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Greetings, all.

What I am speaking of is this:

I put AutoTune on a track to use the automatic setting and listen, to see how the automatic side of AutoTune works. Then, section by section I bounce to disc, and file by file, build a new take in a track with all the AutoTune pitch corrected files. I then go in and manually adjust in the DP pitch files where AutoTune missed or couldn't be trusted to automatically catch them. Sounds tedious, but it is still a bit faster than manually tuning everthing in DP.


Is there a way DP can bounce in place and automtically put the AutoTune corrected bounced files in a take, without manually having to be dragged in. DP would have to know somehow, to place the bounced files in this new take and where in the timeline. Wouldn't this be a 'bounce in place," sort of...?

Is there an easier way to accomplish this?

Sam

Just guessing here, but:

1) Duplicate track to preserve original.
2) Select track to be affected (highlight bite/s).
3) Apply plug-in from DP's menu.

As I understand it, it should replace the audio in-place. I've never used this feature, but I assume this is how it works.

Theoretically, and I'm guessing here too, DP should retain the original bite/s anyway, but other than using the undo function, and depending upon the number and placement of said bites, the duplication option could end up saving you a headache in that you'd not have to drag the originals back into position. In addition to this, they'd be sitting there (in-place in a disabled track) ready for further experimentation.

I've not done any of this, but this is what I'd try first.

I don't think I was clear. I am using AutoTune in the channel inserts. I want to bounce in place using AutoTune, not the DP Pitch apply.

I think what you are describing is the DP pitch automation built in, not the channel insert for AutoTune.

Thanks for the suggestion, though.

Sam

Not sure I get your workflow, but can you just use DP pitch correction to bring "oh my!" moments into a range AT will properly interpret? In other words, insert AT on your vocal track, listen along and, using DP pitch, correct only those notes and phrases that go off the reservation.

Duplicate the take or track before you start if interested in preserving easy access to an unadulterated performance. If the singer is good, you can use either the AT track or the raw track as lead and the other, maybe slightly delayed, as a double.

Hello,
I have a couple of workflows I use depending on the singer's skill.

Good VOX = In DP pitch, I only fix what's needed.
Mediocre VOX = In DP pitch, I highlight the whole track and quantize. Then listen and go back to manually fix the weird stuff.
OR
Insert auto tune and exclude all the inappropriate notes. Open graphic mode after I get the settings as good as possible and click correct pitch. Then I can listen through and manually touch up the spots that need it.
OR
Open Melodyne learn the track in formant mode. Highlight the track then adjust the automatic apply control for pitch and warble. listen through and correct the anomalies graphically as necessary (make sure you have finished your time & substitution editing first).

Worse VOX
Can't be saved. In fact, I find pitch correction only seems to work well when singers are pretty good but need touch up. Pitch correction will cause great singers to lose detail of expression and it can't fix a bad singer no matter how much you work it.

Sorry, I just can't stop myself………….

Don T

Worse VOX
Can't be saved. In fact, I find pitch correction only seems to work well when singers are pretty good but need touch up. Pitch correction will cause great singers to lose detail of expression and it can't fix a bad singer no matter how much you work it.

Actually, I find DP works best in this case to bring things back into the ballpark as you first suggested.

Not all singers whom I work with are still living. I have and use DP Pitch, AutoTune 7 and Melodyne as needed.

Interestingly, I received this email today:

I developed Auto-Tune as a way to detect and modify pitch, resulting in bringing countless vocal recordings and live performances into prefect intonation... Maybe too perfect.

In listening to music from a variety of genres it occurred to me that Auto-Tune could do a better job of letting the vocalist's pitch gestures come through.

This made me think about my recently developed ATG (Auto-Tune for the Guitar) Technology. With the guitar, I created a way for the player to bend a note without correcting the intentional variation. Flex-Tune I realized this same technology could be applied to a vocalist. This new feature, Flex-Tune, can be adjusted by the user. At one extreme, it produces the standard Auto-Tune where every pitch is moved to the closest scale note. At the other extreme, it does no pitch correction at all. In between, it moves the note to the closest scale note only if the pitch is sufficiently close to the scale note. This gives you total control, allowing you to let through whatever amount of pitch gesture you choose, resulting in more natural sounding vocals.

