1. Auto Tune Live Recording Into Reason Download
2. Auto Tune Live Recording Into Reason Download
3. Auto Tune Live Recording Into Reason Youtube
4. Auto Tune Live Recording Into Reason Lyrics
5. Auto Tune For Live Performance
6. Auto Tune Live Recording Into Reason Free
7. Auto Tune Live Recording Into Reason Free

1. Aug 20, 2017  Vocal Production and Tuning singing can be done quickly with the auto tune plugin by UAD and Antares. This plug-in gets used on almost every vocal recording i make.
2. Load or record your sample. Reason is now able not only to tempo slice audio parts that you record or import, as it has been able to do for a couple of years, but also analyse monophonic vocal audio parts and make them editable in a similar way to something like Melodyne.
3. Follow the instructions below to install your version of Auto-Tune. Go to the Antares Download page and select your product. For THROAT, WARM, CHOIR, DUO, MUTATOR, ASPIRE, ARTICULATOR, PUNCH and SYBIL installers download the AVOX 4 installer.
4. May 22, 2018 And that’s only the beginning—with Reason 10 you can adjust the time and pitch of your track after you record using advanced editing features like Pitch Edit and Time Stretch. You can even mix and master your vocal recordings in Reason 10 with acclaimed signal processors modeled after classic British consoles.

• DAWs >Reason

1. Most guitar input sources are mono, but if you’re coming in via a processor like Eleven Rack you might need to switch to stereo.

Chapter 4: Auto-Tune Live Tutorials This chapter introduces you to details of how Auto-Tune Live works by guid - ing you through several tutorials. The tutorials will give you insight into how and when to use each of Auto-Tune Live’s key functions. Chapter 5: The Auto-Tune Vocal E!ect What it is. How to do it. Chapter 6: The Auto-Tune Live Scales.

We show you how to record guitar and bass in Reason.

Reason may have started out as a synth playground, but these days it’s also a perfect DAW for the singer-songwriter or guitarist. This month we’ll explore Reason’s guitar-specific tools and devices, and look at the best approaches for recording guitar and bass.

Plugging In

There are several scenarios for hooking up your guitar to Reason, which may depend on your preference or your particular audio interface. You could go the traditional route of miking your amp. Alternatively, your audio interface might have a direct instrument input, allowing you to record clean or through Reason’s built-in guitar effects. A further possibility is a hardware guitar rig that has a line out or even USB connection. For example, I use an Avid Eleven Rack as both a stand-alone guitar rack and as my main USB audio interface, giving me the option to record either the direct guitar input or processed signal into Reason.

2. Reason has a tuner built into every audio track.The route you take will determine your monitoring options, but before we get too deep into that let’s make the basic connections. First you need an Audio Track, from which you can choose your input (Screen 1). Obviously if it’s from a mic or a direct input you should leave as mono, but if it’s coming from a processor unit it may well be stereo. Once you’re getting a signal you can take advantage of the simple built-in tuner which is activated with the tuning fork icon button to the left of the input selector (Screen 2). The tuner detects and displays the nearest note, and shows you which direction to wind to get to it. You’re in tune when the central green square lights up. The tuner follows Reason’s global pitch reference that’s set in the Preferences.

3. The large floating meter and tuner window is ideal if you’re rocking out across the room.For a better view, and to see the tuner and input meters at the same time, show the Recording Meter view from the Window menu (Screen 3). This is a large floating window that’s great if you’re away from the computer. The input meter has a nominal reference level of -12dB, above which the metering is yellow. You shouldn’t worry too much about recording this hot though if you’re working at 24-bits (which you should be). If you’re recording a direct instrument input it’s unlikely to get close to this level. At the top of the window you’ll see the name of the track, with arrows to each side that allow you to move between multiple record-armed tracks.

Rack & Roll

If you’re recording from a direct instrument input, you’re going to want to find something more inspiring than your raw pick-up tone before getting down to any recording. Reason provides two guitar-focused rack effects as standard: Softube Amp and Softube Bass Amp (Screen 4). Both of the these emulate a handful of amps and speaker cabinets.

