Adding Vibrato With Auto Tune Pro

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• Adding Vibrato With Auto Tune Pro Tools

Auto-Tune Pro also includes  Flex-Tune  and  Humanize  for more transparent and natural-sounding tuning, and  Low Latency  mode so you can perform in real time without distracting delay. It also features  Time Correction  for non-destructive time editing, as well as  Formant CorrectionVibrato Controls, and  Throat Length Modeling. Enhanced Graphical Mode Adjust Vibrato function: Auto-Tune 8’s new Adjust Vibrato lets you modify the depth of any natural vibrato in the original performance. And since it is additive, acting on any already existing correction object, you are free to work on pitch correction and vibrato adjustment in.

Autotune and pitch correction has a variety of uses, from fixing subtle imperfections in a vocalist’s performance to extreme effects such as the famous sound popularized by T-Pain and utilized by Daft Punk, Black Eyed Peas, Cher, and many more.
Furthermore, you can even record organic instruments and give them a natural, flowing, and gliding sound!
As a result, there are tons of possible uses to consider with an autotune VST.
However, many of the popular autotune plugins will burn hundreds of dollars out of your wallet, and with the wealth of available autotune and pitch tuning plugins, finding the right one for your specific needs can be overwhelming.
So to help you out, we’ve compiled a list of seven completely free autotune VST’s that still have incredible functionality!
To get started, let’s briefly go over what to consider when searching for these crucial plugins.

Things To Consider When Searching for a Free Autotune VST

There are a few points to go over before deciding on which autotune and pitch-correction plugins are the right ones for you.
Most importantly, what do you need these tools for?
If you produce a genre outside of EDM that might call for more organic sounds, you’ll want an autotune plugin that’s designed for smoother and more subtle pitch-correction.
This way, you’re simply making minor corrections that likely won’t be heard by your audience and will still sound natural.
Thus, to keep the organic feel of your sound, you should search for a pitch correction plugin with a transparent audio engine that won’t color your sound too much, so that it guarantees a seamless, smooth, and untouched sound for your acoustic needs.
On the other hand, if you produce hip-hop, trap, or certain electronic genres, you’ll have to consider an autotune plugin that allows you to draw in the notes you want the singer or instrument to hit.
Additionally, you might need effects that allow you to further customize the voice, such as formant control, MIDI input, and others. That way, you can jump up and down in volume and pitch as you please!
So, there are a lot of things to consider before choosing which plugin is right for you.
Now that you have a better idea of what to look out for, let’s jump right into the 7 best and completely free autotune plugins available in 2018!

1. MAuto Pitch

MeldaProduction, a renowned audio plugin company used and promoted by Deadmau5, was kind enough to create a completely free and fully functioning autotune plugin!
This plugin give you options such as depth, detune, and speed, which are standard on most pitch correctors.
Depth controls how much effect the VST has on the entire sound. Detune will push the pitch of the sound up or down by cents for sharp fine-tuning purposes.
The speed knob will control how fast MAutoPitch will respond to out-of-tune notes. If you’re looking for a smoother sound, using a low speed value will ensure that transitions between notes aren’t jumpy and fake-sounding.
Otherwise, if you want something closer to the T-Pain effect, you’ll want to turn the speed up very high so that it skips quickly from one note to the next.
What’s great about this plugin is that, like a lot of Melda’s works, there are a wealth of bonus features that come along with it!
For example, MAutoPitch includes an effects rack. With this, you can control how heavy the effects work on the sound with the dry-wet knob, spread the stereo image with the width function, and even shift the formants.
Shifting formants will make your sound deeper and more “masculine” sounding or higher and more “feminine” sounding, but you need to be careful with this. If you alter the formant way too much you might also alter its pitch.
This is achieved trying to imitate how the human vocal tract works and even the shape of the singer’s mouth while singing, through complex filters. Formant shifting will also have a huge influence on vowel sounds and certain consonants, and if you are interested in this topic, we really recommend you reading this article. This subject is too complex and outside of the scope of this article.
A visual detector displays what notes are being detected by the plugin, and a scale function enables you to select what scale of music you’re on. This way, MAutoPitch only shifts pitch to the perfect notes according to the key your track is in!
Also included is a limiter, which helps keep your sound below the 0 db threshold so it doesn’t clip.
The wealth of features available on MAutoPitch, along with the high functionality and easy interface, makes this free VST something you’ll want in your autotuning arsenal.
Download it here.

