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If you don't cancel your free trial before it ends in 14 days, you will automatically be charged $24.99 to begin your paid monthly subscription to Auto-Tune":1,"#Stay updated with the latest Auto-Tune Pro X 10.3.1 update from Antares Auto-Tune. Explore new features and enhancements for your music production.":1,"#A quick guide to getting started with Auto-Tune Access 10.":1,"#An overview of the Graph Mode Controls in Auto-Tune Pro 11.":1,"#Lukas Peters":1,"#<var day=\"\"></var>. 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This may mean establishing a preset to make the vocal effect completely wet unless he hits bypass to turn it off. Or, it may mean turning off Auto-Tune until someone’s ready to sing. “It’s the same with the rock stuff,” he explains. “When you’re mixing a rock band, you don’t keep <a ljsid-1=\"\">reverb</a> and delay on after the song’s over, because then it takes the mystery away from the desired effect. So it’s a constant bypass, on and off, on and off, for my technique. You have to understand that and be very delicate with mixing with that. Some people have a different approach; some people leave it on. I like to keep it off until they sing.”":1,"#Bobby Crown is one of the most sought-after live engineers on the rap and hip hop scene. He’s become the go-to for all things <a ljsid-1=\"\">Auto-Tune Live</a>, whether that’s replicating essential studio effects or interpreting and shaping artists’ live vocal needs on tour. Crown spends half the year on the road—a two-month run here, a summons to build an Auto-Tune rig there—translating the sonic visions of Young Thug, Ty Dolla $ign, Freebandz Test, Gunna, and Future for big audiences with even bigger expectations.":1,"#TERMS AND CONDITIONS: You must provide a method of payment to authorize your free trial. If you don't cancel your free trial before it <a ljsid-1=\"\">ends in 14 days</a>, you will automatically be charged $24.99 to begin your paid monthly subscription to Auto-Tune Unlimited.":1,"#An overview of the Graph Mode Preferences in Auto-Tune Pro 11.":1,"#An overview of the Global Controls in Auto-Tune Pro 11.":1,"#subscription to":1,"#February <var day=\"\"></var>, <var year=\"\"></var>":1,"#378,00 €":1,"#Discover essential tips and insights on selecting the best music production software tailored to your needs at Antares Auto-Tune.":1,"#<b ljsid-0=\"\">San Holo</b>: The ability to create a full song with all its production and instruments all by yourself. No need to wait on any other band members or artistic opinions. Don’t get me wrong, sometimes that’s great! But I needed a musical outlet that was just 100% me.":1,"#<b ljsid-0=\"\">San Holo</b>: Bands such as <a ljsid-2=\"\">Smashing Pumpkins</a>, <a ljsid-4=\"\">Red Hot Chili Peppers</a>, <a ljsid-6=\"\">The Cure</a>, <a ljsid-8=\"\">Explosions in the Sky</a>, <a ljsid-10=\"\">Sigur Ros</a>, etc. I was never a big fan of “cool rock music,” I was always looking for sad, emotional guitar playing.":1,"#<b ljsid-0=\"\">San Holo</b>: I use <a ljsid-2=\"\">Auto-Tune Artist</a> and <a ljsid-4=\"\">Auto-Tune Vocodist</a>. I’m really excited to start messing around with <a ljsid-6=\"\">Auto-Tune Slice</a> cause I’ve heard great things about it!":1,"#Holo owns and operates the artist-friendly record label <a ljsid-1=\"\">Bitbird</a>, which he founded in 2014 with his childhood friend Thorwald van den Akke, and is also the progenitor of the <a ljsid-3=\"\">Stay Vibrant</a> movement.":1,"#<b ljsid-0=\"\">San Holo</b>: I’ve been using the Antares Auto-Tune hardware units a lot in the past! So when I switched software to Auto-Tune it was an easy choice.":1,"#<b ljsid-0=\"\">San Holo</b>: For about 4 years!":1,"#<b ljsid-0=\"\">San Holo</b>: I even automate all the S-es in my vocal tracks.":1,"#<b ljsid-0=\"\">San Holo</b>: It’s all about the mix. <a ljsid-2=\"\">EQ</a>, <a ljsid-4=\"\">compression</a>, and automation is half of the work! For me it’s really important if all the words are