Studio Pass with Tommy Rogers and Jamie King

Lesson 24/32 - Vocal Tuning with AutoTune

 

Studio Pass with Tommy Rogers and Jamie King

 

Lesson Info

Vocal Tuning with AutoTune

The next stage like said in this particular song whatever you know what I would definitely double check the intonation so let's pull up my favorite is ah interiors auto tune but actually strangely enough I never used the auto tune function I used the graphic mood and this is the older version of water tune someone to refresh how I work with this ah but thea like said uh this is it's relatively simple to do you know if you use the auto tune function and turn to retune speed up it's going to sound process is going to give you that you know yes kid rock and share units whether earlier records earlier songs that you heard the effect and they used that robot and that sounds really cool to a lot of people you know obviously in pop the pop culture it's just like I mean um yeah yeah I mean you got you know, that's some people's whole sound is auto tune but I think you know, you know I'm using this as a tool to correct intonations and not necessarily like make it sound like you know, a robot or...

something like that so I used the graphic function of it but they're really simple I'm highlighting the first vocal track here we'll track the pitch in just click the track pitch preview so they're your next video off let's see if we have ah and for some reason you don't have a uh so you're tio and you see here it gives a graphic refugees in sensation of the note like that he's really close to the pitch and it goes a little bit sharp on this. Ah yeah on this paul bravo I usually use a slower retail fuse the factor default twenty twenty setting I don't know what that's the relative to as faras retune speed but I've noticed it sounds more natural and I know tommy prefers his vocals sound natural s o I usually back it off to about forty five or even you know with the bob arado to make it sound natural back and after like a hundred or something and these air just sittings that I've developed I mean there's lots of different people do a lot of different things, but every once in a while if it's like a really razor note really quick no, you continued all the way up and you can be usable, but the main thing is use your ears see what sounds yeah, I've gotten to the point where I can instantly here the two yeah and so me person very picky like it bothers me when I hear that it's hard that digital sound and a vocal yeah so it's weird that's one thing about I've noticed about mila don't know a big fan of millet ii I can hear melody line every time it just makes the makes the boy sound like ten e whatever it maybe it's his older version I'm you know talking about herself maybe they fixed it since then but the algorithm makes the voice down metallic even even if it's like not a hard two years but I don't know why yeah I'm just a fan of auto tune khun sound really national if you really work with the retune speeds and and they just don't tune it too hard you know um like I said I've slowed the retune speed for tommy because we wanted more natural sound we'll grab this tool which is the you kind of just draw the lines in this nose hair sharps on the draw that in this notes pretty much on their butt and say I'm not doing every single portion if we tuned all that these that these ah the sliding ends and the pot's yeah if you tuned all that that's what was going to make it sound robotics I believe that I just want the book of the notes to be into you now for this far broader I want it's two to net a little slower when we see how this works because this is the older version that some of things get a little bit but I want you get your um the newer version oyo says slight snap snap to note newer version you can sit like say this to twenty or forty five this portion and then this part too I don't know if this person allowed to do that, but we'll see the sales like and then once you get drawn in, the new version is cool because it shows you what it's doing, and this may have a setting to allow me to be the missing his head, they curve on. Well, I won't worry about it for now, but the new version shows you what it's going to do to the audio, but like we've processed track as far as the engineer, do you think it's been official toe have a knowledge of, like melody? Oh, yeah, because I notice even when you're working, you always and you help me was singing like you're good with notes, and, um, I don't know if you I think it's been official working with someone like that to have a sense of pitches, I mean, honestly, like, this will sound terrible, honestly, like, I think if you want to be a quality engine here or producer, if you don't have a good natural sense of rhythm and a good sense of pitch, don't even I tried to look, I mean, it's, just, you know, it's gonna scared now? Yeah, I mean, you know, they everybody you know, all you can do anything you set your mind to, and then maybe, you know, I've seen people overcome it, but it could take years to develop a sense of rhythm that some people were just born with, you know, just ah, yeah, I would just, you know, try to go after something in life that you have the natural skill set to do. Like you're not going to see me running a two hundred mile marathon hundred, something like that is just not gonna have a two mile marathon just would be a man. Yeah, for me, I mean, it's, just like, you know, it is just not gonna happen. I'm not built for it. So, you know, it's kind of feel like, you know, music and productions kind of that