Make me sound like a good singer

From My Friends”, Etta James “At Last” or Freddie Mercury on Queen’s “Somebody to Love”. Most people would agree that these are absolute classic, emotion-filled, passionate, timeless performances.If you have grown up listening to mainly autotuned pop music released since the late nineties, your ears and brain will have become accustomed to a certain style of vocal presentation. This includes vocals that have had their pitches corrected to the point where every note is exactly in tune.This can mean that when you listen to some of those classic old recordings, the vocals sound “wrong”. Because you are used to the “perfect” vocal sound, when you hear the natural variations in pitch that a real human voice has, it is disconcerting. It can spoil those classic songs for you.I would argue that it is actually the autotuned-to-death vocals that sound “wrong”. Listen to a good singer live in a room with no tricks; that is how a vocal should sound.Autotune can make everyone sound the sameI’m sure, like me, that you have your favorite singers. The tone and timbre of their individual voice, their style, their phrasing, their timing, all contribute to how that singer sounds. And indeed their pitch, where most likely they will be in-tune when they need to be, but their vocals will also be peppered with tuning variations adding character to their performances.All the singers I have previously mentioned in this article are instantly recognizable, with their own very distinctive styles.Autotune extracts some of this individuality by eliminating those signature pitching variations. This brings everyone’s sound much closer together, making it more difficult to tell the difference between them and identify their individual styles. Some of the artistic character that gives each singer their distinctive sound and makes each singer unique has been removed.If I listen to some modern pop tracks where the voice has been very heavily autotuned, I have difficulty telling the difference between some of the singers. You may be saying “ok, boomer!” at this point (actually I’m Generation X), but it is a real concern. You will never persuade me that those modern

Like and comment on your renditions. It’s like having your own fan club! What’s more, you can join in on duets with strangers or friends, which adds a fun, social dimension to the app. I found this feature particularly engaging, as it allowed me to connect with fellow music lovers from all around the globe. Features that Shine One of the standout features of StarMaker is its voice enhancement technology. Now, I’m no professional singer, but the app’s auto-tune and pitch correction features really helped me sound my best. It’s like having a personal vocal coach! Additionally, there are various sound effects and filters you can apply to your recordings, making the whole experience feel like a mini-production studio. Another feature worth mentioning is the app’s reward system. As you participate in challenges and complete various tasks, you earn points and rewards, which can be used to unlock more songs or special features. It’s a clever way to keep users engaged and coming back for more. Final Thoughts So, would I recommend StarMaker? Absolutely! Whether you’re a bathroom singer or a budding idol, StarMaker offers a fun and interactive platform to showcase your singing talents. It's user-friendly, packed with features, and has a vibrant community to engage with. While it might not replace a professional karaoke setup, it’s perfect for casual singers looking to have a good time. So, grab your phone, pick your favorite song, and let StarMaker help you steal the show!

It sound as good as your favorite recordings.!btw, Cubase is also my favorite DAW!fb How can you make it sound like your favorite records when you don't know how they applied the tools used to get there? Some plugins are modeled better than others, having UAD, Waves, Brainworx and others I see the benefit to using 3rd party plugins. I just recently tried to mix at a friends house with Cubase stock plugins only. Don't get me wrong, my mix sounded way better than his initial attempts, but still sounded no where near what I could've done with better plugins. Not to bash any companies here but there are 3rd party plugins that are no better than Cubase plugins. So 3rd party doesn't alway equal better. But there are in fact far better plugins than Cubase stock offerings. I think the channel strip is great, but I choose to not use it because of the quality tools I choose to use instead. You still have to worry about how Cubase compressors compress! You've never heard an La-2a? Me either but of the 4 plugins I have, the UAD version is something special! When used on vocals you can get great compression without hearing the singer gasp for air like the other plugins. Actually later today I'll post some audio files of different compressors and show how some compressors can clip 0 DB but still not sound loud! Some compressors can really make drums hit hard without exceeding 0 DB! PLUGINS ARE NOT CREATED EQUAL...That have nothing to do with the internet but facts. Now Logic X compressors are really good IMHO... I have to go with the guys above. I think the Cubase "classic" comps are very bad, like as soon as you engage it, you just know. I remember being shocked at how bad they were, I though something was wrong with my interface or something.The generic Compressor, is probably the best, it's good for sidechaining.You could probably find waayy better free compressors from Klanghelm, Hornet, Voxengo, or one of these companies.BTW: 2 optos can be night or day,