audible. You need to be able to hear the vocals on the lowest volume of your audio player. I always check that in my car.":1,"#<b ljsid-0=\"\">San Holo</b>: Yes, I used to record Auto-Tune WET. Now with the <a ljsid-2=\"\">Antares software</a> I don’t have to print anything yet. I can even pitch up audio in Ableton to make it lean towards a higher or lower note! (I do this a lot.)":1,"#The affable in-demand Dutch DJ, musician, and producer has delivered a steady stream of hits beginning with his big first song, ‘Victory’, on the Canadian independent electronic music label, <a ljsid-1=\"\">Monstercat</a> in 2014. In 2017, he was nominated at the <a ljsid-3=\"\">Electronic Music Awards</a> for New Artist of the Year and his remix of Dr. Dre’s ‘The Next Episode’ has been <a ljsid-5=\"\">viewed over 250 million times</a> (via <a ljsid-7=\"\">Trap Nation</a>). The monster-chart topper <a ljsid-9=\"\">‘Light’</a> continues to shine having recently eclipsed 30 million views and his second studio album (<a ljsid-11=\"\">bb u OK?</a>) released in June of last year to strong reviews.":1,"#: I use a lot of formant effects. Sometimes I even change the formant in my unpitched voice to make it sound a little deeper.":1,"#<b ljsid-0=\"\">San Holo</b>: Creating vocal chops can be time consuming, especially if you want to make them sound like your own. It’s easy to create chops that kind of sound generic, the challenge is to make them sound unique to your own brand, emotionally and sonically!":1,"#<b ljsid-0=\"\">San Holo</b>: I see my DAW, <a ljsid-2=\"\">Ableton</a>, as one big sampler!":1,"#<b ljsid-0=\"\">San Holo</b>: I focus on the emotion rather than the technical side of music production. I like the vocal chops to feel human still.":1,"#<b ljsid-0=\"\">San Holo:</b> It’s always different! It rarely starts with just a vocal, though. Always starts with sounds.":1,"#You may have missed the chance to see Che Pope talk, but you can still make your bid at greatness.":1,"#An overview of what type of audio is appropriate for Auto-Tune Pro 11.":1,"#Discover sidechain compression in our guide, explaining its concept, applications, and impact on sound.":1,"#June <var day=\"\"></var>, <var year=\"\"></var>":1,"#<var price=\"\"></var> / year":1,"#<var price=\"\"></var> / month":1,"#Subtotal: <var price=\"\"></var>":1,"#The Flanger Sync button lets you synchronize the rate of the Flanger modulation to the tempo of your DAW.":1,"#The Flanger Depth control lets you adjust the depth or intensity of the Flanger modulation.":1,"#The Flanger Rate control determines the speed or frequency of modulation for the Flanger effect, either in hertz or in divisions of the beat.":1,"#The Flanger Feedback control determines how much of the Flanger effect’s output is fed back into its input.":1,"#You can also sync the modulation rate to your DAW’s tempo.":1,"#Add some depth and character to your samples with the built-in Flanger module, complete with a stereo-widening L/R Offset effect.":1,"#The Flanger L/R Offset control lets you create stereo width by offsetting the phase of the modulator signal between the left and right channels.":1,"#5.7K":1,"#28,57 €":1,"#Plus":1,"#Free Upgrade to <var product=\"\"></var>":1,"#<a ljsid-0=\"\">Auto-Tune</a> has been a staple in Linton’s toolbox for the past 10 years. While technology is always evolving, from Linton’s perspective, Antares has remained steadfast in supporting its users. He appreciates when staff members come to shows, spend time at front of house and monitors, and “kind of get to know everybody. That was the exciting thing, to see that it’s a software company that’s not just putting out plug-ins just to make money,” he says. “They’re trying to make their product better. Because everyone in the company seems to be fueled by the same passion we are.”":1,"#The Filter module is a great way to quickly roll off some highs or lows, or create a filter sweep effect by automating the cutoff frequency.":1,"#The Cutoff control determines the cutoff frequency of the highpass