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Wetsuits on, as we dive into Record's new pitch‑correction device, Neptune.

Neptune appeared along with Record 1.5 last year, and because it's really designed for use on audio tracks, it appears only in Record, not in Reason. On the face of it, this is a fairly straightforward Auto-Tune clone: You feed the plug‑in monophonic audio and it pulls that audio into tune, according to a musical scale you define, and with varying degrees of naturalness or (intentional) artificiality. Its other abilities (which are extensive, and often jaw‑dropping) we'll look at next time, but for now, let's get stuck into the main game — pitch correction.

Instant Impressiveness

Neptune's pitch adjustment controls.

So you've got your vocal track recorded, and you'd like to tighten up its tuning a bit. Easy.

Start by finding the vocal track's device in the rack. One easy way to do this is to click the 'RACK' button at the bottom of the track's channel strip in the mixer. Record opens up a rack view if necessary and flashes the device. Now right‑click the device and choose Create / Neptune Pitch Adjuster from the contextual menu. This creates and inserts a Neptune within the Audio Track device, in its 'Insert FX' signal path.

Now all you need to do is configure the Neptune for your needs. Towards the right‑hand side make sure the Pitch Adjust button is toggled on, but that Transpose and Formant are both off. Then you might only need to adjust the pitch correction characteristics using the Correction Speed and Preserve Expression knobs. Using them is intuitive, and very much a matter of experimentation, but in general it's the Correction Speed parameter that determines how processed the result sounds — keep this low for an in‑tune but natural performance. Preserve Expression is all to do with vibrato: high values let vibrato through, while low values iron it flat. If you have a very wobbly singer, try switching in the Wide Vibrato option (to the left of the central display), which alters the response characteristics of the system. The Low Freq(uency) option is there for when you're trying to work with very low pitches — below 44Hz to be precise — so Barry White or Jaco Pastorius wannabees should still be served perfectly well without this option switched on.

Choosing a scale type and root note can help ensure more accurate pitch correction, with fewer unwanted wobbles.Although Neptune's default settings work well on a range of material, you'll get tighter results if you also choose one of its predefined musical scales and a corresponding musical key to match your song. This prevents Neptune getting the wrong end of the stick, as it were, and 'correcting' the vocal to pitches that aren't actually used in the song. You'll need to be thinking in music theory terms, of course, to pick the appropriate key and scale, so if you're uncertain, you can do it another way: just work out which notes your melody actually uses, and then program the scale from scratch. Actually 'program' is too grand a term — it's just a case of toggling notes on and off with a few mouse clicks on Neptune's miniature keyboard.

Real‑world Use

Now, choosing or defining scales is all very well, but what if your song switches tonality halfway through, or simply changes key, rendering your settings useless? For this, there's the Scale Memory function. Check out the top right of the central display area and you'll see the four numbered buttons associated with this feature. These are memories for scale settings, so you can have up to four scales ready and waiting for use at any one time. Here's how you might use them:

For 'scales' with very few notes, a wider Catch Zone ensures that Neptune stays on the job.

1. Set up the scales you need for each section of your song: for each one just click a Scale Memory button and then choose a predefined scale or program your own. Settings 'stick' as you go along — you don't have to save anything.

2. If your Neptune is inserted in an Audio Track device, it won't have got a sequencer track for itself by default. So right‑click the Neptune and choose 'Create Track for Neptune'

3. In the sequencer, select this new Neptune track (it may well be selected already) and then click the Track Parameter Automation button at the top of the track list and choose the 'Scale Memory' option.

If you've recorded acoustic parts that are not tuned to an A-440Hz pitch centre, the Master Tune slider in Preferences allows you to tweak Neptune's pitch recognition to match.

4. Switch to Edit Mode, and in the Scale Memory lane use the Pencil tool to write an automation event relating to one of the four values, at the appropriate point in your song. In Record 1.5.1, at least, the values range, unhelpfully, from 0‑3 rather than 1‑4, but it's not difficult to work out.

5. Now, on playback, Neptune's scale settings will be switched at the appropriate moment.

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Another scenario that comes up quite often is the need to switch off pitch correction completely for a section of a song. For this, we need to automate Neptune once more. Start off by repeating most of steps 2 and 3 above, but instead of choosing 'Scale Memory' opt for 'Pitch Adjust On/Off'. Then, in Edit Mode, in the Pitch Adjust automation lane, use the pencil tool to write a value of 1 (on) or 0 (off) at the relevant locations in your song.

The MIDI factor

The Scale Memory feature lets you set up a number of different scale types and then switch between them using Record's automation — essential if your song changes key.

So far we've only considered what Neptune can do using pre-defined scales. But there is another way to feed it pitch correction information: with notes from a MIDI controller, either played live or recorded into a track. This approach can generate both delightfully subtle and downright bonkers results.

