I know Auto-Tune is evil but...
I know Auto-Tune is evil but...
I've got Autotune 4 and sometimes it is a good tool, although I feel a bit dirty using it (like some sort of nasty sex toy).
So my question is: Is there much of a difference between AT4 and AT EVO, both TDM. Don't know if I need to upgrade or if AT 4 is basically the same thing. Seems like lots of plug in upgrades are more about a nicer looking interface than any sonic improvement. Upgrade would cost me $170.00.
I feel like I should wash my hands now.....
So my question is: Is there much of a difference between AT4 and AT EVO, both TDM. Don't know if I need to upgrade or if AT 4 is basically the same thing. Seems like lots of plug in upgrades are more about a nicer looking interface than any sonic improvement. Upgrade would cost me $170.00.
I feel like I should wash my hands now.....
- Nick Sevilla
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Hi,
I just bought the EVO one, with the added "tools"
It sounds the best, out of all the other versions that have come before it. I think they changed a lot of the code, it is now smoother, and causes less artifacts when used.
That said, I still prefer the singers actually sing their parts correctly. For F**K's sake.
And one thing I have found works well, is when you do have someone flat or sharp all the time, use a good pitch shfiter, like Serato Pitch N Time, and do a general slight adjusment first. sometimes this makes alot of difference, rather than manuall or automatically using "The Doo-Doo Fixer Tool",as I call it.
Cheers
I just bought the EVO one, with the added "tools"
It sounds the best, out of all the other versions that have come before it. I think they changed a lot of the code, it is now smoother, and causes less artifacts when used.
That said, I still prefer the singers actually sing their parts correctly. For F**K's sake.
And one thing I have found works well, is when you do have someone flat or sharp all the time, use a good pitch shfiter, like Serato Pitch N Time, and do a general slight adjusment first. sometimes this makes alot of difference, rather than manuall or automatically using "The Doo-Doo Fixer Tool",as I call it.
Cheers
Howling at the neighbors. Hoping they have more mic cables.
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I have both AT EVO and Waves Tune. I prefer Tune. It's so damn easy to get pitch correction that doesn't sound like it's been corrected. I still feel like I have to fight with EVO to get what I want. Waves Tune is intuitive.
And people, can we please stop acting like vocal tuners are evil? They're just tools, FFS. We're not all indie purists on this board.
And people, can we please stop acting like vocal tuners are evil? They're just tools, FFS. We're not all indie purists on this board.
- JGriffin
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+1John Jeffers wrote:And people, can we please stop acting like vocal tuners are evil? They're just tools, FFS. We're not all indie purists on this board.
"Jeweller, you've failed. Jeweller."
"Lots of people are nostalgic for analog. I suspect they're people who never had to work with it." ? Brian Eno
All the DWLB music is at http://dwlb.bandcamp.com/
"Lots of people are nostalgic for analog. I suspect they're people who never had to work with it." ? Brian Eno
All the DWLB music is at http://dwlb.bandcamp.com/
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Haha, yeah I'm with you guys. I've definitely felt guilty about over-using the "tools", but I've come to terms with it and understand it's part of what I do - if that's what the client wants.John Jeffers wrote:And people, can we please stop acting like vocal tuners are evil? They're just tools, FFS.
That's probably the only thing I wish this board/mag had a little less of. I think it's fun to read about interesting/non-traditional/"out-there" techniques & engineers. But, for me, there's a tad too much yard-sale mickey-mousing here, and maybe not enough coverage on the newer tools/techniques and the engineers pioneering them.John Jeffers wrote:We're not all indie purists on this board.
I understand that TapeOp comes from the underground/punkrock ethos. I love reading interviews with the 'old' guys(they know the most!), but we shouldn't be afraid to embrace the new school either.
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I'd love to see what "newer tools/techniques" or "pioneering" engineers that you feel are being ignored.solo-bration wrote:That's probably the only thing I wish this board/mag had a little less of. I think it's fun to read about interesting/non-traditional/"out-there" techniques & engineers. But, for me, there's a tad too much yard-sale mickey-mousing here, and maybe not enough coverage on the newer tools/techniques and the engineers pioneering them.
Oh, come on... TapeOp has had plenty of articles about people pushing the boundaries, discovering new things, and pioneering new techniques.solo-bration wrote:I understand that TapeOp comes from the underground/punkrock ethos. I love reading interviews with the 'old' guys(they know the most!), but we shouldn't be afraid to embrace the new school either.
TapeOp was, is, and always will be "The Creative Music Recording Magazine".
And, you'll find plenty of discussions on this board where people pushing dogma are rightly put in their place.
I'm not sure exactly what you guys are wanting.
If you just want to see in-depth analysis of techniques used to manufacture mass produced commercial garbage at major labels, then there are other magazines and forums where you can read about that stuff all day.
But, if you want to see stories of interesting people, using new techniques and new technology to create something interesting and CREATIVE, then just keep your eyes open. That stuff pops up in TapeOp and on this board, all the time.
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