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#1
So i have 'Auto-Tune_evo_VST_PC_v6.09.exe' but i can't get it to work on Cubase

That was so vague.
But could you help?
#3
Did you install the plugin and make sure it installed the VST Plugin settings?

Also, did you pay for it?
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#5
auto tune sucks anyways...Only Advantage over neubacker's is it can work live. Yippie, im a musican, and can't sing.
#8
Quote by nynejoe
auto tune sucks anyways...Only Advantage over neubacker's is it can work live. Yippie, im a musican, and can't sing.


Auto-Tune is also more transparent (if used for standard pitch correction) the difference is pretty noticeable.
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#9
I've had tracks ruined by Auto Tune. I downloaded the trial to use on one song, in the end, I almost used the unprocessed track. Then, I was like "Eh, what the hell" and set it to sound like T-Pain.
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#10
yeah it can be hard to use properly, but skillful use of auto-tune is generally more transparent then the other program we are talking about (although it can't match that programs features and sheer editing capability)
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#11
Yeah, auto-tune is extremely difficult to use. But like Kid said, once you get it down it's barely noticeable. A lot of people think they're hearing auto-tune when they're not nowadays and everyone thins they're an expert on the subject of auto-tune and it drives me absolutely crazy.
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#12
auto tune less noticeable than **edit the other software?lol I guess I don't know where ive been.
Last edited by nynejoe at Jan 8, 2010,
#13
Quote by nynejoe
auto tune less noticeable than **edit the other software?lol I guess I don't know where ive been.


it is if you use it right, especially Evo. Of course this only applies to normal pitch correction and not "the T-Pain effect" that most people think of when they think of auto-tune.
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#14
I've heard positive things about Melodyne, but Antares is the only one that works in a live setting. But yeah, Auto-Tune is actually used on millions of records and you'd never know it, because it's so transparent.
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#15
I disagree. Its all in the algorithm. neubackers way to detect the wav allows for much more subtle changes in its pitch. There are 2 main ways to achieve pitch corection in software developtment. Finding the fundamental noise period and removing un needed periods, autotune way, which results in a step like shift. edit: even though the humanize feature adds variation to the step shift

Where as neubacker's way decunstructs the entire sample to allow manipulation of each parameter of control. Wich allows for much more subtle changes, since it has more control.

Hence gives it the downfall of not working live.

I might just have my panties in a bunch cuz melodyne i paid for :P
Last edited by nynejoe at Jan 8, 2010,
#16
Quote by nynejoe
I disagree. Its all in the algorithm. neubackers way to detect the wav allows for much more subtle changes in its pitch. There are 2 main ways to achieve pitch corection in software developtment. Finding the fundamental noise period and removing un needed periods, autotune way, which results in a step like shift. edit: even though the humanize feature adds variation to the step shift

Where as neubacker's way decunstructs the entire sample to allow manipulation of each parameter of control. Wich allows for much more subtle changes, since it has more control.

Hence gives it the downfall of not working live.

I might just have my panties in a bunch cuz melodyne i paid for :P


I can do more subtle changes but IMO, Auto-Tune still sounds better.
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#17
I didn't read much of the thread.. But Gsnap is free and it's gud.
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#18
Gsnap is alright.

One thing Melodyne can do that Auto-Tune can't do is correct multiple pitches at the same time (like a guitar chord).
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#19
Quote by lockwolf
Gsnap is alright.

One thing Melodyne can do that Auto-Tune can't do is correct multiple pitches at the same time (like a guitar chord).

i can kinda understand pitch correcting vocals (although the singer should be able to sing, not the computer ) but correcting a guitar pitch?!?!?!?!?!
#20
DNA release by melodyne allows for polyphonic pitch recognition. In other pitch corecting software a "G" chord would be analyzed as a G note. Even though each string would be its own note. DNA melodyne can detect each note that makes up the chord.

For example if one string bent out of tune in your recoding you could fix that one note in the chord. Or you could in essence record a single guitar chord. Rearrange the individual notes that make up the chord in to new chords or variations. It is able to diffferentiate between more than one source. All other softwares are monophonic.

The idea was said not too long ago to be impossible. Until neubacker. Just goes to show how powerful his approach to pitch correction really is.
#21
Quote by MetalBass 77
i can kinda understand pitch correcting vocals (although the singer should be able to sing, not the computer ) but correcting a guitar pitch?!?!?!?!?!



Yeah it's great for if a strings starts going out of tune halfway through an otherwise good take. Using auto-tune isn't necessarily a replacement for singing ability (although it's increasingly being used that way) in generally used to fix minor mistake (which I prefer to leave as is but whatever)
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#22
Auto-Tune, it can make you sound like a decent singer or like every other singer on the planet :p
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#23
Quote by lockwolf
Auto-Tune, it can make you sound like a decent singer or like every other singer on the planet :p

How about:
Auto-Tune, it can make you sound exactly like you did when you first recorded the take, except that little waver in the third line of the chorus is now perfectly in tune OR like a handful of chart-topping hip hop artists who are not representative of the entire hip-hop community who have been using the plugin for the former purpose for ten years now.