or lowpass filter, or center frequency of the bandpass filter.":1,"#This control lets you choose between three different types of filters: Lowpass, Bandpass, and Highpass.":1,"#Lowpass, Highpass, and Bandpass filters are all included, with adjustable Q.":1,"#The Q control lets you adjust the steepness of the highpass or lowpass filter, or the bandwidth of the bandpass filter. Higher Q settings result in steeper or narrower filters.":1,"#Cutoff":1,"#Lowpass/Bandpass/Highpass":1,"#Discover fundamental techniques, home practice strategies, and modern tools to unlock your vocal potential.":1,"#Learn how to improve your singing skills with our comprehensive guide.":1,"#All Arturia customers get Auto-Tune Unlimited, the ultimate vocal production suite, FREE for 3 months!":1,"#THE PROFESSIONAL":1,"#PROFESSIONAL":1,"#November <var day=\"\"></var>, <var year=\"\"></var>":1,"#Auto-Tune EFX+ is a versatile vocal production tool, which combines the core features of Auto-Tune with the powerful Auto-EFX multi-effects rack.":1,"#Next Charge Amount: <var price=\"\"></var>":1,"#<var price=\"\"></var>/year":1,"#Deactivates on <var date=\"\"></var>":1,"#Coupon Redeemed: <var coupon-value=\"\"></var>":1,"#Get <span ljsid-1=\"\">Auto-Tune Pro 11</span> the way you want it!":1,"#Separate Shared:":1,"#Duplicates track and events within it. Events duplicated this way will share data.":1,"#Duplicate Complete:":1,"#: Does not duplicate events, so no ARA instances will be duplicated.":1,"#Duplicate Track":1,"#data and no longer share data / parameters with its original.":1,"#By right-clicking an ARA event and selecting ‘separate shared’ this event will use":1,"#For more information about Auto-Tune Pro 11’s ARA implementation in Studio One, please visit the Antares Knowledge Base <a ljsid-1=\"\"><span ljsid-1-0=\"\">here</span></a>.":1,"#When I reach for <a ljsid-1=\"\">Auto-Tune</a>, it’s generally not for effect; it’s just to fix intonation issues. Physics is not a forgiving force when vibrations are rubbing the wrong way. Simply alleviating those issues with <a ljsid-3=\"\">Auto-Tune</a> can make a mix so much better, and actually reduces the necessity to over-process those elements with <a ljsid-5=\"\">EQ</a> and compression.":1,"#<b ljsid-0=\"\">Jesse</b>: I used <a ljsid-2=\"\">Auto-Tune Pro</a> on bass and 808s. These days, 808s go through a lot of saturation, and a lot of producers are using plug-ins that really light up the 808’s harmonics, and it can actually cause the pitch to modulate at the head of the note. It can be really energetic, and it changes the envelope of the initial transient, creating the impression that it’s hitting harder (speakers can behave similarly when pushed, too).":1,"#<b ljsid-0=\"\">Jesse</b>: There were quite a few amazing mixers across the album, and I mixed tracks one and two, “Woman” and “Naked”; and then two more [“Ride” and “Up n Down”] that are toward the end of the album on the deluxe edition.":1,"#<b ljsid-0=\"\">Jesse</b>: Yeah, I can’t wait. This will be my first time attending the show. I won a Grammy last year, but this is the first “big four” category nomination.":1,"#<b ljsid-0=\"\">Jesse</b>: Honestly, I use Auto-Tune more on <a ljsid-2=\"\">bass</a> and 808s than on vocals. Usually if a session comes in for a mix, Auto-Tune will already be on the vocals; I just won’t touch it. But I will commit it or I’ll freeze it down. Same with the 808s and the bass.":1,"#<b ljsid-0=\"\">Jesse</b>: Yeah, I’m completely in the box now. I use analog outboard gear as hardware inserts, but I sum in Pro Tools and bounce everything offline. To me, there’s no compromise in sound quality, and it helps to streamline the process of final exports and deliverables to the label.":1,"#<b ljsid-0=\"\">Jesse</b>: I spent years refining the art of tuning manually to get the most natural sound, and then the demand for that shifted in the mid-2010s, when it went from everybody wanting to have a really organic sound to everybody trying to recreate the <a ljsid-2=\"\">Auto-Tune 