1. Right‑click Neptune and 'Create Track' for it if it doesn't have one already.

2. Record‑enable the newly created sequencer track.

3. Back in Neptune, make sure the '[MIDI] To Pitch Adjust' option at the left of the central display is selected.

Now, during playback (or indeed recording), try playing some notes on your controller. The display indicates the target pitch you're playing with a green rectangle, and Neptune should pull the current pitch towards it, subject to the Correction Speed setting. Interestingly, MIDI works in addition to the normal scale system, overriding it for as long as there's note input. That means you can use it for brief overrides, perhaps for when your melody steps outside of your programmed scale. But you can also toggle off all the scale pitches, using the mini‑keyboard, and then you'll get a natural, uncorrected performance except when there's MIDI input. This is good if there's just one or two notes out of tune in a vocal take.

It goes without saying, too, that the MIDI input allows you 'play' the pitch correction in remarkable ways, twisting vocal and other lines into bizarre and wonderful shapes. Many hours of happy noodling lie ahead..

Pitch

Catch Zones

If you program a lot of your own scales, and especially if you ever select just one or two pitches for a scale, to force some very 'quantised' pitch correction, you'll see gaps appear in the red line above the pitch display. The red lines (for there are actually many, one associated with each pitch) are called 'Catch Zones'. To put it simply, Neptune won't even attempt to correct a note's pitch unless it falls within a catch zone. However, the size of the zones is adjustable, using the horizontal slider above the pitch display. So how do we use Catch Zones to best advantage?

In some circumstances, reducing Catch Zone size is good. Let's say you're working with a really good jazz singer. You might already have set pitch-correction parameters to allow a more natural effect, but going a step further and setting Catch Zone Size to its minimum forces Neptune to only correct notes that are a tiny bit out of tune, and to actually completely ignore a microtonal pitch range between scale pitches. This can allow portamento, swoops, glissandos and deliberate note bends to pass through more naturally.

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On the other hand, increasing Catch Zone Size has its uses too. Imagine you've programmed a 'scale' with only three pitches, relating to the notes of a minor chord. You're aiming for a highly processed, robot‑like effect of a vocal line jumping between these pitches, almost in the manner of sa synth arpeggiator. As well as the obligatory settings of maximum Correction Speed and minimum Preserve Expression, it's also essential to increase Catch Zone Size so that the zones fully cover the gaps between the pitches. In this instance a setting of above 260 cents does the trick. In fact a higher setting makes no difference — Catch Zones can't overlap.

Reference Material

One thing conspicuous by its absence in Neptune is any sort of pitch reference parameter. You need this if the fundamental pitch centre of your song is a little way flat or sharp of A-440. This could have happened if you sang to a guitar accompaniment, but the guitar was only in tune with itself.

Actually the parameter does exist, but it's a global setting, in Record's Preferences, on the Audio page. There's a Master Tune slider there that allows you to adjust either side of A-440Hz by up to a semitone.

In part two of our short series, we dive deeper into Neptune, the pitch correction device that keeps on giving.

Neptune Pitch Adjuster Vst Download Free

Neptune does much more than pitch correction. Here it's generating harmony parts from a standard single‑line vocal track, according to the notes it's receiving from the Neptune MIDI track.

This month's Reason workshop, just like last month's, is aimed squarely at Record users, and focuses on a device that only appears in that application — the Neptune Pitch Adjuster and Voice Synth. As we discovered last issue, it's a hugely capable Auto-Tune equivalent, ideal for tidying up vocal tracks. But it can do so much more, and has value even if you never work with vocals. Certainly, if you're a Reason user who's never tried Record, now might be a good time to download the demo, available from www.propellerheads.se, and try some of the techniques described below.

To cut a long story short, Neptune can do several things beyond pitch correction. Firstly, it's a voice resynthesizer that can generate fluid harmony parts when you feed it a vocal (or other monophonic line) together with MIDI notes. Secondly, it's a real‑time audio transposer and formant shifter that works a treat with single-line melodies, riffs and so on, and produces fascinating results with polyphonic parts, percussive material and even whole mixes. A bit of lateral thinking opens up even more possibilities, including ADT (automatic double tracking). We'll look at all of these this month.

Universal Harmony

Neptune's separate voice synth outputs allow you to separate out your backing vocal signals for independent treatment. In this example, they're being treated by an RV7000 reverb, and the Mix device gives them a whole mixer channel of their own.

In a pop production, backing vocals can be a lot of hard work. Even if you've got a great grasp of the harmony, you've still got to figure out how that translates into the individual vocal lines and then perform multiple record takes to get them down. Neptune provides another, altogether quicker, alternative. The following directions assume you've already recorded a vocal phrase into an audio track, and set up a playback loop around it so that you can 'session' it.

1. If you haven't done this already, right-click your vocal track's Audio Track device in the rack and choose Create / Neptune Pitch Adjuster. That should also open up the Insert FX area of the device.

2. We need to get MIDI note data to this Neptune, so right-click on an empty part of its front panel and choose 'Create Track for Neptune 1' (or whatever number it happens to be).