2. GSnap

Adding Vibrato With Auto Tune Procedure

One of the original free pitch correction plugins, Graham Yeadon’s GSnap, still is among the elite.
That’s partially because of its unique ability to adjust notes according to MIDI that you can feed into it!
For example, if you want to correct a vocalist’s notes, you can play their part on a piano, feed the MIDI notes from the piano into the plugin, and GSnap will use those notes as a guide to where it will correct.
Not many other plugins can do this, and it’s an incredibly powerful and advantageous tool to use!
An easy visual interface on the left of the VST shows exactly how GSnap is fixing the sounds.
The original sound is in red, and the adjusted notes are highlighted in green. This is perfect for figuring out exactly how to fine-tune the sound and to know what’s going on. Twelve fully adjustable knobs allow for precise editing of the effect.
Furthermore, this plugin enables you to add vibrato and adjust the speed of it! This is something not seen in other plugins like MAuto Pitch, for example.
Vibrato is an up-and-down pitch and volume effect that essentially makes the singer sound a lot more organic and talented, and it works across multiple genres when used correctly.
Also included in the detection section is a gate, which is a unique way of controlling how much GSnap has an effect on the sound. It can be adjusted so that GSnap only has an effect on the loud or quiet parts, if needed.
As GSnap is well-known among experienced producers for its versatility, MIDI feed options, and easy interface, it’s easy to see why this free plugin is worth a grab!
Get it here.

3. Graillon 2

Adding Vibrato With Auto Tune Pro Download

No list of autotune plugins, free or otherwise, would be complete without the recently released free version of Auburn Sounds’ Graillon 2!
From first glance, you’ll notice a beautiful vintage-looking interface with large fonts and a standout color scheme that makes it easy to navigate. An easy central waveform display shows where the current note of your sound is, as well as exactly where Graillon 2 is correcting it.
Behind the eye-catching and functional design is a well-programmed plugin that can perform both heavy autotune and fine pitch correction functions flawlessly!
For easy and quick use, simply adding it as an insert on your desired channel and turning on the correction will suffice in most cases. To adjust, use the critical “inertia” knob as a “speed” knob mentioned previously. It reduces pitch correction jumps by helping notes “stick”.
You should be careful with this function, however, as some notes may “stick” for too long, hence altering the melody altogether.
If you’re looking for a robotic sound, adjust the “smooth” knob in the correction module, which controls how slow or fast your sound will jump from one note to the other.
Yet another feature available on Graillon 2 is the “bitcrusher” area on the left side. Even more, it can make a voice “growl” as well as reinforce the bass portion of monophonic pitched sounds, a function unique to Graillon 2.
With proper adjustment of the quantize and reduction knobs, you can get sounds that are highly distorted, “bitcrushed”, or a robotic growl sound by reducing the reduction knob.
Graillon 2 can also double as a pitch-shifting plugin with a pitch wheel on the bottom left. There’s also an option to keep the formants of the track along with it, which changes the singer’s perceived vocal tract shape and the shape of the singer’s mouth while singing. If you’re looking for a smoother effect, it’s often best to change both the pitch and the formants at the same rate.
Also included are convenient knobs such as dry/wet for overall effect adjustment, a low cut filter, and an adjustable output gain meter.
As Graillon 2 is a proverbial swiss army knife in the autotune realm, capable of most features, with an included bitcrusher, growl sound capabilities, and with a beautiful interface, there aren’t many negatives to this one.
If you need flawless all-around functionality with a few bonus features thrown in, Graillon 2 is your best bet.
Get it here.

4. KeroVee

The Japan-based, g200kg company created KeroVee back in 2010, and it’s still used for deep pitch correction adjustment today.
What KeroVee lacks in extreme robotic effects, it makes up for with ultra-precise pitch adjustment capabilities that are far better than most free autotune plugins!
Similar to GSnap, there’s an easy scaled interface on the left side so you can see exactly what KeroVee is doing and respond accordingly.
Just to the right of this block, you can click which notes of the scale you want KeroVee to adjust to. Selected notes will have a green block next to them, while deselected notes will be black.
Also similar to GSnap, you can route MIDI notes to KeroVee for the plugin to use as a guide. This is a crucial function that lets you tell KeroVee exactly what notes the singer should be on, with a large set of knobs to customize further.
Unique to KeroVee is a “nuance” parameter that allows you to keep or ignore subtle pitch changes, such as natural vibrato from the singer.
Typical on most autotune plugins, you get a “TuneSpeed” knob which controls how fast the VST will fix the incoming audio.
The calib function controls the overall pitch of the sound, and on the bottom are important functions such as pitch and formant shifting, fine tuning for precision work, and panning and volume knobs.
If you’re looking for an autotune plugin that is tailor-made specifically for fine adjustment of vocals, rather than a harsh and noticeable effect, KeroVee will be a good place to start.
The free download can be found here.

