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Auburn Sounds Inner Pitch

Inner Pitch Is A FREE Pitch Shifter By Auburn Sounds

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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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About Author

Tomislav is a music producer and sound designer from Belgrade, Serbia. He is also the founder and editor-in-chief at Bedroom Producers Blog.

329 Comments

  3. Samuel

     on

    Taking a sound and modifying it with time streching, granular fx, comb filter, distortion, delay etc. Then render it and do it again :)

    Reply

  7. Steven

     on

    Unfiltered Audio Specops, and M Granular can shave decades off your lifetime:))
    Using them on choirs and single voices can get you right in the spirit of Halloween:)

    Reply

  8. David

     on

    Building my own instruments and put on ir samples and pitch shifting to make sounds that feels organic but still very alien

    Reply

  9. emily

     on

    layer polyrhythmic arpeggiators playing the same notes for a much more interesting sequence!
    you can even pitch some arp layers up/down by fifths/octaves or use different patches per-layer for extra variation, or balance the volume to go for a background texture instead

    Reply

  13. John B.

     on

    take any sound source and run it through paulstretch, taking multiple passes at different octave shifts and noise vs tonal balance amounts. mix thoroughly and season to taste!

    Reply

  16. GiGi

     on

    A not-so-secret is not being stuck only in digital, with cheap microphone, pedals and phones you can achieve original material before enter the world, then you start tweaking even more.

    Reply

  20. dan

     on

    Mostly I create a midi track and add Little Alter Boy and send it to the vocal audio track so that I can control the pitch and add choruses.

    Reply

  23. Hell'ektrix

     on

    My secret, try totally anything, also the worst and the weirdest, and after, try to make something not bad with that :)

    Reply

  26. neil

     on

    my fav sound design trick would be saving older fx chain and applying it on random stuff then rendering that random stuff and play more with it or just keep the important and useful parts of it… i really like to work with vocals cause they are very natural sounding obviously plus they are very unique too!

    Reply

  27. Success Ajayi

     on

    Whatever it is, a synth track or direct instrument track or vocals: I can eq to get my desired sound space, shift pitch as necessary and add some reverbs and delays to make it interesting

    Reply

  28. Shane G

     on

    My favourite Is definitely spending an hour or two online looking for new vst toys to procure (free or $$).. umm’ing and ahh’ing for a while (if it is pricey)and then downloading and spending another hour with it making some kind of weird track .. then moving on to the next bright shiny thing .. 😅

    Reply

    • Kin_G

       on

      May I ask what your favorite granny synth is?

      Someone needs to make a nice multi-layer based granny sampler with proper features…

      Like pfff we can throw wavetables in that if we want a synth…

      Reply

  31. Corti.Son

     on

    Hi, my secret weapon is to feed my male cat, kiss my girlfriend goodnight and lock myself in the study until morning. Let’s see what comes of it.

    Reply

  34. Irion Da Ronin

     on

    I watch a movie, mute it, and try to get inspired from what i watch and try to make new sounds for it. Also with music sometimes.

    Reply

  35. RR

     on

    Routing audio from DAW at more or less insane levels through an old tape deck with a cassette adapter and then back to DAW.

    Reply

  37. Michael

     on

    The secret for me is pitching (and spmetimes pitch shifting) a material and swap the channels. Normally I apply an octave to enrich the original content.

    Reply

  40. Synthie Lauper

     on

    take little snippets from the vocal-track, load it in your sampler of choice and then put fx on it (delay, reverb, chorus, diostortion, pitchshifting, arpeggiator, filter etc.)

    Reply

    • Kin_G

       on

      Ever decided like, eh, finding a sound is gonna take too long and then like, made a noise with your vocals and processed it/sampled it? Maybe process it again after? (just cause base/raw recording wasn’t worth the extra processing)

      Reply

  41. Carl Benson

     on

    Synth sounds through amp model -> cab model -> close mic -> across the room mic THEN mix levels at each point to taste.

