Auto-Tune Pro Auto-Tune Artist Auto-Tune EFX+ Auto-Tune Access Auto-Key Avox 4 Mic Mod EFX Harmony Engine Evo. Auto-Tune can also be used as an effect to distort the human voice when pitch is raised or lowered significantly, such that the voice is heard to leap from note to note stepwise, like a synthesizer. Auto-Tune has become standard equipment in professional recording studios. Mar 19, 2012  TC Helicon C1 Hardtune Review Scott Pastor. Unsubscribe from Scott Pastor? Setting Up Auto-Tune Real Time for Live Performances with Ableton - Duration: 8:05.

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1. Auto Tune Device Barney 2
2. Auto Tune Device Barney 1
3. Autotune Device Barney Fife

Dubspot blogger Josh Spoon introduces five useful Max for Live – Ableton devices including Autotune, Push Pack for Aftertouch, Modular Series, PushMLR, and MultiMapTurnado.

Autotune

If you are looking for Auto-Tune on the cheap, look no further then Autotune by He Runs Hundreds. It’s not as feature rich as the industry standard, so I wouldn’t recommend it on your next pop star demo. But you can turn your voice into an interesting instrument while also doing some pitch correction. Getting Kanye-like pitch correction and much more is definitely attainable with Autotune. Autotune is currently available for $11.

Push Pack for Aftertouch

Aftertouch is a device released by Subaqueous with the help of Chris Schlyer and Icaro Ferre. It was created to give you more control over aftertouch on Push, Quneo, or frankly any keyboard with aftertouch. Aftertouch has two flavors available in a package called Push Pack for Aftertouch; one is (aq) Aftertouch Threshold and the other is Aftertouch Delay. These allow you to either smooth out aftertouch pressure or delay the attack and release of aftertouch. Push Pack for Aftertouch is available for free.

Modular Series

Modular Series by Isotonik Studios is a collection of Max for Live utilities to ease and enhance your production and performance workflow. All of these devices are midi mappable allowing you to rely less on your mouse, once setup. The series includes:

Looper – access Live’s clip looper and set up loop length templates for looping on the fly and manipulate the loop’s position and length

Smart - 20 user programmable banks of graphs that are used to modulate up to 8 assignable effects with the twist of a OneKnob

Follow - takes the concept of Live’s follow and makes it more dynamic; cut your song in to clips (i.e. intro, verse, chorus, etc.) and set what follow actions you’d like for each clip; footswitch controls, pitch control, floating window

Return – access 8 parameters from your return track right on an audio or midi track

Beat Repeat Enhancer - have the ability to move through the Beat Repeat grid with all grid sizes or just triplets

Arrange Cue Jumper – map up to 5 locators (cue points) to jump around the arrangement view easily

Arrange Looper – set up loop sizes and have access to flexible and dynamic looping in the Arrangement View

Auto Tune Device Barney 2

Modular Series is around 30 dollars U.S. Check out their free Follow LE to get a feel of the usefulness of the products. If you like powerful, lightweight devices that can aid creativity and easy production, Modular Series is the one.

PushMLR

PushMLR by yop44 is a simple Max for Live device that mimics the mlr script for Monome, allowing dynamic sample cutting of audio clips. PushMLR works with up to four clips on two tracks viewable at a time. Each row on Push is equal to one clip. It works by dividing the clip’s possible start position by 8 so they can be triggered on Push. Changing the global or clips quantization settings will change the frequency of PushMLR’s triggering to get loose or tight sample chopping. Setting loop points through PushMLR would be a great addition for this device, but it is great with the current features and is completely free.

MultiMapTurnado

MultiMapTurnado by Niels Poensgen mimics the effect blending feature of Sugarbytes’ Turnado with Ableton Live effects. You control up to eight parameters at once by setting boundaries to automate when each will turn on, it’s modulation and when it will turn off. This works similar to Ableton Live rack’s chain selector but with the ease of quick mapping and a OneKnob already setup to change all eight parameters. Grab this free device especially if you are looking for new ways to have fun with your Live effects.

Dubspot blogger Josh Spoon is an Ableton Live veteran, blogger, drummer, music producer and live performer. Josh has a residency with the eclectic Los Angeles electronic music collective Space Circus, performing every first Friday of the month, and just released his first concept EP of grooving low-end originals entitled Man on Mars.