3. Record should have already selected and record‑enabled the new Neptune track in the sequencer, so the MIDI input should be live. Check this by playing notes on your controller keyboard and watching for the MIDI Input indicator to light up towards the bottom left of the Neptune front panel.

4. In that same 'MIDI' section of the front panel, click the 'To Voice Synth' box. This ensures Neptune doesn't try to use your MIDI input for pitch-correction purposes.

Now we're good to go. Start playback to hear your vocal phrase, and play chords on your MIDI controller to generate a completely new harmony vocal part based on those notes. The sliders in Neptune's Mixer section control the relative balance of the input signal and harmony parts. It's worth noting, too, that Neptune can perform its voice synthesizer duties in addition to automatic pitch correction of your original vocal — you may even find that the Pitch Adjust button is lit up already if you've been following the steps in this example.

Neptune's Transpose and Formant functions can be used to process anything you feed into it, just like any other effects device.

There are a few extra things to cover before we move on. Firstly, you're going to need to record MIDI notes on the Neptune sequencer track if you want your backing‑vocal harmonies to be a permanent fixture in your song. Just select the track, hit the record button, play your chords again, and you should be away. Secondly, you can use your MIDI controller's pitch‑bend and modulation wheels to introduce some movement into Voice Synth‑generated harmonies, without affecting the main vocal line. Neptune's Bend Range parameter and Vibrato Rate knob let you fine-tune the two effects. Finally, be aware that on Neptune's rear panel there's a separate stereo output for the voice synth. By default it's not used, and the voice synth gets mixed into the main outs. But if you create a new Mix device and hook up those voice synth outputs to it, you suddenly have the capability to mix, EQ and process them completely independently.

Hit The High Notes

If you're a producer of that kind of dance music that sometimes uses very squeaky, transposed vocals, you'll love this bit. Aside from its pitch correction abilities, Neptune can also do real‑time pitch transposition of up to an octave in either direction, and formant shifting too. Applying the effect couldn't be easier: just create a Neptune on an Audio Track device (as in step 1 above) and then enable one or both effects by clicking their buttons at the top right of its front panel. They're not complicated parameters, so experiment away!

There is a more serious side to this, though. While almost everything about Neptune is optimised for use on vocals, there's nothing to stop you processing other audio with it. For example, both Transpose and Formant functions can make really useful changes to the character of drum and percussion loops. Owners of Reason and Record can have a field day with this. To see what I mean, why not try using Neptune on the output of a Reason instrument like Dr OctoRex, and treat it just as though it were a delay, reverb, or any other sort of effect processor.

For the synthesist and sound designer always looking for the next new thing, try using a Neptune on the output of a synth or sampler playing polyphonic material, or perhaps an entire mix. What you discover is that Neptune's transposition and formant shifting clearly has a strong pitch-recognition element. Playing chords confuses the poor thing, producing strange artifacts on note attacks and decays, but the results can be striking and sometimes very beautiful and effective. Certainly, for anyone who's ever hankered after the instability and unpredictability of certain early analogue synths, here's a modern virtual equivalent! And to push things even further, if you have the Record/Reason combo, you can hook up the CV output of a synth to Neptune's rear‑panel Formant CV input, making the whole effect wobble even more..

Automatic Double Tracking

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A bit of creative thinking opens up a technique that Neptune wasn't primarily designed for: ADT (automatic double tracking). Double tracking of vocals suits many singers and styles, producing a characteristic thickening and loosening effect. However, if your singer finds it hard to be accurate enough, or just isn't around when you decide you want the effect, Neptune can step in.

The idea here is to use a single vocal track, but double it in such a way that one 'half' is heard in its natural state (which may well have a few pitching imperfections) and the other is processed by Neptune's Pitch Adjust section, possibly with a hint of Transpose too. Neptune makes us work a little to achieve this, as it doesn't have a wet/dry mix control, but there are two straightforward ways to do it.

You can literally duplicate your vocal track in the sequencer. Right-click in the track's configuration area, near its icon, mute and solo buttons and so on. Then choose 'Duplicate Tracks and Devices' from the contextual menu that appears. Make sure that only one of the tracks is being processed by a Neptune, and you're away.

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Now a Spider Audio Merger and Splitter plus a Line Mixer can be inserted, along with a Neptune, in your audio track. The Spider splits the signal in two: one half directly to channel 1 of the Line Mixer with no processing, and the other half via Neptune and into channel 2. Then the Line Mixer's main outs go to the Audio Track device's Insert returns. The screen to the left shows how this looks in practice.

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Regardless of which way you choose to do it, you immediately get a mild ADT effect even if none of Neptune's sections are enabled. Just having it instantiated obviously causes a very slight delay to the signal passing through it. However, a twiddle of the controls can take things further. Enabling Pitch Adjust with a fast‑ish correction speed but a high Preserve Expression level causes a more obvious but still natural-sounding divergence for most vocal parts. I also dial in transposition of around ‑15 cents, sometimes, for a bit of added thickness.