    Reply

  43. Łukasz

     on

    I love to make super dynamic atmo space from lead source – modulate signal of 1/4 – 1/4dot delay taken from vocals / leads, by using first – distortions -> harmonizers -> another delay 1/4dot or 1.4 depends on which i’ve used before and then tremolo or sequencer like plugin.
    Works perfect when it comes to make trancing moments or even full tracks.

    Reply

  44. AB

     on

    I love filters with a life. The Arturia MS20 often comes on my tracks. You got to know your plugins as if they are spices.

    Reply

  46. Kidsonic

     on

    So for sound design, I made a little techy bit this morning, where i used Antares’ AVox Mutator to turn the classic “Jungle Techno” vocal into a weird bass layer by using the Mutate function along with the pitch shifting and even layering Avox Articulator to subtly mix one of the drum layers to add a bit more rhythm. Needless to say it sounds wicked.

    Reply

  48. Ralf H

     on

    Using the sound design features of Melodyne Studio. Especially the big version gives you a lot of nice features to create extraordinary effects.

    Reply

  51. Adriano

     on

    Vocal stacks lately. I’ll usually record at least 2 or 3 harmonies to the main vocal and create these choir / wall of sound effect. Whole lotta fun.

    Reply

    • Kin_G

       on

      But Reaper is just… Yeah, it’s its own secret weapon, legit.

      What is super on top.

      Is using FL as a plugin in certain situations.

      FL, Reaper, amazing stuff.

      Reply

  55. SBTT

     on

    I love distorting drums like amen, think… And my favorite sound design for this drums, is obviously, time stretch, compression / limiter distortion, and i play around with noise and envelope shapers

    Reply

  58. Genius617

     on

    My favorite technique is layering techniques. i.e parrallel compression and sidechaining and saturation chains. I guess the real answer is creating effect chains and unique ways to use the tools together.

    Reply

  61. Will Clay

     on

    Be open minded when making music, try things out before you decide…effects to utterly transform a sound…tape emulation for warmth…and get advice from fellow music makers. They are some of my tips!

    Reply

  65. Chris

     on

    Luck is my not-so-secret technique. I go about my mix, and if it sounds great, I’ve succeeded! I can’t be the only one with a graveyard of lousy tracks!

    Reply

  66. unfortunate

     on

    Recently started using parallel processing to send a synth or an instrument into another one and it creates interesting options of blending two sounds together and getting something really unique. Throw in a bit of reverb and saturation and you are good to go.

    Reply

  70. sam

     on

    my workflow is very sampler-based, so lots of resampling, repitching, resequencing, FX, resampling again, rechopping, etc (in no order of course)

    Reply

  79. Ajaunte

     on

    A technique I use all the time is using Discord 3, which is a delay plugin with pitch fx. I believe BPB is where I found it actually! I always run a Rhodes patch through it and play some chords and notes. It delays the sound, but in the pitch interval of my choice. I usually make the pitch -5 semitones or -7. It’s so musical and beautiful, I’ve used it for sound effects, and on synths and keys in my tracks, Definitely a hidden gem.

    Reply

  81. Bogdan Shoshyn

     on

    Secret is use plugins and quick change presets and record this mess at the same time, for glitch sound effects LOL

    Reply

  84. PHOO3Y

     on

    My favorite secret (not-so-secret) technique for sound design is layering. My first synth had some some pretty uninspiring presets and after I discovered I could layer a few sounds together, I was blown away. Random experiments can lead too, omg, that’s that sound from that song.

    Reply

  86. Alex

     on

    I like to get several layers of sounds that have similar/complimentary timbres and record loops, and something about the interaction of the overtones and harmonics combined with the textural similarities produce new, almost “phantom” melodies and sounds that wouldn’t be there without the interaction of the tracks. The symbiosis of the sounds can create new amalgamations that sound more unique and unfamiliar than their component parts

    Also, find old weird synth and effect plugins that look extremely obsolete but do very strange unconventional things like the old Jack Dark VSTs. Don’t fear the jank

    Reply

  87. Mateo

     on

    My favorite trick for sound design is a plugin called “Puncher 2” by Waves Audio. I add it on the kick or bass on every project I make, and it always makes stuff sound incredible.