Ableton Live Producer Certificate Program

The flagship of our music training, with every Ableton Live course offered at the school. After completing this program, you will leave with a portfolio of original tracks, a remix entered in an active contest, a scored commercial to widen your scope, and the Dubspot Producer’s Certificate in Ableton Live.

What’s Included:

• Ableton Live Level 1: Beats, Sketches, and Ideas
• Ableton Live Level 2: Analyze, Deconstruct, Recompose, and Assemble
• Ableton Live Level 3: Synthesis and Original Sound Creation
• Ableton Live Level 4: Advanced Sound Creation
• Ableton Live Level 5: Advanced Effect Processing
• Ableton Live Level 6: Going Global with your Music

This program is about learning Ableton Live by going through the entire process of being an artist, by developing your own sound through a series of sketches and experimentation. You will also learn the ins and outs of this powerful software through a series of exercises designed to help you master the steps involved in producing your own music. After a level of getting familiar with the tools that Ableton has to offer, you will then develop your sonic ideas into full-length tracks. You will be exposed to a variety of approaches to arrangement and composition, storytelling techniques, ways of creating tension and drama in your music. At the end of the day, it is the sum total of your choices as an artist that define your sound, and levels 2 – 6 will give you the experience of actually completing tracks to add to your portfolio.

If you have questions, please call 877.DUBSPOT or send us a message.

Dubspot NYC Open House: Sundays 11:00am and 12:00pm

Ask questions. Watch demos. Test drive workstations.

Anyone who comes by will have the opportunity to ask our instructors in-depth questions about our programs, curriculum and philosophy, and watch live music production and DJ demos. You can even sit down at one of our workstations and take it for a test drive. If you are still trying to decide what you are looking for, we suggest you stop by one of our Open Houses to learn more about the school, understand what the learning process at Dubspot entails and help you decide what is best for you. We can also help with scheduling details and payment options.

If you switched on the radio in the summer of 1998, chances are you got a taste of Cher's 'Believe,' an up-tempo ode to bouncing back after a rough breakup. More than a quarter century after first rising to prominence as a 1960s folk artist, the 52-year-old Cher was once again climbing the charts. In malls, dance clubs and laser bowling alleys across the country, 'Believe' played frequently. By the time the dust had settled, the song had become Cher's bestselling recording ever -- and one of the bestselling singles of all time.

At the time, the most notable feature of the song was an electronic modification on the vocals. The effect first appears 35 seconds into the song, while Cher sings 'I can't break through.' On each of the last three words, Cher's voice undergoes a bizarre electronic glitch.

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The reason behind that glitch was Auto-Tune, a pitch-correcting software designed to smooth out any off-key notes in a singer's vocal track. Released only the year before 'Believe,' it was the recording industry's favorite dirty secret: With only a few clicks of a mouse, Auto-Tune could turn even the most cringe-worthy singer into a pop virtuoso. But most music studios kept it around simply to fix with the occasional wrong note.

During the recording sessions for 'Believe,' however, Cher's British producers had put the software into overdrive. Instead of lightly tuning the pitch of Cher's voice, they had adjusted the levels so sharply that it became an unmistakable part of the song. The effect was weird and robotic, but against a background of synthesizers and high-energy percussion, it worked like a charm. Opera singers have long been using vibrato, a technique of delivering a note in a constantly wavering pitch. As far as Cher and her producers were concerned, though, Auto-Tune was simply a computerized twist on the technique.

As 'Believe' hit the airwaves, the producers aimed to keep the lid on their new toy. So much so, that when interviewed about the technique by a sound engineering magazine, they lied and said it was due to a vocoder, a well-known voice modulation device used since the 1970s [source: Sillitoe].

Auto Tune Device Barney 1

But the truth eventually trickled out, and when it did, Auto-Tune's inventor, Harold 'Andy' Hildebrand, was shocked. Auto-Tune was supposed to be a behind-the-scenes trick for the recording studio. The New Yorker had compared it to blotting out the red-eye in a photograph, and Hildebrand himself compared it to wearing makeup [source: Frere-Jones, NOVA].

Autotune Device Barney Fife

But now, Hildebrand's brainchild was making Cher sound like a robot. 'I never figured anyone in their right mind would want to do that,' Hildebrand told Time magazine [source: Tyrangiel] Whether he realized it at the time or not, Hildebrand's electronic creation was about to become one of the largest technological influences on popular music since Les Paul invented the modern electric guitar.