I want to do some extreme pitch with Auto-Tune.
I'm going to graphical mode,
track the pitch first. [BACKGROUND]
[MUSIC] We'll go in
and make notes with the notes tool.
We'll make more notes,
and take a listen to it.
[MUSIC] So it's already
been corrected, pitch corrected.
Now, what I want to do is go up in octaves.
[MUSIC] That's an octave and let's listen.
[MUSIC] A little mickey mouse.
Let's go and take a look at our formant,
and adjust our formant.
Throat length, extremely down to 50.
[MUSIC] Let's go to
the 180 side of the formant.
[MUSIC] This isn't effective,
I'm hearing in a lot of commercial productions.
With a using a low formant,
which is like an open throat on a high vocal,
to give it a kind of a ghostly, eerie sound.
[MUSIC] Then, normal pitch shift
that follows the logarithmic formula for sample adjustment,
for time and length adjustment,
would sound like this.
[MUSIC] They have a soother
or realistic rendering of what might go on with a vocal that would sound like this.
[MUSIC] You hear how it sounds like a human being,
and then this would be the ghostly representation.
[MUSIC] Some of those areas where you hear it going,
[NOISE] and all of that is because there are
gaps between some of the notes on a phrase.
So there might be a gap between this node and that node and what I can do
is grab the cursor and fill in these pieces from here to here.
The more that I filled,
the less of that sound you would hear.
I'm just trying to drag these pieces so that they extend.
We'll extend that there and pull this one out here,
and pull this one to that.
So this one here, well,
this there, join them together so that they're not clicking like that.
Yes, there are other tools that do this more elegantly than Auto-Tune.
Auto-Tune was one of the first in the game.
It revolutionized this art.
Melodyne came along, not able to analyze,
does some very interesting things with a vocal and with a vocal formant.
So there's still going to be clicks because it's going to take me time to
really focus in and smooth some of that stuff out.
Then, I can change slopes by using the curve tool or the line tool.
The more you play with this device, the better you'll get.
All right, so now let's listen to it.
I tried to get some of those clicky things out of there,
let's see if I was successful.
We'll take a look at our vocal.
[MUSIC] Here, there are less of them.
I mean, like I said, I'd have to play around with them to get it
very smooth where none of them would be apparent.
Let's go to the other side and drop this by an octave.
[MUSIC] That's the normal octave.
Let's listen to the normal octave.
[MUSIC] Now, that's because I've played with the formant.
We'll put it back at 100 and listen to the normal octave.
[MUSIC] We'll shrink the formant information.
We'll actually collapse the throat.
[MUSIC] Let's drop this down by an octave.
[MUSIC] Listen to the
vocal with the constricted throat length and the formant on a lower octave.
It'll sound like this.
[MUSIC]
We will now go back to 100.
[MUSIC] Feel the same,
I think, I retuned the note there somewhere.
[NOISE] this
[NOISE] saying.
[MUSIC] Now, we'll open up that link to get this really eerie low sound.
[MUSIC] I'm sure you've
heard this type of sound in commercial records.
Stream tuning and manipulating the formant to play around with
that tuning has become a huge part of vocal producers in our modern era.
[MUSIC]