5. X42 Auto-Tune

X42 Auto-Tune is a simple autotuner based on the zita-at1 by Fons Adriaensen. It’s much better if you use it as a light tonal fixer over a full-on robotic autotuner.
It works by resampling the material fed into it and then looping the signal. It does not have any formant correction capabilities.
As a result, its uses don’t come from transposing a track, but from subtle adjustments to vocals.
Even though the X42 has a specific set of sounds it can perform on, when you use it correctly, it does a goob job!
As with the GSnap and KeroVee, it can be fed MIDI from which it adjusts the vocal notes to. Otherwise, you can input a fixed set of notes from any musical key for the program to respond to.
Although it shares similarities with other plugins, there are some unique features the X42 has that others don’t.
The “Bias” parameter lets the vocals to stay on their current note for a longer period of time instead of moving quickly to one of your selected notes, regardless of if they’re in tune or not. It allows for more off-tune and natural singing sounds.
Furthermore, it includes a unique “offset” parameter which adjusts how far the vocalist can venture from the predesigned notes.

Auto-tune Pro Torrent

Like the bias parameter, this will let you to keep some of the vocalist’s minor mistakes for a more organic sounding performance, if need be.
What this plugin lacks in formant features, sparkly design, and variability in sound adjustment, it makes up for with unique parameters and fine MIDI control of missed notes.
Try it out here.

6. Autotalent

Don’t be fooled by the simple interface!
Autotalent by Oli Larkin is a well designed, fully functioning autotune and pitch correction VST.
You can use it for light pitch correction and full-on robotic autotune, and it even contains chiptune effects!
It includes all of your typical parameters needed in an autotune plugin. It allows smoothing, subtle pitch shifting to scaled notes, and a full formant editing function.
With Autotalent, you set notes on the piano scale to “-1” for notes you want to exclude, and “0” if you do want the singer or instrument on that note.
Autotalent, unlike any other free autotune VST, offers an extensive LFO and vibrato section. Use this section to add vibrato, skill, and confidence into a vocalist’s performance.
The LFO can also be used to add a unique chiptune effect to the vocal or instrument! Chiptune describes a sound that appears to have come from early gaming consoles.
So despite a relatively lacking interface, Autotalent offers a wealth of both robotic and smooth autotune options, as well as unique LFO section. If you’re looking for this type of versatility and want to try the plugin-specific LFO module, give Autotalent a try.
Listen to a demo of the plugin in action here.
Download it here.

7. AAS Autotune

Last, but certainly not least, we’re going to include an interface-less plugin, the AAS Autotune by Arguru.
Obviously, without any user interface, you’re only going to have one specific set of parameters working at one time!
Use AAS Autotune to get the classic and harsh “T-Pain” effect on vocals.
It’s a robotic and fast-moving sound that’s only useful in certain situations, but it works well when it’s needed, such as hip-hop songs that use purposefully autotuned vocals as an effect.
It’s ultra simple, but incredibly useful!
You can directly download it here.

Conclusion

Because of the overwhelming amount of music that includes some sort of vocal or tuned instruments, autotune and pitch correction plugins are an absolute necessity!
Hopefully we’ve been able to help you figure out what you want from this class of free plugins.
You should be thinking about whether you want the heavy, unnatural, and robotic sound, or a light and seamless touch that the listener’s won’t hear, most often used to put small touch-ups on a vocal performance.
Furthermore, we’ve gone through all of the advantages and disadvantages to the 7 free plugins we listed above as it pertains to those needs.
All of them have special features unique to the situations they’re used in, and there should be many in this list that fit your autotune needs!
Have you used any of these plugins before?
Did we miss a free autotune plugin that you love to use?
Let us know in the comment section below!

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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.

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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.

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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. 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.

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

Adding Vibrato With Auto Tune Promo

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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