4. Reason’s built-in guitar and bass amp units are built by the excellent Softube. Dev random linux in c 8.

The devices are very straightforward to use, with two sets of buttons for choosing your amp and cab types. The tones have generic names like Twang, Crunch or Rock, but if you check the descriptions in the manual you get the obligatory, not-so-subtle hints at which real-world models serve as inspiration. (Twang, for example, is a “silvery American classic”). Softube Amp has the basic tone controls familiar to any guitarist, with a boost switch and two gain stages that will get you to some decent drive levels. Bass Amp is very simple, with a Drive control and three tone knobs. The Bass and Treble controls can be boosted with the Ultra Lo and Ultra Hi buttons, and the Mid has a switchable frequency setting to help you sweeten the character of your bass.

The best way to use the Softube Amps is as insert effects on your guitar track, so simply drag them onto the track in the Sequencer or onto the track’s Rack device. This means you’ll hear the sound through the effect while playing and recording, but Reason will actually record your clean guitar signal, allowing you to make changes to the tone later. Obviously Reason has a wealth of other effects devices to experiment with on your guitar tracks. The original set of half-width effects that have been in Reason forever are much like a set of guitar effect pedals. I also like The Echo for warm choruses and delays.

I don’t tend to find the distortion effects that come with Reason particularly great on guitars, and there’s not a huge amount to choose from in the Rack Extension market. However, I do highly recommend the dedicated guitar and bass REs from Indonesian developer Kuassa. Their Vermillion Guitar Amp plug-in covers many classic electric guitar sounds, and they offer the Creme Guitar Amp (in Screen 5) for your high-gain metal needs.

5. Once you’ve perfected your guitar tone, be sure to save it as an FX Chain.When you find an effects chain that you like you’ll probably want to save it to use again. To do this, select the Audio Track in the rack or mixer, then choose File / Export / Insert FX Patch.. and choose a location for the resulting cmb patch file. I keep mine (which you can see in Screen 5) in a Patches folder that I’ve added to the Browser sidebar. You can now recall the whole device chain in the future by dragging the patch on to an Audio Track.

Auto Tune Live Recording Into Reason Download

Guitar Tech

That’s the fun stuff out of the way, now it’s time to talk about latency and monitoring options. If you’re using a real amp you may just want to monitor the direct sound in the room. In this case you should go into the audio tab of Reason’s Preferences and choose the External Monitoring option. This will stop Reason from passing the input of your armed guitar track through to the outputs, and will also determine how Reason handles latency compensation (which we’ll get to in a minute). In this mode, if you are in playback you will hear clips you’ve recorded on your track, but if you punch into record Reason will mute the track so you only hear what you’re playing.

The same situation applies if you’re monitoring your guitar directly through an external mixer or other hardware. In either case, Reason does some clever manoeuvring behind the scenes to account for latency, that is, the time it takes for your computer and sound hardware to get sound to your speakers/headphones, and the time it takes to convert and capture your audio input. All you have to do is play along in time to Reason when you’re recording, and it will figure out what delays are present and shift the recorded audio to compensate.

It’s a different scenario if you’re listening to yourself live through Reason, both in terms of monitoring modes and delay compensation. When you’re monitoring through Reason your Audio Track needs to switch between input monitoring and playback monitoring at different times. Typically you’d use the Automatic monitoring mode from the Preferences. In this mode you’ll hear audio clips on your track during playback, but will hear your live input during recording. As you punch in and out the source switches automatically. In this mode, Reason does not compensate for latency in your audio system. This is because when you’re monitoring through Reason you are hearing yourself delayed as you play, and the theory is that you’ll unconsciously compensate for this yourself by playing slightly ahead. I’m not 100-percent convinced about that, so the best thing all round is to try to get your latency as low as possible. I try to keep my buffer at 64 when recording as this significantly reduces the round-trip delay. You can also try working at 96kHz to squeeze it down some more.

A third monitoring option, Manual, allows you to manually toggle between input and playback monitoring by clicking the green speaker icon in the Audio Track. This can be useful when you’re monitoring externally, but also want to be able to check the input that you’re getting to Reason. Manual mode behaves exactly the same as External mode while input monitoring is switched off, but will always pass the input through when the green speaker is active.

And that’s it, you’re ready to liven up your Reason productions with some real guitars. As far as recording tricks such as overdubbing and loop recording go, and how to manage and comp multiple takes, check out Reason Tips February 2016.

• DAWs >Reason

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

Auto Tune Live Recording Into Reason Download

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.

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.

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.

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.

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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..

Auto Tune Live Recording Into Reason Lyrics

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.

Auto Tune For Live Performance

Reference Material

Auto Tune Live Recording Into Reason Free

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.

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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.