In a review of PharrelвЂ™s G I R L, I wrote that вЂњ the woozy tenuousness of his high notes combined with a prevalence of crackling artifacts in vocals suggest the clumsy over-usage of auto-tune.вЂќ The same exact statement could be applied to specific vocal passages on My Everything, if we didnвЂ™t already know Grande had the chops to hang on the gymnastically-inclined Broadway circuit. However, the claims of lofty vocal talent seem dubious at best when one considers the implementations of auto-tune: why auto-tune a singer who supposedly doesnвЂ™t need it? Sure, thereвЂ™s an obligatory and by-now dated dubstep-flavored breakdown at the end of вЂњBreak FreeвЂќ-a song so emotionally removed from itself that its lyrics are, in fact, the literal depiction of going through the motions (вЂњthis is the part where I break free,вЂќ she says, as if itвЂ™s just another phase in her career).Д«ut there are also interesting voyages into harmonic entanglements we donвЂ™t normally see on safer, youth-oriented pop outings-complicated harmonies bubbling up at the end of a phrase on вЂњBest Mistake,вЂќ or tastefully gospel-inspired progressions on вЂњBe My BabyвЂќ which take some noteworthy left turns.Д¬ontrary to what other critics have claimed, there is stuff here that musically subverts the commonalities of todayвЂ™s pop-itвЂ™s just buried deep within. Sure, songs like вЂњWhy TryвЂќ are filled with the nursery rhyme melodicism that seems compulsory to all obnoxious pop. It might be the case that these critics, not wishing to sound completely disparaging or snarky, have chosen her voice as something to vault over this din of ' perfunctory and anonymousвЂќ music.Д«ut IвЂ™m going to take the opposite tack and argue a contrary opinion: for an album thatвЂ™s obviously been fashioned by committee-for a record whose individual cuts definitely seem catered to different focus groups around the world- My Everything does (albeit rarely) containВ moments which satisfy those listeners whose tastes incline more to the interesting and/or esoteric. вЂњShe has a more virtuosic voice than Selena Gomez, Katy Perry or nearly anyone else on the radio in 2014.вЂќД®ven the reviewers panning the record tend to take a moment to praise her voice: вЂњSong after song goes by far too slickly,вЂќ writes Kitty Empire on The GuardianвЂ™s website, вЂњshowcasing Grande's good girl technical ability and her songwriters' hit-making formulae at the expense of lasting memories.вЂќ Instead, the professionally opinionated have tended to gush: вЂњUnlike most of today's young pop royals, Grande's star power is rooted in her Mariah Carey-esque chops as a singer,вЂќ writes Rob Sheffield in Rolling Stone. Other critics have not picked up on this, which I find surprising. The woman has amassed herself a reputation of being able to sing.ДЄnd such abilities are on display in many a YouTube video, be it professionally rendered or haphazardly bootlegged: listen to these performances and youвЂ™ll hear a voice delivering the notes correctly-relatively on pitch, with passably good rhythm, and employing something resembling emotion the balance between technical mastery and human imperfection is enough to convince you that a) this lady can sing (regardless of whether or not you like the style I donвЂ™t) and b) this lady is singing live.Д«ut on her latest record, such humanity has been divested from her performances quite often, replaced, instead, by the tell tale signs and artifacts of auto-tuneвЂ™s algorithms. Or does it? By many accounts, Grande doesnвЂ™t need auto-tune. The auto-tune applied on this record, instead, sounds remedial indeed, it has the fingerprints of an audio cover up all over it. R-release (arm64): tuneR_1.4.0.tgz, r-oldrel (arm64): tuneR_1.4.0.tgz, r-release (x86_64): tuneR_1.4.0.tgz, r-oldrel (x86_64): tuneR_1.4.0.tgzДЄmigaFFH, karaoke, monitoR, ProTrackR, sonify, warbleRДЄcousticNDLCodeR, ari, aws.To be clear, I am not referring to the syrupy, computerized auto-tune employed by everyone and their mother (and also T Pain) around 2009. Matthias Heymann (for ideas from the former sound package) Underbit Technologies (for the included libmad MPEG audio

Ellis (functions ported from 'rastamat'), Guillaume Guenard (for the pulse functionality),Дaniel P. ДЄlso contains functions ported from the 'rastamat' 'Matlab' package. Analyze music and speech, extract features like MFCCs, handle wave files and their representation in various ways, read mp3, read midi, perform steps of a transcription.

Audio tuner for none singer