Flex-Tune is now available in Auto-Tune 8.

Dr. Andy


Get It!

sampolfonz wrote:I don't think I was clear. I am using AutoTune in the channel inserts. I want to bounce in place using AutoTune, not the DP Pitch apply.

I think what you are describing is the DP pitch automation built in, not the channel insert for AutoTune.

Thanks for the suggestion, though.

Monkeyman is right. This is a specific way of applying a plug-in to a track. I'm not near my manual right now to point you in the right direction. He is not talking about DP pitch correction.

Check the Audio menu.

I don't think you guys are understanding my question. I get DP's pitch, I get AutoTune and I get Melodyne. I own both of these.

The normal procedure with an external AutoTune rack unit is play the passages in, hit the bypass key at times when it wont work and re-record to new tracks. This was the norm for the old days when working in Adats.

What I was trying to achieve with the plug in inside DP was the same type procedure, without having to manually drag the bounced files back into a track. I was trying to see about bouncing in place, but I don't think DP does that, so if I use the auto tune I will have to manually do it.

Thanks for the help, though.

Sam

Sam,

I don't think DP can do exactly what you are hoping. I used a similar workflow to create some harmonies with the Antares Harmony Engine. My solution was to patch a bus into the send on the track with the Antares plug and create a second audio track with it's source set to the same bus. Once I have my edits sounding like I want in the plug, I just record onto the second audio track. Definitely not as convenient as bouncing, but works. Before switching to Mac platform and DP, my previous DAW was Sonar and I know it had the capability you're looking for, but I'm pretty sure DP does not.

There are 2 ways to do this:


Bounce to Disk:

In the drop down menu next to File Format select the option “Project Format”
This brings up other bounce options, one of which is called Import. In the drop down menu next to Import select “Add to Sequence”

This will bounce the file and then import it into your sequence onto a new track.


Apply plug in:

Right click on the soundbite.
In the popup menu scroll down to “Apply Plug-In…”
This brings up the effects browser with a list of all your available plug-ins.
Find the Antares folder or in the search field type auto tune.
Double click on auto tune to open it.
There will be two buttons in the lower right corner of the plug-in. One says “Preview” the other says “Apply”.
With the soundbite selected click “Preview” to hear the result. You can tweak the settings all you like until you get what you want. When you are happy with it click “Apply”.
This will effectively print this effect onto your selected soundbite in place and in time. It’s kinda the same thing as bouncing to disk.


This is my work flow with noise reduction. I first insert the NR onto a track to setup the preset and save it. When thats done I delete the NR from the insert and use Apply Plug-in and recall my preset and apply it to wherever needs it.

I stand by my guess.

Please try it before assuming I don't understand what you're after, Sam.

EDIT: Obviously, for your "drop-in / drop-out" requirement, you'll either have to select non-contiguous regions or simply work your way through the track, affecting the necessary sections one at a time.

OP wants to perform a "bounce in place".

DP doesn't do it.

And, FWIW:

I don't use Autotune anymore.. I've gone completely to DP's pitch automation last few years. Pitch Automation is one of the parameters included when the "Merge Audio" command is used.. and merge audio is as close as DP comes to "bounce in place".

Killahurts wrote:OP wants to perform a "bounce in place".

DP doesn't do it.

If you make a selection in the SE, then go to Audio > Audio Plug-ins, you can pick your plug-in from there, and apply once the settings are to your satisfaction. That seems like "bounce in place" to me.

Tritonemusic wrote:

Killahurts wrote:OP wants to perform a "bounce in place".

DP doesn't do it.

If you make a selection in the SE, then go to Audio > Audio Plug-ins, you can pick your plug-in from there, and apply once the settings are to your satisfaction. That seems like "bounce in place" to me.

Technically correct, however the preview only lets you hear the audio you have selected and not in context with the rest of the mix and also only allows one plug at a time where as a bounce in place would theoretically use the entire plug-in chain on the track in question.

I'll often use the 'Apply Plugin' option, but only on changes I've already auditioned in the mix and am comfortable destructively keeping those changes and usually for the sole purpose of cutting back on live CPU intensive plugs like RX denoiser or the Antares pitch/harmony plugs or on simple things like soundbite gain changes.