5 sound</a> and just tracking with <a ljsid-4=\"\">EFX+</a>.":1,"#<b ljsid-0=\"\">Jesse</b>: Mostly <a ljsid-2=\"\">Auto-Tune</a>. I have had Auto-Tune in my house installed on a computer since the late ’90s, because my dad was an early adopter. I remember him always using Auto-Tune to do manual tuning.":1,"#Kanye West’s DONDA":1,"#Doja Cat’s Planet Her":1,"#After a chance studio encounter with Kanye West in 2018 led to the opportunity to engineer West’s Yandhi and Jesus Is King albums, Ernster focused exclusively on mixing; his A-List credits include Doja Cat, Burna Boy, Dora Jar, Goody Grace, and UMI. On the side, Ernster runs":1,"#<a ljsid-0=\"\">Sound On Sound</a> always gives us great insights in their “Inside Track” series where they give insights to the time, place, gear and creative process used in creating great recordings. This installment covers making <a ljsid-2=\"\">Draco</a> by <a ljsid-4=\"\">Future</a> and includes an interview with his late engineer <a ljsid-6=\"\">Seth Firkins,</a> who also mixed artists that include Rihanna, Young Thug, Jay-Z, Trina, Ciara, and Gucci Mane. Read about Future’s <a ljsid-8=\"\">vocal chain</a>, <a ljsid-10=\"\">Auto-Tune</a> and more.":1,"#, the Interval controls let you transpose each oscillator up or down by a fixed number of semitones (up to 12).":1,"#control in the Oscillator section (not to be confused with the one in the Envelope section) is only active when Pitch Track is set to MIDI.":1,"#might result in a transposition of 3 semitones or 4, depending on the context within the current scale.":1,"#the oscillator will generate a sawtooth wave. At the maximum setting, it generates a square wave. Settings in between produce a pulse wave of varying pulse widths.":1,"#When the Shape control is set to":1,"#, etc).":1,"#The <strong ljsid-1=\"\">Octave</strong> control lets you transpose the pitch of the synth up to two octaves up or down.":1,"#controls allow you to create harmonies between the two oscillators, by individually transposing them.":1,"#When Scale is":1,"#The <strong ljsid-1=\"\">Oscillator Gain</strong> sliders (labeled OSC 1 and OSC 2) set the relative levels of the two oscillators.":1,"#The <strong ljsid-1=\"\">Detune</strong> control allows you to introduce slight detuning between oscillator 1 and oscillator 2, to create a chorusing effect. The units represent the tuning difference between the two oscillators in cents.":1,"#The <strong ljsid-1=\"\">Cross Mod</strong> slider lets you multiply the outputs of the two oscillators to create a cross modulation effect (also known as ring modulation).":1,"#As a result, when Scale is":1,"#Depending on the state of the Scale button, transpositions can be specified either in semitones (":1,"#control lets you choose the number of polyphonic voices for the oscillators (up to 8).":1,"#button lets you choose between two different methods of pitch transposition when using the Interval controls.":1,"#This control is only active when Pitch Track is set to":1,"#controls let you set the waveshape independently for each of the two oscillators.":1,"#), or by scale intervals (e.g.":1,"#, transpositions are specified in scale intervals, and the resulting pitches will always conform to the current Key and Scale settings.":1,"#The <strong ljsid-1=\"\">Oscillator</strong> controls let you configure Auto-Tune Vocodist’s powerful built-in 8-voice, dual-oscillators. When the Source control is set to Oscillator, these oscillators function as the synthesis channel input into the vocoder.":1,"#The <strong ljsid-1=\"\">Glide</strong> control sets the amount of time (in milliseconds) that the oscillators take to glide from one pitch to another.":1,"#the exact amount of transposition will sometimes vary. For example, an Interval setting of":1,"#on,":1,"#rising":1,"#At lower Smear settings, envelope release times are":1,"#In addition, Band Shift includes three extra settings (":1,"#control determines how quickly (in milliseconds) the envelope follower attached to each filter band reacts