How To Auto Tune Rap Vocals
Apr 20, 2018 I want to use it with moderate levels for the church band. At the end of verses and chorus sections to keep the vocals pitch improved a bit. I am thinking of routing their vocal from the mixer to Cubase and have Auto tune on an insert. I don't need to use all the bells and whistles, just the pitch correction. Autotune Acapellas Vocals Sounds & Samples The acapellas, vocal samples and rapping listed here may be used in your projects but the original artist who uploaded them retain certain rights. Please check the detail of each acapella, vocal sample. Auto-Tune Pro 2020 full offline installer setup for PC 32bit/64bit Auto-Tune Pro is the most complete and advanced edition of Auto Tune for Windows PC. It includes both Auto Mode, for real-time pitch correction and effects, and Graph Mode, for detailed pitch and time editing.
In our How to Mix Music guide we talked about why mixing dynamic sounds is a tough egg to crack. Vocals are super dynamic so they’re trickier to mix.
How To Mix Rap Vocals
But you don’t have to pull your hair out every time you hit the mixing board to get the perfect vocal.
There’s a dizzying amount of audio effects plugins out there. That’s why we did the digging so you don’t have to.
Here’s 9 plugins that will help you get your vocals and beats fitting together like peas and carrots.
1. Vladg and Tokyo Dawn Proximity
Ever recorded an entire vocal only to realize you had the mic in the wrong spot? No sweat.
The Vladg and Tokyo Dawn Proximity lets you change the mic placement AFTER you record. Pretty useful and pretty cool.
2. Acon Digital Multiply Chorus
Vocals need some color. That’s where a chorus plugin comes in.
Acon Digital’s Multiply Chorus will thicken up your sound. It’s a whole bunch of tiny delays (we’re talking milliseconds) that fill out your vocals to liven them up a bit.
3. Melda MAutoPitch Auto-Tune
Auto-tune’s origins are pretty strange. But there’s no denying that it’s an invaluable tool for producers dealing with vocals.
How To Record Rap Vocals
Auto-tune is the vocal mixer’s secret weapon. MAutoPitch is one of the best auto-tune plugins around. It fixes pitch, corrects sour notes, and even gives you that iconic T-pain/Cher effect if you want it.
Antares autotune 5 vst plugin free download. This one comes in a free plugin bundle with all sorts of fun mixing toys.
4. Voxengo OldSkoolVerb
Vocal Auto Tune For Pc
Reverb for vocals is essential. Reverb takes your vocals out of the room you recorded them in, and allows you to make your own sound space.
OldSkoolVerb has got you covered no matter what your needs are. From huge halls to a tiny closet, it gives you all the options to create the perfect sonic space in your mix.
5. Klanghelm DC1A
The DC1A is a nifty little character compressor by Klanghelm. It uses sophisticated compression settings and an easy 2 knob setup that has you covered “from smooth levelling to heavy pumping.”
Be sure to check out their absolutely EPIC demo video.
6. Alex Hilton A1 Trigger Gate
If you’re wondering how far you can push your vocal track this plugin will do a great job letting you know.
Using a step-style sequencer the A1 Trigger Gate packs in a boat load of cool effects. It’s good for all sorts of stuff. So grab it and start experimenting.
7. Glitch Machines Hysteresis
Just like any other part of a mix, vocals are a great place to experiment. The effects on Hysteresis definitely deliver a whole bundle of experimentation.
This delay plugin creates “robotic artifacts and abstract music malfunctions.” Count me in.
8. Acustica Ochre EQ
All good mixing needs a keen sense of EQ early on. Vocals are no exception.
That’s why the Ochre from Acustica is so useful. It’s perfect for sculpting out the best vocals you can.
9. Fine Cut Bodies La Petite Excite
Exciter plugins add subtle harmonics to your vocal track for some extra sonic-excitement in the high range.
The free La Petite Excite from Fine Cut Bodies (you just have to signup to get it) is a great plug to try out.