same way, you know, I think, you know, it's, you're gonna be, you know, it's really good to have a good sense of pitch, and you know what I said? I had people who don't have a good sense of pitcher, you know, don't have knowledge working knowledge of theory and tuned vocals is like, how would you do that? Yeah, I don't even know how would you mean, just like you could look on the screen and see, but I mean, what if they go do singing closer to the wrong luckily with tommy he's closed and it's pretty obvious but say some other do we just be like, ok, maybe be seeing you know, this is like, ah, that's, not what you're going for, whatever. So, uh, jealous stood like they will track that. So there you are, next to the o r that sounds good, and it looks good. Like said it's, not absolutely rock solid in pitch uh, like said, I've found with the, you know, like earlier, you know, ma tuning I would be all it still will sharpen, you know, most edie would it looks a little, you know, but I've learned these air kind of like, of a graphical representation of a ratio in the vocals like that you see, this fall broad is going up and down it's like that's the sharp flat of the note, but overall note is in tune, you know, vocals and, you know, with the guitar when you're playing a threat, that note is either on into or sharp always, uh based same way with vocals, vocals can go up and, you know, up and down side and it actually still sound in two minutes is kind of a strange thing or whatever, but that's usually what you want but I've noticed my experience it's better if you could just hit it once and that's it and then see what it sounds like in the mix and in the mix it sounds a little weird it might still sound a little pitch even by itself but if it makes it sounds good and it's good you know ok, a couple of people on I wanted to know what retune speed actually isn't is doing so what's that one century what's fast and slow what's that well let me I could give it a graphical representation of that lets the actually mary do that because that was good let's do this other dubbed here and I'll show you what it does uh it's only fair you are next to the so that's that when I was talking about that that was the first take those sharp uh if you used a fast routine speed and I'll show you drawing lines is the notes we want these winners we want we use a fast reaching speech ticket to get what it looks like and sounds like zone bear you on t o t pain yeah, which is a way of actually doing some stuff on purpose well, hey, we want that you know, cynic vote coterie sound and actually layered it was some sense and this type of thing or whatever they make pedals that do this to whatever well, I said if you tune it up fast just ages abba tunes that smashes it immediately like it's just you know, so I don't know what the algorithm or that you know what you would call this cycle's or whatever but like said if you do it too slow and give you an example of that really slow here's our same deal just do it slow is paul, you are next to the it didn't tune it and now well enough, you know, so it's, this is a matter you you what you want to miss, what it's like said the default is twenty, which steal sales process to me if you're going for that hey, I want to send like a pop song like cash or something like that they're almost a tune tuning twenty or higher, okay, you know, because they want that kind of synthetic type of sailing, you know, it's kind of desire type of think so, you know and tears on itunes in over the sand so they just default to their likes that I usually tommy would be like forty five and up you know, I really see a need to go beyond like one hundred fifty because then you start it's like, not really retuning fast cool day with this stuff you can use it for, I've used it for strings players because obviously they don't have friends so it's you know there were sharper flat you can use it for other because it has different sound actually got this set on soprano voice which ex tommy is more in the alto tenor so that should be set to hear but like you can use it for, you know like instruments you can tune a single note things I mean this doesn't tune in anything with a cord and they have some there's some plug ins they're made by companies of it I don't think they sound good um they just kind of will it might work in a pinch, you know, like worst case scenario but like guitar chords attitude just reach a racket you know it's like um unfortunates you know out there but anything that single note like sometimes for guitar leads I've used you know, local team like the guy doesn't being like it is just a little sharp I'll use used buckled I'll just go and graphically and teen that note just a little down, you know? And it it works great not only for this, but I'll do a little bit of this vocal stuff and now we do this properly or how when you want to do it so you are next to the and say luckily like, say, we just him the vocal, the primary vocal and I've already a lot of vocal line it says a vocal under this is curve I've already set up he's the same so I could just make night minor tweaks and it just stays a little time there yeah do the retune speed what if I want to do this part one hundred see what it does so there you are next to the off that was pretty good still got a little bit of sharpness here a little bit flat it's what you can come back and hit this again and it will actually do we take that that take you just made yet and then you can you can you know further yeah like that normally I want to do this to a minimum yeah because if