Don't make generalizations based on misunderstandings please.
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#24
Quote by Sid McCall
How about:
Auto-Tune, it can make you sound exactly like you did when you first recorded the take, except that little waver in the third line of the chorus is now perfectly in tune OR like a handful of chart-topping hip hop artists who are not representative of the entire hip-hop community who have been using the plugin for the former purpose for ten years now.

Don't make generalizations based on misunderstandings please.


To be fair, it is used by quite a few pop singers with questionable singing abilities as well.
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#25
Quote by Kid_Thorazine
To be fair, it is used by quite a few pop singers with questionable singing abilities as well.

Totally, but not to the point where all of those singers have a common vocal tone in the way that T-Pain, Kanye, TI (I think he uses it), and Lil Wayne do.

Britney Spears sounds godawful without Auto-Tune, it's disturbing. I'm glad that legitimate pop acts like Lady Gaga are around now proving that you raw talent still has a place in the pop scene.
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#26
Quote by Sid McCall
Totally, but not to the point where all of those singers have a common vocal tone in the way that T-Pain, Kanye, TI (I think he uses it), and Lil Wayne do.

Britney Spears sounds godawful without Auto-Tune, it's disturbing. I'm glad that legitimate pop acts like Lady Gaga are around now proving that you raw talent still has a place in the pop scene.

I find it funny though when people act like shes all amazing cause she writes her own music If it's your band, then you should probably be writing most of the music............
#27
Quote by MetalBass 77
I find it funny though when people act like shes all amazing cause she writes her own music If it's your band, then you should probably be writing most of the music............


Avril Lavigne supposedly wrote a lot of her own music too, turns out that's not exactly true, so I'm skepitcal of those sorts of claims coming from pop stars.
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#28
Ill bet all thoose auto-tune artists still use melodyne after the fact. Autotune is still more like a filter effect, and melodyne is a sound landscape editing program.
#29
Quote by Kid_Thorazine
Avril Lavigne supposedly wrote a lot of her own music too, turns out that's not exactly true, so I'm skepitcal of those sorts of claims coming from pop stars.

It's pretty easy to figure out who writes their own songs, you just go to the liner notes (sometimes wikipedia as well) and find out who's credited on each song. It's illegal to forge that information, and there really isn't any history of that being a problem in the industry. People just tend to overlook that stuff.
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#30
Quote by Sid McCall
It's pretty easy to figure out who writes their own songs, you just go to the liner notes (sometimes wikipedia as well) and find out who's credited on each song. It's illegal to forge that information, and there really isn't any history of that being a problem in the industry. People just tend to overlook that stuff.


not really, there are ways around that, you can technically credit a song to whoever you want as long as the actual writer is cool with it. Another trick is to credit the performer regardless of thier actual contribution to the writing, and also credit the real songwriter(s) this is what Lady Gaga does, so it's impossible to tell how much of any given song she actually wrote from the liner notes.
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#31
I would like to point out that I write all of my own songs.

Thats why they suck :p
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#32
Quote by nynejoe
Ill bet all thoose auto-tune artists still use melodyne after the fact. Autotune is still more like a filter effect, and melodyne is a sound landscape editing program.



You are completely and utterly wrong in your description of autotune as a filter effect. Please stop spreading false information that makes no sense.
#33
Quote by MrJulius
You are completely and utterly wrong in your description of autotune as a filter effect. Please stop spreading false information that makes no sense.


Maybe you can give us a better descrition of how each program works. Do you understand the 2 different logics of the software developtment? Why auto-tune works live and not melodyne?

Auto tune processes live, its the one advatage I agree on, hence the filter similarities. That is in fact what it does. Effects some noise points but not the others...That how filters work, attenuation.

Melodyne actually breaks the the sample down into a sound landscape so each parameter of control can be tweaked. It all in the approach of pitch correction. It not debateable that they significantly difer in their appraoches.
#34
Quote by nynejoe
Maybe you can give us a better descrition of how each program works. Do you understand the 2 different logics of the software developtment? Why auto-tune works live and not melodyne?

Auto tune processes live, its the one advatage I agree on, hence the filter similarities. That is in fact what it does. Effects some noise points but not the others...That how filters work, attenuation.

Melodyne actually breaks the the sample down into a sound landscape so each parameter of control can be tweaked. It all in the approach of pitch correction. It not debateable that they significantly difer in their appraoches.


Auto-Tune is a vocoder with some attached frequency recognition software, it's really nothing like a filter, at all, although I suppose the vocoder part does in fact use a filter as part of its operation.
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#35
filters are anything that attenuate or unattenuate cetain noise points in the sample to create its effect. Its the approach. If it needed to deconstruct the sample like melodyne it would not work live.
#36
Quote by nynejoe
filters are anything that attenuate or unattenuate cetain noise points in the sample to create its effect. Its the approach. If it needed to deconstruct the sample like melodyne it would not work live.


It's still not a filter, http://en.wikipedia.org/wiki/Phase_vocoder
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Last edited by Kid_Thorazine at Jan 9, 2010,
#37
Quote by Kid_Thorazine
not really, there are ways around that, you can technically credit a song to whoever you want as long as the actual writer is cool with it. Another trick is to credit the performer regardless of thier actual contribution to the writing, and also credit the real songwriter(s) this is what Lady Gaga does, so it's impossible to tell how much of any given song she actually wrote from the liner notes.