Throw it on your vocal and enhance it to your liking with some subtle harmonic distortion.
Go make that perfect vocal
Vocals are tricky to mix. But with these handy plugin tools it doesn’t have to be so tough. Grab ’em all, hit the studio and get cracking on that perfect vocal track.
And don’t forget to let us know your favourite plugins for mixing and mastering vocals. We wanna know all your tips and tricks too. :)
Get all of the LANDR-approved free VST plugin collection:
This article is going to be about Auto-Tune. Go grab your pitchforks … I’ll wait.
For many of you, this is going to be a great article about the creative and practical uses of Auto-Tune in modern music. For another significant portion of you, this will be a great opportunity to make not-so-clever jokes like “the best technique with Auto-Tune is hiring a better singer!”
Love it or hate it, Auto-Tune is a thing. And there are things about this thing worth knowing. So here are a few modern techniques for Auto-Tune.
The Two Categories of Use
In my mind Auto-Tune (or pitch correction in general) is used in one of two modes:
Mode A: A tool for locking in a few stray notes that missed the mark in spite of an otherwise rockin’ performance.
Mode B: An effect used to create a tone, much like a phaser or flanger or reverb or distortion.
Mode A is pretty straightforward — if a dirty note slides on by, hit it with just enough tuning to lock it back in. Generally, using a graphical mode from Auto-Tune, Waves Tune, Melodyne, etc. is the best way to do this. Or simply using an automatic mode and automating the Bypass works as well, unless some serious shifting is required.
Mode B is more fun. Within the world of being effect-y, there are a couple of ways to go. Auto-Tune can be used as a post effect — that is applying it after the initial recording, or the vocalist can sing into the plugin and manipulate it. I’m a fan of the latter. A very good vocalist can control their pitch and delivery enough to play off of how the tuning mechanism reacts and get a number of fun effects from it. Controlled slides and ‘distunes’ (I’m making that a word) can make the happy accident of tuning distortion into a creative tool.
Auto Tone
In today’s music, I often think of Auto-Tune as a tonal device (hence my horrible pun). Most of the time I’m trying to get a bit (or a lot) of sparkly, phase-y distortion. This creation of synthesized harmonics makes a voice sound a bit synth-y, or robotic depending on the approach. For the most part, people just tend to slap Auto-Tune on there and find a retune speed they like and roll with it. I’m a bit more neurotic and like a more refined approach. I’m pretty decisive about whether I’m abusing Melodyne, modern Auto-Tune or the classic ol’ school Auto-Tune. They all have different tones and sometimes one is more fitting than the others.
Melodyne generally has the most transparent tone. It can thin the low-mid of a vocal a little, but sometimes that can actually be a good thing. When abused, it has a specific color but it’s a very evenly distributed harmonic thing that happens — hard to put into words but it feels very “consistent”.
The current version of Auto-Tune is also pretty transparent but does do the quintessential Auto-Tune sound. The classic Auto-Tune, version 5.1 most notably, is really the one that we think of when we think T-Pain — because the formant shifting is the least accurate.
Then there’s the question of how much abuse I want. Just a touch of glitter, or full-on Robotron.
If I want just a touch, one really easy technique is to use two instances of Auto-Tune, both set to very slow retune speeds. The reprocessing of the tuned vocal generates harmonics on top of harmonics allowing for a subtle yet ever-present flavor. Because I’m using slow tuning speeds it also means that the tuning effect is fairly homogenous.
Melodyne Into Auto-Tune
However, sometimes I want a much more printed effect that still stays on the vocal in a consistent way. I find that by coupling Melodyne with Auto-Tune I can get a very even, yet very effected sound.
A great example of this is the vocal tracking for “Comentale” by Ozuna and Akon.