you just keep hitting it it's going to sound more more processed you know, but usually two like if you just especially just doing moments and using a slow retune speed things of that nature and I actually like said this is the older version of anti rose audition I have interiors auditing eva I feel like it sounds a little better they they you know, they keep getting better. I think you know, there's some stuff about the old one that actually like better functionality was but um I feel like it really does it really have gotten better was as far as the algorithm they're using this to we'll see if this zone bear you are dead to the off it sounds better to me has a little tune on the end, but I said we're keeping in mind like said, I'm going to use this is a layer this is the dub is not the primary, so also the harmonies in primary you could have sound a little more tune, you know, unless you're you know, tommy doesn't like that he wants it all to sound natural whatever, so, you know, it takes a little bit, actually notice it harmonies yeah, like if you have, like, a big harm in the background if all that's like, figure of all that's tuned a lot and just sound the no court is gonna be that perfect little voice. Yeah, that's what bothers me when I hear music, I like I have two sounds even stuff I've done, like sometimes like to perfect tony yeah, there's definitely a preference in this it depends on, you know, like said what style of music like said, I mean, you know, if you're doing more process style of metal or rock or whatever that you're having that spot on edge, you know, you know, like the I'm trying to give the good example marine five his vocals were spot on, you know, he's, a great singer tube, it kind of looks like said the, uh these dubs I'm just lightly blending in whatever so there's slight artifacts in there or if it's slightly peachy steel she's not too big of a deal it kind of gives a that natural course sounds you're going after with the for the double anyway it was exactly the same it's going you know I have some face problems and is going toe possibly cancel each other out or whatever where you're not going to get the thickness that you're actually going for to begin with we're having a three buying my whole steps we got a good sense of pitch or whatever you know I said a little working all of that there you can determine what with the person's going for y broadwell was kind of hard to see sometimes because like said they're pretty wide I mean it's bob arado covers this hole in that so so hazy goal for this note of this note if you couldn't hear the militant your head you know which one you should be here's the harmony and like the starting out I recommend you listen to this stuff I just I can look at the notes and be like ok this is I can hear the melody in my head and I know this song antares auto tune does this I wish they would hurry up and fix this has been issue from day one see how I did this weird octave jump in the in a way I picked up the notes if we listen to it ah young warship for you I don't know making tommy cranes you're used to but I've run into this issue before like where it's just not wanting to trace you can try some of the different inputs settings I've even used like base instrument and sometimes it'll be it'll actually pick up our young wash it for you and actually did a little better with that I don't know why this does that, but it does so if you encounter that is not a wash it yeah lo mail was course you're seeing it pretty low so that would make sense that would work but yeah that's sending work better than uh ten yr alto six and was technically this isn't a tenant range but for some reason they didn't want to work. Um we have a question from online jamie um mountain stream wants to know can you automate the retaining speed? Is there a way to do that so that or do you just click different sections like you're doing now and and use different I usually do that? I mean, I think you might be to do it let me look at that is really effectively away to automate it yeah, yeah yeah I mean I mean I'm manually to needs section by section but if you wanted to actually use the automated the elder they use this as a real time plug in. Yeah, I'm thinking there may be a way to do that. Let me see, please throw it on the vocal bus and see if there's a possibility exists. You too. Yeah, so you can. Alex said I might have held me and people from there with pro tools, and if you go under, you just click this the auto but the automation like said, you know, on the, you know, for instance, this is a so I put the auto tune we'd want to put it on each individual track because you can't let me undo that say we wanted to run auto, tune and run it automatically, you know, this this kind of would be very time consuming and e like, it'd be easy to do what I was just doing, like exponentially, but they're all pulling all the billions and pro tools have this feature like that's, you know, you can use as a real time plug in, um, but you can go into this auto feet feature and then, like, if you look at the automation, would that be beneficial? Because I know some people run like pro tues live, and if you had, like, a section you wanted to sound like a robot you could you could automate that one section that you know that would happen that would be a good use for this actually means so maybe if you want to use it live you wanted to use h dear the pro tools live actual version because obviously the artist veterans old old school test versions there's too much light easy to use live and I'm not sure about