I'd like to know where you get your information.

When a major label artist uses songs written for them by a professional songwriter, the songwriter still owns part of the copyright separate from the performer, that's how they receive royalties after the song has been published. The liner notes don't always offer this information, but the copyright documents filed with the government will reveal this. I'm not sure if those documents are open to the public, but either way you could contact the publisher and possibly get an answer.

And in fairness, I will tell you that my information comes from various textbooks and professors (with doctorates in the industry) which I picked up in my upperclassman music industry law classes. I really wouldn't be picking a fight about this if I hadn't taken countless exams on the subject where I've been presented with all kinds of copyright ownership scenarios and had to assess all kinds of crazy documents.

Not gonna lie, I get off on this stuff. I love my studies. I finally enjoy 6+ page papers, because I get to analyze copyright cases and draft management contracts/record deals. I'd like to think I know what I'm talking about.
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#38
Quote by Sid McCall
I'd like to know where you get your information.

When a major label artist uses songs written for them by a professional songwriter, the songwriter still owns part of the copyright separate from the performer, that's how they receive royalties after the song has been published. The liner notes don't always offer this information, but the copyright documents filed with the government will reveal this. I'm not sure if those documents are open to the public, but either way you could contact the publisher and possibly get an answer.

And in fairness, I will tell you that my information comes from various textbooks and professors (with doctorates in the industry) which I picked up in my upperclassman music industry law classes. I really wouldn't be picking a fight about this if I hadn't taken countless exams on the subject where I've been presented with all kinds of copyright ownership scenarios and had to assess all kinds of crazy documents.

Not gonna lie, I get off on this stuff. I love my studies. I finally enjoy 6+ page papers, because I get to analyze copyright cases and draft management contracts/record deals. I'd like to think I know what I'm talking about.


Two semesters of music business courses see there's this thing called "work for hire" that the music industry uses with songwriters (they tried to do it with artists too but that got shitcanned pretty quickly), also you act as if copyright can't be signed over, it can and is all the time. Also as I said, there's a second way of getting around it that's even more common.
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#39
Quote by Kid_Thorazine
Two semesters of music business courses see there's this thing called "work for hire" that the music industry uses with songwriters (they tried to do it with artists too but that got shitcanned pretty quickly), also you act as if copyright can't be signed over, it can and is all the time. Also as I said, there's a second way of getting around it that's even more common.

Well I know what work for hire is, I've been taking music industry courses for three years (not trying to one-up you, just stating facts haha).

With regard to singing over the copyrights, the original copyright owner's name and everything remain on the document. Have you ever worked with copyright documents hands-on? I know you're from the US so we have the same copyright stuff. Again, I'm not sure how easy it is to access the copyright documents to other people's stuff, I don't know what's publicly accessible or not.

As far as your second way, crediting the performer instead of the songwriter, that only shows up in credits. The original songwriter would still appear on the copyrights, and if not, they have the footing to sue the performer for taking credit. It would take a decent amount of evidence to win the case, but they could at least open a case up.

I would just like to take a minute to explain how I discuss things, personally. I tend to argue a LOT and come off like a total ass, but in all honesty I'm just trying to get as many facts straight as possible to learn as much as I can. I love this stuff, and I want to make sure I get all my facts straight. I challenge people and press buttons because it's the only way to get answers in the real world! So before we end up ripping each others' heads off, let's agree to disagree until we're both right!
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#40
Quote by Sid McCall
Well I know what work for hire is, I've been taking music industry courses for three years (not trying to one-up you, just stating facts haha).

With regard to singing over the copyrights, the original copyright owner's name and everything remain on the document. Have you ever worked with copyright documents hands-on? I know you're from the US so we have the same copyright stuff. Again, I'm not sure how easy it is to access the copyright documents to other people's stuff, I don't know what's publicly accessible or not.

As far as your second way, crediting the performer instead of the songwriter, that only shows up in credits. The original songwriter would still appear on the copyrights, and if not, they have the footing to sue the performer for taking credit. It would take a decent amount of evidence to win the case, but they could at least open a case up.

I would just like to take a minute to explain how I discuss things, personally. I tend to argue a LOT and come off like a total ass, but in all honesty I'm just trying to get as many facts straight as possible to learn as much as I can. I love this stuff, and I want to make sure I get all my facts straight. I challenge people and press buttons because it's the only way to get answers in the real world! So before we end up ripping each others' heads off, let's agree to disagree until we're both right!


You're about the copyright documents, which are a bit harder to get a hold of than the liner notes, although yes, they will show who the original copyright holder is, you where talking about checking the liner notes, which won't have that information, also you're talking about lawsuits and whatnot, that won't happen, because the actual writers are well paid and whatnot, they just aren't credited, it's called ghostwriting.

In the second method the original songwriter gets credited a long with the performer, it's just that the performer takes most of the credit publicly for writing the song even if that's not the case, which is what Lady GaGa does, I don't think she has any songs that are credited to just her.
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