Auburn Sounds released Inner Pitch, a pitch shifter plugin for Windows and macOS, available as a Free Edition (with limited features) and Full Edition. Enter our giveaway to win the Full Edition (three FREE copies available).
Let’s take a look at the Free Edition first.
Inner Pitch Free Edition
Inner Pitch is a pitch-shifting delay plugin. In our email exchange, the Auburn Sounds developer explained that they were striving for the highest possible pitch-shifting quality with this release.
That’s no surprise, as Auburn Sounds’ impressive Graillon 2 is still our favorite free autotune plugin.
Inner Pitch follows the same path, delivering some of the best-sounding pitch shifting I’ve heard in a plugin. Of course, things get more grainy as you push its pitch-shifting algorithms to the extremes, but the output remains impressively natural if you don’t strive too far from the original pitch.
I tested Inner Pitch on some of my vocal recordings and loved how the combination of pitch and format shifting transforms the voice while still sounding human.
It was super easy to recreate this vocal trick showcased by Jamie Lidell using Soundtoys Little Alterboy:
Of course, my vocals are absolutely nowhere near Jamie’s, but Inner Pitch did a fantastic job with pitch and formant shifting.
And using Inner Pitch on vocals is just scratching the surface.
Pitch shifting is essentially a sound designer’s magic wand, as it lets you completely transform and reshape sounds. I often use it to get unusual textures from instruments like guitars and strings.
A high-quality pitch shifter like Inner Pitch is also essential while mixing a song, as you want all recordings to be perfectly tuned to get the highest quality mix.
The feature set is quite straightforward. You can adjust the intensity of pitch shifting, formant shifting, tonal boost, and color. The plugin also features a 3-band spectral EQ for fine-tuning the tone.
What’s impressive is that all of these features are available in the Free Edition.
Inner Pitch Full Edition
The Full Edition unlocks the quality fine-tuning features, allowing you to get the highest possible pitch-shifting quality for a cost of $38.67 ($29 intro sale) and some additional CPU cycles.
Is it worth the upgrade?
If you want the highest quality of pitch processing, then yes, absolutely. It’s also a nice way to show appreciation to the developer if you’re using the Free Edition extensively in your work.
Auburn Sounds provides some of the highest-quality audio plugins on the market, and all of their products come with a powerful Free Edition.
The Giveaway
Auburn Sounds kindly provided three free copies of Inner Pitch Full Edition to three lucky BPB readers.
To enter the giveaway, answer the following question in the comments section below: What are your favorite secret (or not-so-secret) techniques for sound design?
We will randomly select and announce the lucky winner on this page on Monday, October 15th.
Good luck, everyone, and thank you for reading BPB!
The lucky winners are (drumroll, please!):
1) Sotos
2) James
3) Kahlil Smith
Congratulations! You will soon receive an email with information about your prize.
Everyone else, better luck next time and thank you for reading BPB!
Free download: Inner Pitch
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329 Comments
Joe2fresh
onPitching a sample and reversing it and adding some movement
Xaither
onFrequency shifting is def one of my go to along with vocoding
SuperSatan
onManifesting sonic demons to claim your soul.
BM 030
onMaking Pitchshifting automations and using Halftime before or after in the chain with some Reverb/Delay at the end.
Sotos
onFilters and pitching with formants.
Hagen
onLike this Company!!
Hagen
onSamples, destroyed by granular or distortion
Oliver
onConvolving with non-IR samples…
Dave Luxmore
onCreate a parallel track and High pass (or low pass depending on the effect) and saturate the heck out of the remaining frequencies!
Alex K
onBackmask on everything
Luis
onLayering and random automation of some parameters.
Steve
onFor nice pads I like to send them to a return track that has an auto-filter on it. I might add a little chorus.
Mixing hats with a little noise seems to be really nice too.
Lesego
onI recreate most of my sound based on popular hit songs through synthesis
Jorge
onmy “secret” is use the time streching, some of distortion, delay and echo.