approach was eleven but I'm thinking it's probably still too too much later see unless you're using some professional live application stuff but I mean yeah, it is absolutely possible to do that cause like they're saying along you could program the notes yep and it'll tune you tow whatever the notes is supposed to be would no matter what you're singing and people were using that trust me you know, like they are but yeah the but like I said, you're normal automation got your volume you've got your volume trim you got your mute you got your pan as your default all the automation stuff but like said you can add any plug in you have on that track you can add more automation say hey I want to automate the retune speed we add that okay go back here and I just lied to you let me know I didn't know it was just I was on the wrong track no, but here it is. See? Because I have the tuner on the boat trip but here's reaching speed. Now you can automate the routine speed. Yeah, or any other facet of this whole pull again, apparently, like a master bat, the master bypass. We wantto bypass it for a moment. You can tell the bypass to turn on and off. Here it is. So every plugin has that ability and any plugging you have. And I use that. You know, for that the underwater effect type of thing where you're taking them, you know, there's. Some other classes of that created live that talk about especially special effects and things like that. And they go over. But you can. You can automate the high pass filter whatever to come up so that it sounds like the music's coming. You know? You know it's like coming, you know more become more present are coming out of the water like a lot of people say it's sze coming out, you know, underwater type environment or something. Ah, yeah. That's definitely a possibility. I would not do that. Come from this is ah more it's. Easier for you. Yeah. Iran justice faster, yeah. While you're doing that, matt had a question that chamblee had a question um, I noticed the audit team sample rates forty four one do you always recorded forty four one or is that just good question? What's your preference? Yeah, I'm like said, I've done a lot of research about it and I think there's a maybe it's just I can't hear, but I still record twenty four bit forty four one uh to me ah, like said, I've I've read conflicting theories and that, you know, um obviously cds air still sixteen bit forty four one so, you know, operating a theory that you recorded forty eight or ninety six or any of those other settings, whatever that actually converting down exit could potentially be, uh, degrading your audio quality. Well, it isthe right? Yeah, but yet it actually, but actually, it could be worse than converting from saying, you know, I keep twenty four bit forty four one keeping the sample ray the same there's no conversion that happens eso whatever, you know, it's capturing my quality prius, my quality no, the d eight versions good. All that stuff quality mikes is capturing all that if we for one, it just stays the same. Now the bit rate, I think is, you know, you know sounds better cause things all your plug ins is the process and you know a higher bit rate of whatever the plug ins and all that stuff sounds better to me I can hear that I've really I can hear a difference between forty eight well having you know having said that I don't want to convert from forty eight to forty for one because like what it has to do kind of has to just throw away bits of information and if the bill is an information is in like thea I guess in like the resonance of I know that's not gonna be a big deal but if that bit of information is actually the format of the note or the transit like of the kick drum it's going to make the take the punch away a little bit you know so I can see that logic and there's also I read a study there talking about how speakers are designed to you know reproduced frequencies within the hear a bell ring in a range so if you're recording stuff it's a one ninety to these super high you know sample rates and things like that the speaker is trying to reproduce these super high frequencies the humans can't even hear most of us can only hear you know upto you know, twenty k it best so it's trying to reproduce these frequencies and actually is in theory making the other frequency sound more crappy because your speakers struggling you know, reproduce these dogs frequencies you know ana you know so I mean I just go with what I can personally here ah and you know I to me twenty four bit forty four one sounds fine. I know like I've read that andy sneed was a guy I really respect in the middle production around he still records twenty four forty four one and get some of the best scent and that are, you know, production that there is, you know, in terms of high find stuff so, uh, you know to me it's kind of come to conclusions like maybe recording higher just kind of a waste of hard drive space, you know, because they obviously hires the file size exponentially larger which slows down the performance of your computer there's a lot of aspects and obviously it limits your track count with the old approaches. Oh, no, that the new pro tools uh, you know, you get more track count if you just keep it, you know, twenty four forty one but long answer to a yeah twenty four forty one four four four one our young wash it to you watch one of the creative live when you can't remember which one it was, but somebody talked about future proofing music with the sample rates and stuff like that to me I feel like the futures is getting lower quality