey included for faster workflow
Trying to figure out the key of a song can be a time-consuming challenge for the many artists who haven’t yet developed knowledge of music theory or those who lack the skill to tell by ear.
With this challenge is eradicated as the software comes with Antares Autokey which automatically detects the key of the song with high accuracy and sends it to the processor for a streamlined workflow.
– Has the option to switch to classic mode
Some of us just like to stick with what we know when it comes to the way something functions, it makes things easier as its muscle memory.
The OG users can switch to the classic auto mode they’re used to all while reaping the benefits and high-quality processing Pro has to offer.
CONS
– Expensive
As with anything, quality comes at a price. At almost double the price of Logic Pro X, $399 is steep for a standalone plugin, but you can rest assured it will get the job done with no hiccups.
2.WAVES TUNE REAL-TIME
Pricing – $69.99 | Standalone Plug-in & Bundle
Although not quite as notable as Antares Autotune, Waves Tune Real-Time is still one of the classics and is used primarily for live vocal performances due to its accuracy, precision, and ultra-low latency.
It boasts the ability to achieve studio-quality, pitched vocals in a live setting without the need for manual post-editing and is the go-to for many singers on tour.
PROS
– Super-low latency ideal for live use
Great for live performances on tour, this plug-in has super-low latency and can deliver an outstanding result. You can also set your own presets for different songs, or for different parts in the same song.
Hey, you can even fall offstage in like Travis Scott if that’s your thing, although, please don’t actually do this, a far too extreme auto tune EFX.
– High-quality audio processing for natural sound
Set your retune speed to 0.1 milliseconds or have it slow, however harsh you want your effect you can be sure to always have pristine human-like sound with no artificial artefacts getting in the way of the performance.
CONS
– Requires low latency computer system for live settings
Although the plug-in itself causes little to no latency issues, it does require a low latency set up to achieve its full potential. If you or your labels budget allows, It’s worth having a separate MacBook for live audio & production purposes only.
– The interface can be hard to learn
You’ll want to make sure you’re aware of how the plug-in operates and what the parameters actually do to be able to get the most out of the software, it’s not as simple as just pressing one button and it doing the job for you, but this can also be a good thing as it allows further manipulation of sound.
3. CELEMONY MELODYNE
Pricing – €99 – €699 | Standalone plug-in
This plug-in is used by many studio engineers and producers due to its advanced capabilities such as being able to create superb background vocals from a single vocal take, along with its melody building & time stretching functionalities.
It’s highly advanced direct note access feature also allows for singular manipulation of individual notes within chords and polyphonic recordings.
PROS
– Multiple Algorithms
Choose from a selection of advanced algorithms designed for different instruments and types of audio including percussive, melodic or polyphonic to fit your recording and enable the best possible editing experience for whatever you’re working with.
– Ability to adjust timbre and shape sound
Use the “formant” tool and sound editor to colour the tone and adjust the characteristics of your recording while maintaining an authentic sound.
CONS
– Most of the best features only available in full version
If you’re paying the lowest price for the basic version, you’re gonna get the most basic version. There are no free rides with Melodyne and if you want the best features and updates you’re going to need to splash out. Is it worth the investment? We certainly think so.
4. REAPER REATUNE
Pricing – $60 | DAW
Not a standalone plugin, but a great feature for those on a budget looking to increase the quality of a take and achieve a more professional sound. Whilst it isn’t a free autotune plugin, it’s the cheapest one available.
If you’re new to this software it may be worth reading our beginners’ guide to Reaper for an easy to understand but a detailed rundown of what this daw has to offer.
Reaper Reatune can be used to create harmonies as well as fix out of tune vocals. This is a great alternative to Antares Harmony Engine for those on a budget who want big-sounding harmonies and choruses without needing to spend $100 and upwards for a stand-alone plug-in to do the job.
PROS
– Low CPU load
Another CPU friendly option for those with busy sessions and a lot of heavy processing. This is great for the low price Reaper comes at, not to mention all the other amazing features the daw has to offer.
– Good for users on a budget
What you’re getting for the price is impressive, not to mention you get to trial the full version of reaper for 60 days to see if it’s a good fit for your needs and how you work.
CONS
– More noticeable tonality
The biggest downside to Reaper’s Reatune feature is the audibly noticeable artefacts that start to pop up when pitch correction is applied. This is okay for beginners diving into audio production who just want to get good at what they’re doing on a mechanical level but not so great for audio engineers looking to achieve pristine, natural-sounding vocal effects or instruments.
– Lacks more advanced features
Again, you get what you pay for. Sure you can do what it says on the tin and knock off-tune vocals where they’re meant to be but you can’t go all out with gain, tonality, vibrato and pitch drift edits the same as you can with some of the more high-end plug-ins.
5. LOGIC PRO FLEX PITCH
Pricing – $199.99 | DAW
One of Logic Pro’s most popular features is its flex tune mode, capable of advanced audio manipulation. It has many different algorithms for different types of audio signals and instruments.
For vocals, this is flex pitch. Visual representations of notes can be moved into place, cut, glued and time-stretched. There’s also the option to smooth or increase vibrato in the voice or change the drift from each word in or out of one another as well as the gain.
For a tool this advanced that comes with logic, it’s well worth the price for the entire daw.
The only downside is it’s processing abilities and tonality. It’s great for changing a few problem areas in a take but once you start moving things around too much you start to notice the decrease in audio quality. If you require a plug-in or tool that has better processing abilities it may be better to go with a standalone option.
PROS
– Great for the price
As opposed to Reatune, what Flex Pitch has to offer is actually far greater in terms of how far you can go with sonic manipulation. You can also use Logic’s Flex tool to time-stretch using separate algorithms for different types of audio, similar to what Melodyne offers but on a more basic level.
CONS
– Noticeable audio artefacts
Flex Pitch has been prone to bugs and glitches in the audio, especially in earlier versions of the software that have since been mostly smoothed out. Logic has since come a long way but if you do too much editing or lower the vibrato any lower than 60% the audio still starts to develop a robotic tone (robot voice).
The algorithm is less advanced and can mistake breaths for words or splits single words into two causing a pop sound.
If you want to make the most of Flex Pitch correction plugin, make sure to have a dry and clear of a recording to work with from the offset as possible, although this should go for all recording in general.
CONCLUSION
Ultimately, whatever option you choose to go with really comes down to your budget, what your set up looks like and your requirements.
With this being said, Waves Tune Real-Time really does give you the best value for money and is a good option for both those starting out in music as well as experienced studio professionals and experienced artists.
Lady Gaga Uses An Auto Tune Youtube
Some notable artists that have had big hits through the use of the VST are Kanye West, Lil Wayne, Black Eyed Peas, Lady Gaga and Cher’s 1998 hit “Beleive”.
Lady Gaga Uses An Auto Tune Video
We hope you enjoyed reading this post and that it has given you some indication as to what plug-in or DAW to go with for getting you or your artist’s vocals to sound their best.
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