to":1,"#for each band, from the lowest to highest band. Similarly, at higher settings, release times are":1,"#falling":1,"#control determines how quickly (in milliseconds) the envelope follower attached to each analysis filter band reacts to":1,"#X1":1,"#signal level.":1,"#increased":1,"#control is useful to create ringing reverb-like effects.":1,"#Another feature inspired by vintage hardware vocoders, the":1,"#lets you individually set the gain for each filter band. It functions very much like a graphic EQ, allowing you to sculpt the frequency response of the vocoder output.":1,"#Similar to the Slide control in the Filter Design section, the":1,"#for each band, from lowest to highest.":1,"#controls let you configure the volume level of each filter bank independently, and also how the filter banks respond to the detected amplitude of audio input (e.g. your voice).":1,"#) that implement a ‘criss-cross’ re-routing to create speech scrambling effects (turning your voice into something very alien).":1,"#control creates a formant shifting effect by offsetting the synthesis filter bands from their corresponding analysis filter bands.":1,"#X3":1,"#button lets you lock the vocoder onto the current frequency spectrum of the voice input signal.":1,"#decreased":1,"#Higher ratios will result in a more compressed sound and a narrower dynamic range.":1,"#The Knee control lets you adjust how suddenly or gradually compression is applied when the signal exceeds the threshold.":1,"#Makeup Gain":1,"#Need to even out the dynamics of a sample to sit better in your mix? Auto-Tune Slice has you covered with this built-in compressor module.":1,"#Lower settings result in more abrupt (hard knee) compression, and higher settings result in more gradual (soft knee) compression.":1,"#For example, a 4:1 compression ratio means that for every 4 dB that the signal exceeds the threshold, 1 dB of gain reduction is applied.":1,"#After setting the other compressor controls, turn up the Makeup Gain to match the output level to the peak level of the original audio.":1,"#The Release control lets you adjust the release time of the compressor in milliseconds.":1,"#The Threshold control sets the threshold of the Compressor in decibels.":1,"#The Makeup Gain sets the output level of the compressor.":1,"#The Attack control lets you adjust the attack time of the compressor in milliseconds.":1,"#The threshold of a compressor is the level that the audio must exceed before gain reduction is applied.":1,"#The attack time is the time it takes to reach full compression once the threshold has been reached.":1,"#The Ratio control sets the compression ratio, which determines how much gain reduction is applied once the threshold is exceeded.":1,"#The release time is the time it takes for the compressor to return to zero gain reduction once the signal level has fallen below the threshold.":1,"#CHANGE AUTO-TUNE UNLIMITED ONE YEAR (WITH ANNUAL ROLLOVER, FL STUDIO) SUBSCRIPTION":1,"#<var day=\"\"></var>. April <var year=\"\"></var>":1,"#August <var day=\"\"></var>, <var year=\"\"></var>":1,"#Master EQ in your vocal mixes with this complete guide. Learn tips for clarity, balance, and depth. Ideal for beginners and pros alike.":1,"#After your FREE trial period ends, an Auto-Tune Unlimited subscription automatically renews at $24.99/mo.":1,"#Total retail value: $74.97.":1,"#FOR":1,"#2.5K":1,"#Try mapping different pairs the Oscillator controls to XY Pad or automating them in your DAW to create dynamically morphing textures and shifting harmonies.":1,"#Unlike Detune, which slightly detunes oscillator 1 and oscillator 2 from one another, Unison introduces detuning among 8 stacked unison voices, for each of the two oscillators.":1,"#Similar to Detune, Unison slightly detunes the oscillators for a thickening or chorusing effect.":1,"#Unison":1,"#You can also set the number of polyphonic voices (up to 8), determine the glide rate when moving from one pitch to another, add some depth by introducing slight detuning.":1,"#With the