everybody is fine with mp three's which is lower than cd quality so a lot of people listen to music on their laptops speakers yeah which is terrible sound yeah yeah you know to me I mean, you know it's possible I just don't I don't foresee that I think it's gotten to a point where everyone's life is good enough yeah and they don't care if it's better quality there they would want right now while soft time money that's that's what it's all down to like the label wants it done quickly you yeah I mean I think it would be I mean it's you know, because I've gone over like said the stripping the noise I can talk about before I you know because this takes a little time to be with you and do this so how about for screens to you do you tune screams or is it is that you could pick him up or down technically you can't tune called screams arm or a percussive the nature tonal yeah, yeah I'll show you what it looks like if you loaded and screams I'm sure people have missed around trying to, you know, pick him up or down, you know, some people pitch him way down, right? Yeah, yeah it's kind of an effect of whatever just trying to set you make it sound more brutal than you really can do in the air and definitely tell that's not when it's really not you especially the low stuff it's like come on me and you you're not that monstrous but if you're you know it's a cool tool to use if you're you know doing a double movie yeah you know it's like it's like the whole everybody thinks the devil's really low paid for some reason what is ok who determined the devil's lopes what were you thinking about that all right it's funny because I mean we just I guess through cartoons, movies and stuff we like to run a source rex is low pitch right? Maybe the scary things yes just like a bird wait it definitely sounds like an animal of some sort wait yes you see what I see with bubble to those that you know what that girl was no, I don't think I just highlighted the wrong thing but you see how vocal auto tune just doesn't even pick it up even though there's kat there's kind of a pitch it's just more percussive it's just like so the only way you know we could grab a pad or something you know we could grab you know, just regular pit shift and just ah we owe way having intothe you're going the other way around that sounds like the devil just sounds like all of us together as one big but you nothing for band. Yeah, so pitching with the vocals with the auto tune just it, you know, it's not possible because there's there's there's a style that tommy does like said this this really difficult to pitch on a lot of people do they have in towns and, you know that whole harsh, that kind of screaming things toe the other team doesn't like to pick that up. I don't know if mila don made pick that up better, or I know waves to kind of fix it up a little better mess with that, but it's, it doesn't pick it up great, so I mean, a lot of times I've had to ah let's, pull up the, you know, tommy's a fun voice, no e but yes, so we've got the fun voice there. No, no, no way! You should just talk to people like no way it's, because it's kind of a combination of percussive in a combination noise, vogel, who doesn't like it, you know, auto tune didn't like it it's you know, if you draw this in it it's just going to sound all glitchy l I'll do a demonstration. Tom was pretty coast on page there anyway, certainly close enough for the fun voice, no way, so if you say he's saying, you know, obviously you can use this kind of as a tool to see they might have been like, you know, twenty six, sharp, whatever you could see right here, you see, right here it tells you like the pitch now looking like, ok, he might have been, like, twenty six sharp, so you could use as a tool to see you can grab the, you know, the manual thing I do, I do with the heart heart spoke was you kind of do it have to do it manually? Luckily, with the horse mogul, strangely, they don't have to be is in pitches. The singing, yeah, that sounds good, feels like soundgarden, you know his voice is so you know, it's, yeah, the pitch, you know, like it's, not exactly on, but it still sounds good get it sounds really yeah, and it's just it's. Fine, but I say we know that notes a little the twenty cents sharper said fifteen twenty six short, someone's manually.

Class Description

Get an inside look at how things run in the studio with Tommy Rogers & Jamie King in this Studio Pass.

Tommy is the vocalist for the progressive metal band Between the Buried and Me and has worked with Jamie to produce most of the band’s albums. In this class, they’ll share their signature approach to production and detail the process they used to record Tommy’s latest solo album “Modern Noise”.

Both Tommy and Jamie aim to track songs that sound organic and real. In Studio Pass: Tommy Rogers & Jamie King, they’ll show you how things should run in a studio to get a final track that sounds like the band on their best day, but not over-produced.

You’ll learn about the role good pre-production plays in getting the best sound and what you should do before you ever set foot inside the studio. You’ll learn about the recording process as Tommy and Jamie track drums, bass, vocals, and guitar for a song from Tommy’s solo album. They’ll also deconstruct Pro Tools sessions and talk about how performance impacts the final arrangement.

If you want to learn how these guys work in the studio, don’t miss your chance to hang for two days with Tommy and Jamie and get a behind-the-scenes look at their process.

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