![]() ![]() Another good reason for working in this way is that it avoids having half a dozen instances of the Melodyne plug-in hogging computing resources while mixing. This helps me to keep all the vocal-tuning work neatly together, while still allowing it to be recalled quickly if further edits are required. In both scenarios, I tend to work in the same way, starting with the creation of a dedicated tuning project, in my DAW, that's separate from the main mixing project. Sometimes I tune vocals on my own projects, but I also do this work for other engineers and producers. ![]() Let's face it: tuning vocals is not the most fun you can have in music production, but good preparation makes the tuning process much simpler and more speedy. The two other leading pitch processors are Auto-Tune and Cubase/Nuendo's built-in VariAudio, and although the tools are slightly different, much of my more general advice applies equally to users of those tools. Melodyne remains the only game in town if you want to work with polyphonic audio, but for vocal tuning that's usually unnecessary. In this tutorial, I'll share some tips and techniques that should lead you rather more quickly to pitch-perfect productions. I found it intuitive to use, but while instant results were possible, it took time and experimentation to get the best results. Having initially chosen Melodyne simply because it was cheaper than Antares Auto-Tune, I soon noticed that there were very few audible artifacts in the tuned audio. Later still (2009) Melodyne Editor wowed people with the ability to manipulate the pitch of individual notes within a single polyphonic audio file. Initially a stand-alone application, it soon became available as a plug-in. When it first burst on to the scene, it seemed a miracle that you could treat recorded audio in much the same way as you could MIDI notes. I'll leave the rights and wrongs of pitch-processing to others to debate, but I would say that we engineers and producers should remember that tuning plug-ins are intended to help us achieve the best sound we possibly can - and unless we're trying to create a deliberate effect (a Chris Brown-style robo-voice, say, or a Cher-like warble), we really don't want the tuning process itself to be noticeable in the final mix.Ĭelemony's Melodyne pitch-processing software is one of that select bunch of tools that we can genuinely call revolutionary. In a similar way to other performance 'fixing' processes, such as drum quantisation, it's now used so much, on almost all commercial releases, that engineers and the general public alike have become accustomed to hearing it. Over the last decade or so, vocal tuning has become increasingly accepted as part of the music post-production process. Find out how to craft a professional-sounding result. Pitch correction of vocal parts is now commonplace in all but a few genres. ![]()
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