Oscillator controls, you can set the mix between oscillator 1 and 2, create harmonies by transposing them by chromatic or scale intervals, morph their waveshapes independently, and even add some cross modulation.":1,"#It controls how long it takes the oscillators to fade out the end of a MIDI note (or after you release a key on your MIDI keyboard).":1,"#Try using the Glide control in conjunction with Retune Speed to set different glide rates between your Auto-Tuned input voice and vocoded voice (be sure to turn up Voice Mix to hear the input voice).":1,"#Oscillator Gain (Osc 1 and Osc 2)":1,"#Cross Mod (X)":1,"#Try assigning the Shape controls to the XY Pad or automating them in your DAW to create dynamic, real-time morphing effects.":1,"#Octave":1,"#In this mode, the harmonic relationship between the two oscillators remains fixed, and the resulting pitches may not conform to the Key and Scale.":1,"#These controls are continuously variable, so you can smoothly adjust between sawtooth, pulse, and square waves.":1,"#The newly created track will use separate data and parameters of the original region – it is considered":1,"#To duplicate a track containing an ARA instance of Auto-Tune Pro 11, right click on the track, then click ‘Duplicate Track’.":1,"#Duplicated events will be considered":1,"#3. Select Auto-Tune Pro from the dropdown list:":1,"#by default in Cubase, meaning they will share data and parameters with the original copy.":1,"#After opening Auto-Tune Pro 11 as an ARA plug-in, all of the audio data from the selected event will be transferred to the plug-in instantaneously.":1,"#Dependent":1,"#When using ARA in Cubase, Auto-Tune Pro 11 will be instantiated directly onto an audio event instead of on the channel strip. To do this, please follow the steps below:":1,"#Duplicated events created in the following ways do not share data and parameters with the original copy – they are considered":1,"#For more information about Auto-Tune Pro 11’s ARA implementation in Cubase, please visit the Antares Knowledge Base <span ljsid-1=\"\"><a ljsid-1-0=\"\">here</a></span>.":1,"#Explore easy steps to harmonize vocals using Antares' Harmony Engine in our latest blog. Ideal for enhancing your music production skills.":1,"#In Octaver mode, the Pitch control is a switch that lets you set the doubled voice to either one octave above (<em ljsid-1=\"\">up</em>)<em ljsid-3=\"\"></em>or one octave below (<em ljsid-5=\"\">down</em>) the original pitch.":1,"#The Pitch control has two different modes of operation, depending on the setting of the Dual/Octaver switch.":1,"#The Timing control lets you set the amount of timing variation between the doubled voices.":1,"#For technical reasons, the Doubler effect is fixed in the first slot of the effects rack. It can be turned on and off, but cannot be moved to a different position or removed.":1,"#When set to <em ljsid-1=\"\">Dual</em>, the doubled voice is approximately the same pitch as the original voice (with some detuning applied by the Pitch control).":1,"#Dual/Octaver":1,"#It includes options for both unison and octave doubling.":1,"#The Doubler effect is a great way to thicken up a vocal sample, with realistic timing and pitch variation between the original and doubled voices.":1,"#The Dual/Octaver switch lets you choose between a standard doubler effect and an octaver effect.":1,"#Timing":1,"#When set to <em ljsid-1=\"\">Octaver</em>,<em ljsid-3=\"\"></em>the doubled voice is either an octave above or an octave below the pitch of the original voice, depending on the setting of the Pitch control.":1,"#In Dual mode, the Pitch control is a knob that lets you set the amount of pitch variation between the unison doubled voices.":1,"#Band Gains Down (Bypass All)":1,"#Random Band Gains":1,"#It staggers, or “smears” the follower release times across all of the bands, either up or down, depending on which way you move the control.":1,"#Higher Release settings make the envelope followers react more slowly to falling signal, resulting in longer decays