    Reply

  88. TM

     on

    Mixing in some natural sound into the background (water, birds, wind etc) to fill out the frequencies wth something the human ear is accustomed to

    Reply

  96. Numanoid

     on

    Pitch shifting is crucial for most electronic music, which just pumps in the same key all the way through. So that is my secret weapon.

    Reply

  97. Leo

     on

    My favorite trick: just go with presets to stay in the creative flow. Only finetune the sound design after the song is well in scaffolds.

    Reply

  100. ER

     on

    Getting a loop (royalty-free) to apply a pitch, adding a preset to it, and then (to both) applying reverb (if it is neccessary) and delay effects; finally, slice them many times according the project requirements.

    Reply

  105. Juuso

     on

    Definitely a really known technique but I like to keep my low end clean by high passing the main bass and using a simple, slightly saturated sine wave as the sub bass.

    Reply

  107. Dee

     on

    The classic reverse reverb into a vocal but with a twist… Take the first syllable of a vocal or the attack part of a sound, reverse it and apply a shimmer reverb/delay/pitch shifter. Bounce it, then reverse it back. Trim it up and insert it as a lead into the original sound.

    Reply

  108. Sigbjørn

     on

    Four kicks together and reverse them with automation on volume and low-end. Or just recording a good ol’ “yeow” as a riser

    Reply

  110. Mash

     on

    beefing up anemic signals by running them through my crappy 80s boss mixer. too much and it distorts horribly, just enough and it adds all these great harmonics and heft.

    Reply

  111. myha

     on

    taking a send from a synth and putting it through an amp sim with effects in a room reverb.. pan the amp and dry opposite each other.

    Reply

  115. Febbie Ivaaden (Febbs!)

     on

    Not So Secret? Just go crazy and have fun. That’s all it takes to make a cool sound design.
    Oh and a ton of OTT and Filters.

    Reply

  117. Konstantin K

     on

    Add in some proportions: Emergence, Deelay, PaulXStretch or RrrEeeAaa, maybe something in reverse and band split… and automation… Oh no, it’s not a secret, it is “sound design procrastination” ! :)

    Reply

  118. Prank

     on

    Kind of a DADA-inspired technique: I like to record a bunch of MIDI tracks using different synths and sample instruments then swap them around at random to see what unexpected things happen.

    Reply

  122. Duke O'Nine

     on

    Cut samples completely apart, add effects, pitch something down or up and make something completely new out of it

    Reply

  125. Jerebear

     on

    A fun trick is to to eq boost (or an inverse cut) on every note in the diatonic scale. It’s a unique harmonic enhancement that can create a nice sound.

    Reply

  128. JEP1929

     on

    Use the sample reverse or resample it,
    Use Specops or other glitch based plugins and feed it to reverb with zero space for metallic effect

    Reply

  129. Brenny C

     on

    My secret (well, it’s not a secret any more…) is working in my DAW and with my analog Korg Volca synths, recording the track to tape cassette, then recording it back into my DAW.

    Amazing results every time!

    Reply

  130. Morten Fjeld

     on

    On a copy of a track, abuse noise reduction plugins to garble up the sound, then use distortion to get the warbly bubbly sounds some edge. Then blend it in.

    Reply

  136. Dirk

     on

    Effects: Reverb, Chorus, 4 and 2‑band EQ, 3D sound positioning. I and some friens had all of this on the Terratec Audiosystem EWS64 XXL in the 90’s!!

    Reply

  138. Jukka

     on

    A lot of automation with Panagement 2 on the tracks. Especially the gain and pan knobs in sync with the tempo of the song.

    Reply

  139. Marc

     on

    I love sending sounds through Infiltrator or ShaperBox3 to create brand new textures and ambiences – it’s such a great way of changing up some of your sounds in a track, but keeping a slight recognition of the original. Great for layering as well as there’s so many options to create unique sounds.

    I also enjoy creating textures using Valhalla SuperMassive – you can create huge sounding reverbs and delays which sit beautifully in tracks, as well as being able to automate things like the reverb size to create interesting pitch shifting atmospheres.