Back throughout her best-yet album. Corook, Committed to a Bit Don’t be distracted by the whimsical energy radiating off of rising pop singer-songwriter Corook — underneath all the humor and hilarity is an artist well worth your attention. Nowhere is that more apparent than on Committed to a Bit, their excellent, wide-ranging debut album. Throughout the new project, Corook invites fans in on their good times (“Worchestershire”), their darker thoughts (“Joke’s on Me”) and an ingenious blend of both (“Pepto Bismol”). The one thing that remains, present throughout every inch of the record, is Corook’s innate talent at crafting spellbinding pop songs that make you want to hit “replay” again and again. Shura feat. Cassandra Jenkins, “Richardson” Ever felt like you just needed to take a walk after a hard day? Shura certainly has, and she wrote a song for you to listen to while you do it. “Richardson,” featuring singer-songwriter Cassandra Jenkins, sees Shura looking for solace wherever she can find it, whether that’s from the people closest to her or a stranger on the street. As lonely as that may sound, Shura and Jenkins’ gorgeous voices make “Richardson” feel whole and welcoming — even if you’re feeling down, these two stunning artists will be right there with you, singing you through it. Check out all of our picks on Billboard’s Queer Jams of the Week playlist below: Get weekly rundowns straight to your inbox Sign Up

Verses, that sometimes almost get too silly.It's the vocals that bother me on this album. The lead vocals are shared between three band members, Armin Bachhuber, Stefan Kugler, and Paul Braun, each with a distictive voice. Forgive me, but I don't know which is which. One has a good voice, very low key and mellow. Unfortunately, it's the voice heard the least on the album. The second is more theatrical and overblown, and to my ear, sound slightly off key. The voice heard the most is the most troubling. He has that thin, reedy sound associated with Peter Gabriel and Phil Collins, but without the control either Genesis singer had. Something like Fish on the earlier Marillion albums, but much worse. Too often, he sounds like he is whining, and just grates on my nerves.3 stars for the music, but the vocals pull it down to a low 2.5.Thanks to windhawk for the artist addition.Donate monthly and keep PA fast-loading and ad-free forever.

(Cap. 7 Liturgia) “I was very inspired by an erotic club in Barcelona called Bagdad and by ‘Cry Me a River’ by Justin Timberlake. He heard the song and said, ‘Yes, you can use the melody’; I was so excited because he never approves anything.”DI MI NOMBRE (Cap. 8 Éxtasis) “It’s a very flamenco vibe, very traditional, [but] the structure is very pop. It’s about this connection between two people; the sexual moment. The lyrics—'Say my name, say my name'—I'm such a big fan of Destiny's Child. [It's] paying tribute to all these artists I heard when I was a teenager. ”NANA (Cap. 9 Concepción) “This is a traditional flamenco melody used when you have a child you’re trying to make fall asleep. I was very inspired by what James Blake does—the space and the production he uses in his songs. I feel like in 50 years, people in universities will study him.”MALDICIÓN (Cap. 10 Cordura) “We’d been working with Pablo on the production and composition for a year and a half, and I didn’t like it enough. Then: This Arthur Russell sample—I think it’s perfect in this moment.”A NINGÚN HOMBRE (Cap. 11 Poder) “The last song of the record is the first I composed. Pablo was very excited by it and we saw that we sound good together, so I was like, ‘Let’s do the entire record together.’ It’s about the power of a woman.” First, the Spanish singer remade flamenco. Then she took on everything else. Visual collages of motorcycles, manicures and much-copied dances. “It’s very important for me to spend time with the people I love.” The nuevo flamenco explorer reveals hip-hop and R&B inspirations. Sech, Daddy Yankee & J Balvin How her embrace of Dominican influences created a hit song. Zane Lowe speaks with the pop star about “DESPECHÁ RMX” with Cardi B. ROSALÍA picks her favourite feel-good tracks. Conversation around her album ‘MOTOMAMI.' "HENTAI" is Wednesday's cover. The artist on "CHICKEN TERIYAKI" and a premiere from Logic1000. ROSALÍA takes over this week’s episode of MEMENTO MORI. ROSALÍA may be a flamenco singer, but her favourite musicians are those who have carved out new niches for themselves—artists like James Blake, Billie Eilish and Frank Ocean. That’s no accident. Like them, she flouts genre conventions while exploring silence and space as much as sound—and she’s remade flamenco and pop in the process. Rosalia Vila Tobella was born in 1992 into a non-musical family in Sant Cugat del Vallès, Spain. She began singing and dancing at age 9. “I always felt that this is my path, that I had to do music, that I couldn’t do anything else in life,” she told Apple Music in 2018. Fortunately, her