and a more sustained sound.":1,"#If you notice excessive boominess or high-end sizzle on the vocoded output, try lowering a few of the sliders in the low end or high end (respectively) to tame these issues.":1,"#Then you can experiment with the Auto-Tune settings on your input vocal before mixing the vocoder output back in with the Band Gains Up button.":1,"#Just click the Band Gains Down button to mute the vocoder, and turn up Voice Mix to bring in the input signal.":1,"#This is a great way to quickly experiment with different filter band gain settings and get a sense of the different types of effects you can create with them.":1,"#Longer settings make the envelope followers react more slowly to peaks in the analysis signal. This tends to soften and blur the articulations, for a less percussive sound.":1,"#Try drawing different curves across the Multi-Slider, and listen to the effect it has on the vocoder’s output. Or click the Random Band Gains button to try out different randomly generated filter settings.":1,"#Smear":1,"#If the voice input signal is a vocal, Freeze will lock onto the current vocal formant and hold it indefinitely (until you turn Freeze off).":1,"#To visualize how this works, imagine a patch bay with a cable that connects each filter band in the analysis filter bank with the corresponding filter band in the synthesis filter bank.":1,"#By default (when Band Shift is set to 0) analysis band 1 maps to synthesis band 1, 2 maps to 2, and so on.":1,"#Band Gain Multi-Slider":1,"#This button turns all the bands in the Multi-Slider all the way down, which mutes the output of the vocoder entirely.":1,"#But unlike Slide, which slides the synthesis bands continuously, Band Shift creates a formant shifting effect in a way inspired by a feature found on some old vintage hardware vocoders–by “re-patching” the connections between the analysis and synthesis filter banks.":1,"#Multi-Slider Control Buttons":1,"#This button sets all the bands in the Multi-Slider to the default value of 0 dB.":1,"#This button is useful if you want to dial in the Auto-Tune settings and other effects on your input vocal without hearing the vocoder output.":1,"#Band Shift":1,"#Shorter Attack settings cause the envelope followers to react more quickly to peaks in the analysis signal. This results in quicker, more responsive articulation, and generally better intelligibility in the vocoder output.":1,"#This can be useful for creating sustained vowel sounds in the vocoder output without having to pause and take a breath.":1,"#The Band Shift control offsets this mapping, shifting it over in either a positive or negative direction. Positive Band Shift settings will shift the pitch of the resynthesized formants up, and negative settings will shift them down.":1,"#This button sets each of the bands in the Multi-Slider to a different random value.":1,"#Shorter Release settings mean that the envelope followers react quickly to falling signal levels, so that the amplitude decay of the vocoder output more closely follows the analysis signal.":1,"#When you adjust a band gain slider, its corresponding band filter is highlighted in the Filter Graph.":1,"#Freeze":1,"#These controls can affect the intelligibility of vocoded vocals, and can also be modified to produce many other elaborate effects, such as completely alien vocals for sound and character design (see Band Shift).":1,"#You can also use the Play (Audition) button to send broadband pink noise through the filter to get an even clearer sense of how the Multi-Slider affects the frequency response of the filter banks.":1,"#These buttons function as macro controls that let you quickly set all the bands in the Multi-Slider at once.":1,"#Band Gains Up (Reset All)":1,"#Founded in 2009, Genius is a unique media company that's powered by community, our in-house creative team, and the artists themselves. We serve music knowledge to over 100 million people each month on Genius.com and everywhere music fans connect across the internet.":1},"version":7041}]