Here’s their associated tutorial:īut, for those of us with the luxury of getting to use these tools creatively and not slaving behind desks trying to correct imperfect vocal recordings, we get to have great fun with creative ideas like messing about with vocals and drums in new ways. Naturally, that means that the editing process needs to be more organic and transparent – and, apart from special effects, something that doesn’t sound like pitch correction. Perhaps the feeling of listening to recorded music is akin to hearing the music we imagine inside our head. There are intonation subtleties that live wouldn’t bother me at all, that then become grating in a recording. And the experience of listening to singers live and listening to them through a recording is substantially different, to my ears. By the time you’re singing into a microphone, you’re having a big impact on the sound of your voice. There’s really no reason, I think, to feel bad about adjusting vocals on a computer. Of course, you’ll have to wade through a bit of marketing spin, as with any promotional videos, but I think they do a nice job of showing what the tool actually does – which can be a good way to work out if this tool is for you.Īnd yes, one of those videos points out that you really don’t need to be doing 100% pitch correction. Melodyne’s YouTube channel (and the page on their site) have a lot of tutorials like this. You could just as easily use pitch adjustments on the pitched content of drums, as well. And that’s another example of why “pitch correction” or editing doesn’t mean that you’re trying to emulate T-Pain. But the best way to understand this is the ability to take recorded drums (or drum machines, for that matter), and reshape them in the more open-ended digital domain. The compressor is the means to an end – shaping the dynamics of the drum materials. Celemony sent us the most vivid illustration of that this week, with a video tutorial that shows the use of those same tools to edit a drum loop.Ĭomparing this to a “compressor” as the video does is a bit unfair. That’s not necessarily what this is about. I noticed at least one review of Logic Pro X make a reference to “AutoTune,” so let’s be clear. Sure, you might want to fix intonation, but that involves paying attention to vibrato and dynamics. But even that use case has a lot of dimensions. These edits are commonly associated with pitch correction, and indeed, it’s clear a big part of the market for this software is being able to tune vocals. The folks who have pushed their “Direct Note Access” really have achieved an unprecedented amount of note-by-note control over sound. But there still isn’t any one application – as a plug-in or built into a DAW – that offers the amount of audio tweaking powers as Celemony’s Melodyne products. Apple, Steinberg, Cakewalk, and others have begun adding audio manipulation tools to their DAW, and some of those tools are decent enough in a pinch.
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