Auto-Tune

timtimtim

Member
I am trying to use Reatune on my voice. It seems to have no effect. When I play the track with Reatune on it, together with an identical track without Reatune, you get phasing effects which shows that Reatune is doing something, so why can't I hear any difference between Reatune turned on, and off? Changing the Attack Time makes no difference.
 
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Add Reatune as an FX on the track.

Click on the 'correction' tab
Click on the box "Automatic pitch correction".
You can select a scale if you want to force a set of notes. Otherwise the default is chromatic.

You can also manually correct the pitch if you select "manual correction" then tick "manual correction" and "track pitch"
 
I tried both those. Still there is no difference between correction turned on or turned off. Some notes are badly out of tune.
 
I'm stuck for ideas.

I've tried to make ReaTune not work, without success.

What do you see when you use it, say, when you use automatic pitch correction?

When you have the ReaTune screen open and you play the track, do you see something like the pic below?

reatune screen.jpg
 
Do you maybe have two tracks that are the same? One tuned, one not?

If you have the tuning program as an insert, it needs to be first in line. Maybe the track is going to another insert/FX send before the pitch correct software?

That is about all I can think of. Not a Reaper guy so can't give definitive advice.
 
Its pretty simple to put in the ReaTune into Reaper, almost fool proof. If it's not adjusting the pitch, either something is set wrong, or the pitch is so far off that it is retuning to a wrong note.

Maybe post the vocal track so that someone else can test it.
 
If you did it with autotune, you should be able now to do it with reatune, because they do essentially the same things
 
While I have never used Autotune in Reaper, I know that pitch correction can be adjusted to have a PROFOUND effect on the sound of a track. I record a one-man quartet; and on one hymn I did a few months ago, I set my pitch correction to its maximum value. The result was very solid tuning of all four parts - a sound unlike anything I have heard before! In some ways, I like the sound; yet I know that it would be rather extreme if I were to use pitch correction set that tightly on all of my quartet recordings. Still, I admire that performance as in a way the epitome of one of my goals of the quartet which I call "Crystal Control." That particular aspect of what I am after is to create a vocal tone as if the pitches were controlled or keyed from an electronic keyboard. My college voice teacher would run me out of town if she heard that performance, and I would agree that I wouldn't want that on many of the songs I record; but at times I like it. Yes, I have no doubt that a good pitch-correction routine can DEFINITELY make a difference between the corrected and uncorrected sound. In the extreme maximum settting, a singer with even a moderately wide vibrato might produce something which could sound something like a trill. I suspect that you will notice a difference if you find the settings needed to get it. Of course, if you happen to sing with a very straight tone as I do and you sing extremely well in tune, maybe the pitch correction doesn't need to do much to your voice. The phase difference you notice might be occurring due to a slight time delay introduced by the correction function.
 
While I have never used Autotune in Reaper, I know that pitch correction can be adjusted to have a PROFOUND effect on the sound of a track. I record a one-man quartet; and on one hymn I did a few months ago, I set my pitch correction to its maximum value. The result was very solid tuning of all four parts - a sound unlike anything I have heard before! In some ways, I like the sound; yet I know that it would be rather extreme if I were to use pitch correction set that tightly on all of my quartet recordings. Still, I admire that performance as in a way the epitome of one of my goals of the quartet which I call "Crystal Control." That particular aspect of what I am after is to create a vocal tone as if the pitches were controlled or keyed from an electronic keyboard. My college voice teacher would run me out of town if she heard that performance, and I would agree that I wouldn't want that on many of the songs I record; but at times I like it. Yes, I have no doubt that a good pitch-correction routine can DEFINITELY make a difference between the corrected and uncorrected sound. In the extreme maximum settting, a singer with even a moderately wide vibrato might produce something which could sound something like a trill. I suspect that you will notice a difference if you find the settings needed to get it. Of course, if you happen to sing with a very straight tone as I do and you sing extremely well in tune, maybe the pitch correction doesn't need to do much to your voice. The phase difference you notice might be occurring due to a slight time delay introduced by the correction function.

Agreed. I never once have used pitch correction software algorithms to decide what the track needs.

Always a line by line human decision. No software will 'fix' anything.

In the case of Melodyne full version, there are so many variables that can be used to help polish a track. 5 years of myself knowing the tools and how to use them, and it still sometimes can be a challenge.

I hear there is a basic version of Melodyne with Studio one? That is not the same as the full version. The full version can adjust a single guitar note in a chord. I have used it to take an accidental open 'A' in a live acoustic recording.

It does take some experience to make it work well, but there is always a compromise.

Anyway, I hope to help... My post may or not be helpful for this situation. Just giving my insight.
 
Pitch will be the frequency of the primary note. Standard pitch puts A at 440Hz. The next octave up would be 880. Middle C on the piano is considered 261.6Hz.

Tone will be a added content of harmonics and distortion products added to the base frequency. Without these added components, everything would be a pure sine wave. Tone can be adjusted by adding or removing parts of the spectrum, as happens when you adjust the tone controls on a stereo.

Together they provide the complete sound characteristics, which allows you to distinguish between a trumpet, a violin, or a piano.
 
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