Rafael Oliveira
onAdjust the levels individualy, compress all and insert a good tape simulation.
chimpage
onWavetable editor in Serum. It can do more than you think it can.
Seancy
onResampling automated long notes or basic sounds and using them in Ableton sampler for complex and supreme sounds!
Dazza
onAlways think in advance how you would like it to sound ideally with a reference sound or track
TL
onReversing a sample, stretching it, bitcrushing it, & then reversing again…makes the sample unidentifiable & unique.
Mori Frik
onGuitar layering with different amps
Karl
onI put sidechain compression on my sends 🤣
eno
onUsing an extreme compressor like AberrantDSP ShapeShifter to hard-compress an instrumental solo which has little breaks in it. So when there is nothing playing, the background noise is pushing to the front, giving the solo some weird attenuation.
Frank Reitz
onMake a melody with effects, even whole track. Render to audio without drums. Put in sampler and slice. Make a new melody. Then Halftime and OTT
Conor Duey
onFind the perfect plugins, samples, etc. that flow well with your music. Keep on browsing through the stuff that you have until your song sounds right.
Louis
onPitch Shifting, Detune, Reverse, Reverb, Delay, Distort/Saturation or adding a vintage vibe is what I do most when I’m sound designing.
Torres
onMaking a perfect Tape Stop is the clue 😉
James
onDisable all fx.
Johnny Yesno
onReaper
boombapdame
onDownsampling
Claus Petersen
onSampling, reversing the track, and use a lot of Fx Plugins is some of the things i do. But i also use my own recorded sounds, and then add some effects to them. But it all depends on what sound design im trying to archive
Robert
onsaturation compression saturation compression saturation compression
Alex
onAdd a Reverse white noise before important moments!
Jorge Sebastian Alvarez Herrera
onmy secret weapon is layers a lot of layers and reverbs
SF
onI don’t have any secrets for sound design, but a few things I find helpful are, making sure it sounds good on a variety of devices, and limit the post processing so it still sounds natural
Francisco J
onEq goes a long way. Understanding Fletcher and Munson Curves!
Fotis
onLayering two sounds and then flipping the phase of one of them in order to subtract it from the other one.
DMN
onSomething I started messing about with in the 1970s involving a length of plastic drain pipe, a sheet of aluminium, contact mics, an antique piano harp, and a toffee hammer.
Nuge
onI usually run a sample or synth sequence thru a chorus and then a slap back delay. work from there
Osanan
onAdding Decapitator to change the drum and percussion tones. It always work!
Jon
onSubtly vocoding a channel with something non-tonal
Derrick
onUsar unos presets que me llamen la atencion y empezar a jugar con los parametros, luego empiezo a crear ciertas capas y dependiendo lo que busque agrego plugins bitcrusher, pitch etc…
Devin Wright
onSlap delay always makes great sense of space. Format shifting and pitch shifting always inspires me when I am strapped for ideas.
Alexey
onTime resampling (slowing) audio inside After Effects, haha. Idk why, but AE makes such stretching sound very pleasant.
Valeri
onFAST Bundle and fine touches after
Simon
onA bit of a long answer coming,haha. In reference to synth sound design, my favourite techniques involve experimenting with waveform blending and modulation to create rich and evolving sounds. Combining various oscillators and applying modulation sources like LFOs and envelopes can yield complex and dynamic synthesizer tones.
Gabriele
onShapeshifter…
Greg
onDon’t try to control outcome. You might be surprised
Thomas
onReversing a sound to give an interesting build up and texture to the original audio file.
In general use the philosophy off “Less is more”.
creed3
onReversing a sample, slow it down, add a bit of reverb or delay.
Tim
onUsing only Formant from the Inner Pitch on a Hardstyle kick.
Kahlil Smith
onSound Design wise, I enjoy simply sample chopping & I also enjoy create new sounds from pre existing samples through heavy time-stretching, granular synthesis, loop x-fading and effects chains.