The chain for both vocals was Melodyne first in graphical mode just getting the notes a bit closer to center, and then Auto-Tune with a pretty fast retune speed to create the effected tone. The only place the Auto-Tune really ever varies tonally is when Akon does his faster note runs. When he does this I prefer to let the Auto-Tune glitch up a little because I like the texture it creates. Kon is very smart about where he places these glitches in his delivery — which I’m going to touch on again in a moment. As a side note, both Ozuna and Akon sang into Auto-Tune Pro during the recording in order to make the sound very deliberate — with Ozuna set to the regular mode and Akon set to the “classic” mode. The whole process is a lot more calculated than simply slapping Auto-Tune on there.
That said, sometimes you can just slap Auto-Tune on there.
Automating Auto-Tune
Sometimes I don’t want Auto-Tune to act evenly on everything. As I mentioned before, Akon is very particular about how he blends his voice with Auto-Tune. He will go out of his way to glitch it on purpose in order to create captivating moments. When he does this I take that as a cue to automate the settings on Auto-Tune to emphasize the effect.
Basically, I’m just picking up what he’s putting down. A lot of people associate Kon with heavy Auto-Tune, but when I think of his style I really think of someone with a masterful delivery above all else. He shapes his vocal tone and personality very carefully. For an artist who does this, I actually don’t like the Auto-Tune to be overly heavy. My default here is “classic” Auto-Tune (that 5.1 algorithm sound) with a retune speed of 12ms (maybe less for a more serious song, maybe more for a more club-oriented song). Admittedly this is pretty fast because I do want that distinct tone. But it’s not the T-Pain 0 millisecond sound. On certain runs or moments, I’ll automate the retune speed either very fast to bring out the glitches, or slow it down to keep things a little more subtle.
Manual Formant Shifting
Formant shifting is an underutilized effect. When we speak, our vowel sounds are determined by the shape of our mouths. These harmonic signatures, determined by mouth shape, are called formants. In order to preserve the sound of a voice during pitch correction, the formants have to be adjusted accordingly.
Pitch correction software generally does this automatically — but sometimes it’s not 100% spot-on. So most pitch software will allow us to manually adjust formants when needed to compensate. Higher formants refer to brassier tones like “a”, “ah” and “e” sounds, while lower formants refer to rounder tones like “oo”, “oh”, and “uh”. Sometimes it’s fun to abuse this formant shifting to create a variety of textures. We can do this on background vocals to make them sound less like the lead and more like different voices. Or, we can do this on a lead to make it sound like a singing chipmunk or Frankenstein’s monster.
Getting Creative
What’s the fun in writing an article if we can’t be a little creative? Here’s some next level stuff that my weirdo brain likes to get into.
The first thing that tickles my fancy is the relationship between pitch correction and reverb. Bartender 1 mac. You may notice that if you’ve ever printed or committed Auto-Tune it will not null against the original track. That means that the same track printed through Auto-Tune is not technically the same thing as the track with active Auto-Tune on it.
Free Vocal Auto Tune
Ok … so what?
Well, the discrepancy between the two comes down to phase rotation. The micro-timing of the track changes, which changes the phase of the signal. Phase is an extremely important aspect of determining spatiality. Because I often use outboard reverb I found that if I print the reverb back in, and subsequently commit my Auto-Tune settings after the reverb print, the vocal will actually feel a bit more forward and disconnected from the reverb and have a stronger front to back image. Weird little quirk.
We can also do a doubler effect by making three instances of our source track and pitch correcting a left pan version up a few cents higher, and the right pan version a few cents lower, keeping the main version right in the center. This works very similarly to a classic doubler but because there’s movement in the pitch we get a bit of a phaser quality as well as an image that actually expands and contracts a bit. It’s a bit more movement-driven, which can be good or bad depending on what we want.
Lastly, I really like delays into Auto-Tune. We can get the glitchiest sound in the world and it sounds very futuristic and cool as a delay. Great for something we want to have a hint of sci-fi sound to it.
Conclusion
Auto-Tune is part of our musical landscape. Personally, I prefer to look for ways to expand the use of the tool rather than try to fight the cultural wave.
How do you find yourself using Auto-Tune? Have any of your experiments gone right?
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