    Reply

  140. Jon

     on

    Bounce my instruments out to audio, reverse the bounced out audio, then stretch out the reversed audio for a half-time effect.

    Reply

  141. celty

     on

    my favorite is in ableton

    use the lfo to modulate the gain of ott, makes a wonderfully stuttery lead that evolves as you twiddle the knob

    also use 2 delays .5 beat from each other, full feedback, soundcapes

    Reply

  144. Lucas

     on

    Initially using saturation in place of conventional compression, which I find usually tames things down to a consist level in a much gentler and natural sounding way. This also allows you to then use compressors more for shaping or adding movement to a sound, rather than any utilitarian purpose.

    Reply

  155. MultipliedCow

     on

    I love splitting tracks into 5 tracks (low, low-mid, mid, high-mid, and high), adding effects to appropriate frequencies and mixing those back down to one enormous sounding track. With a band full of tracks like this, everything just sounds larger, even with minimal tracking or instrumentation.

    Reply

  156. Nicolas Mariano Gaglio

     on

    A veces cuando quiero un sonido ya sea un bajo una guitarra o cualquier instrumento que tenga que grabar de aire, y necesito que suene con poca calidad, para darle un estilo un ambiente distinto ala canción, simplemente uso mi celular y un micrófono Irig, y gravo la misma pista en diferentes ángulos y distancias, una vez que las transfiero a mi DAW, elijo las mejores tomas, las que mejor interactue entre si, que por mas que sean lo mismo, suenen distinto al estar en otra ubicación, asi que, 3 cosas, grabo de aire en calidad media baja, distancias y ángulos, selección de pistas, y por ultimo, experimento con diferentes efectos, si es necesario, dependiendo de estilo que estoy grabando.
    Por lo general utilizo mucho eso, cuando grabo estilos como John Frusciante, Gorillaz, O simples lineas o Jams.

    Reply

  157. Michael J

     on

    I like to take the demo version of a song, stretch it out reeeeeeeeally loooooong using Paulxstretch or similar, and use it as ambience in the final version!

    Reply

  158. Ambientnauts

     on

    Play a sound I love add chorus and verb, use paulstretch and chop away 90-95% of main source sound. The stretched tail has magic in it.

    Reply

  160. Willy

     on

    Record vocals an octave higher or a decent higher harmony and then granular fx freakshow stuff or shaperbox and use them in the background or as adlip

    Reply

  166. Roberto Avila

     on

    I actually really enjoy guitar pedals as outboard fx, so re-amping hardware is my happy place. Much like it’s fun to send vocals or drums through Amplitube, which is re-amping in the digital domain, there is a plethora of pedals, that let me get very hands on, with the signal saturation, and rely on musicians’ feel on controls, over the usual automation after the fact. Since 2016, I’ve been championing the fun & sometimes unconventional process, as I’ve grown stompbox-pedal collection. For instance: filters are your friend, and clever ‘wah’ sweeping-action is great for sustained note manipulation.

    Reply

  167. Pacapaca

     on

    My favorite way to process audio is to slightly distort one side (mainly the right) to create a stereo effect.
    It is also possible to use separate reverbs for left and right send reverbs. This is also great for creating stereo effects.

    Reply

  176. Fernando

     on

    Mezclar creatividad con originalidad, que la mezcla tenga algo único, algo diferente.
    Saludos desde Argentina. Dios los bendiga.

    Reply

  180. Attaman

     on

    I have a template just for this purpose with reverbs, delays, pitch shift, saturators, phasers, chorus almost like a modular synth to make alot of crazy sounds out of it!

    Reply

  182. Yaz

     on

    Running samples through my MPC2500 stock effects. Wish I had more outboard gear but that’s the only thing I have so…

    Reply

  194. Bassah

     on

    I’m very amateur, to add spice to a particular sound I usually use the free Emergence plugin for granular things or the Deelay plugin, as it creates very unique vibes

    Reply

  200. Aleks MZ

     on

    Very rigid parallel processing, with little mixing.
    I use a clipper a lot, where it’s possible and where it’s not.
    And the Glitchmachines plugins do their job…

    Reply

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