Jason Brown
onpitch shifting works wonders for me, grain delay does miracles and warping is out of this world. And not to mention filtering, if that counts
Matt
onI always like the trick where you mono the overheads in the verses and stereo them in the choruses, background vocals as well. Boost them in volume about 3db. Makes a great improvement. Thanks!
Muzz
onSplitting a vocal in to three L/R/Both and adding different delays and pitch change to the L/R panned files.
Isaac
onAdd unique and underground sound effects in the way they are not intended to use.
Al Felton
onI love to layer drums with other drums samples. I just like to experiment mostly
Michael Curry
onI like to record guitar, add reverse delay, then play over it with a crybaby wah-wah pedal. I also use use a wah in reverse direction from normal to get some interesting rhythm sounds.
Alex Vitkovsky
onWorking with the stereo signal. Mid-side technology…
Peter
onVertigo-VSM3
Brock
onMixing vocals an making beats
Stefan
onTaking some Pad sounds (probably sprinkled with some soft piano or similar) and run it through PaulXStretch. Add (Valhalla) supermassive reverb as you like.
Julen
onrun the vocal chops into glitchy kinda fx
eric
onUsing synth with a random option, click on it as long as I can to get a sound I like !
Lucien
onNot really a secret, but layering
L
onAdd more cowbell
Rodger Reed
onCombining and layering sounds and samples to create new and complex, imaginative sounds that create the vibe I want.
Carl
onTake part of vocal phrase, reverse and add reverb or delay onto it.
Nuno Melo
onLayering, Saturation and Compresion
Mr.pablo
onSaturation is the Key
Marcus
onLayering slightly modulated pitch shifted version with a real-time granulated version.
Lyke Paws
onBookmarked this for inspiration – definitely some interesting replies here!
My answer would be: I try to learn and really understand the tools I’m using. That should give me the greatest sound design power.
Darin Paterson
onLoad as possible
winston
onTo have insight into sound design and to experiment!! To know the “rules of sound design” and then to “break the rules” all in the name of experimentation!
Daz
onSample roland Juno 6 into roland MKS 100 sampler then use the arpeggio of the sampler to create interesting sounds
Cedric
onMy favorite technique for sound design is extreme repitching.
Burak Urgay
onresampling and going on a journey
PureFire
onWhat an awesome plug-in, thank you Auburn Sounds, Tomislav BPB
Don’t forget that holding the shift key allows you to fine tune the pitch 👍
Michael N
onCreating instruments by layering sampled sounds with synthetic sounds e.g sampled piano with a synth piano sound, and then tweaking pitch, sustain, etc on the idividual layers to taste
TSureal
onRun a sample through the modular, depending on desired effect, process, mangle, modulate to taste. Make sure it sounds nothing like original audio, then re-record through a mixer with cool saturation. Use it on a track as is fitting for instrument, atmos, fix, or melodic or percussive element.
Tamer
onRun a sample through the modular, depending on desired effect, process, mangle, modulate to taste. Make sure it sounds nothing like original audio, then re-record through a mixer with cool saturation. Use it on a track as is fitting for instrument, atmos, fix, or melodic or percussive element.
Eons
onM/S Side-chain
Michael Svedberg
onDefinetely, less is more! When for an example trying to achieve a more punchy bassline, don´t add a lot of basses, instead try to remove a couple of them and you will get a better clarity and punch.
Tristan G.
onDouble the guitar track to make it more dope !
Nicolas
onDouble a mono sound, pan one left and the other one right, and pitch just one. Instant stereo :) Eventually you can automate this pitch so it evolves with time.
That, and of course saturation everywhere!
Philipp
onUse a lofi recording done with a really cheap mic and twaek it using plugins in extreme settings
Miguel
onI pay a lot of attention to Dan Worral.
Parallel process multiple streams whilst tucking in heavily edited and slightly lower-volumed (and processed) secondary and parallel tracks. This technique is rather spurious, but it opens up avenues for further exploration.
When I have some money, I want to buy Andrew Huang’s new plugin. It does everything I know but much quicker and simpler. Plus, I like the dude without worshipping him too much…
stbn
onCongratulations to the three winners!