Auburn Sounds comes with Inner Pitch – Free Pitch Shifter

Inner Pitch is much more than just a pitch-shifting plugin. It’s available in paid and free versions, where the latter has all the features except the oversampling capabilities and quality modes. Let’s dissect the free one and see what it has to offer.

I like the plugin’s design and aesthetic. Its pink-colored theme and sci-fi-stylized knobs stick out. As you’d expect, the basic and primary function of the plugin is pitch shifting. The plugin lets you change the pitch of your input by up to 24 semitones. So, you can either pitch down your sound by 24 semitones or increase it by the same.

Then, a ‘Formant’ knob allows ±24 semitones of formant shifting. For further tonal effects, you get a ‘Tonal Boost’ knob that you can set between three values: Transient (-10), Balanced (0), and Tonal (+10). 

This feature is handy yet is missing from most pitch shifters. It lets you adapt the plugin’s algorithm to your sound. For instance, if you’re pitch-shifting a drum sample, you can set the Tonal Boost to Transients or between 0 and -10. Doing so will inform the algorithm that the plugin is being applied to a transient heavy sound and will act accordingly.  Hence, it produces minimal artifacts.

Next, you can add some harmonic processing to your sounds by using the ‘Color’ control, a switch that can be set to either of the three values: ‘RATE,’ ‘GAME,’ and ‘TUBE.’

The first distortion effect, ‘RATE,’ emulates a lower sampling rate, imparting a distinct character to your audio. This feature can effectively add vintage or lo-fi textures to your sound, creating a unique and nostalgic atmosphere.

Likewise, ‘GAME’ takes a fascinating approach by employing an ADPCM game codec QOA (Quite OK Audio). It results in a subtle video game sound that can infuse a playful or retro quality into your audio. Whether you’re aiming for a nostalgic nod to classic video games or a quirky, unconventional texture, the ‘GAME’ distortion provides an intriguing sonic outcome.

The third option, ‘TUBE,’ offers a simple yet powerful parallel waveshaper that complements various audio sources. This distortion effect enhances the harmonic content, adding warmth, saturation, and a touch of grit to your sounds. 

‘TUBE’ is a versatile distortion effect and can be applied to various elements within your mix, from individual instruments to full tracks, providing an extra layer of character and richness.

Tip: Apply tube saturation for a warmer tone, Rate for an eight-bit style lo-fi tone, and Game for a video game-style tone.

Now, let’s look at the stereo effects Inner Pitch offers. An ‘L/R SHIFT’ control introduces an offset delay between the left and right audio channels. The antiphase characteristics resulting from the adjustment enhances the perceived width of the audio.

Likewise, ‘STEREO LINK’ is another spatial parameter in the plugin. It maintains phase alignment between the left and right channels during pitch-shifting.

When set to 100%, ‘STEREO LINK’ preserves the original stereo image, ensuring that the spatial characteristics remain intact. Conversely, at 0%, it provides a cleaner but ethereal sound devoid of a distinct “center.” You could call it a “ghostly” sonic quality. Moving on, you will find three panels at the bottom of the plugin’s interface. Let’s discuss them.

The first window, the ‘DELAY’ panel, offers a unique workflow for adding delayed signals to your sound. You get a 5×5 matrix to set the time (on the x-axis) and feedback (on the y-axis) settings. 

The ‘Time’ control allows you to adjust the delay length in milliseconds, providing precise control over the timing of the echoed sound. You can also set the ‘Time’ by using the TAP button, on which you can tap the tempo. Futhermore, you can individually set up the ‘Time’ parameter in the panel using CTRL + right-click.

On the other hand, ‘Feedback’ influences the loudness of the signal fed back into the effect, determining the intensity and duration of the echoes. Like ‘Time,’ you can set up ‘Feedback’ individually in the panel by right-clicking.

Inner Pitch also has ‘Pan’ and ‘Diffusion’ controls in the same panel. The ‘Pan’ control affects the panorama of the delayed sound, allowing you to position the echoes in the stereo field. This control can also set the delay effect to ‘Ping-pong.’ 

The ‘Diffusion’ parameter scatters and adds delayed signals, subtly transforming the effect into a reverb.

Moving on to the ‘SPECTRUM’ panel, Inner Pitch offers a 3-band EQ to shape the frequency content of the wet signal. The EQ can dramatically impact the feedback by adjusting the internal limiter threshold.

Lastly, the ‘OUTPUT’ panel controls the amount of wet signal and the output gain. Note that you can toggle on/off each of the three panels, Delay, Output, and Spectrum (EQ).

Clearly, Auburn Sounds didn’t hold back when it comes to features. However, what about the sound? My first impression was that Inner Pitch sounds somewhat artificial. Although, once I went through the presets, I understood the real essence of the plugin.

I would use Inner Pitch to add animated and innovative pitch and stereo effects to my projects. It is appropriate for sound design, sonic storytelling, and experimentation. However, if you’re after clean pitch shifts, the free version’s default quality may prove limiting. The paid version offers an upgrade in quality, potentially providing a more natural sound. Also, you can try it in tandem with Cymatics Deja Vu, a free lo-fi effect plugin, for interesting dreamy effects.

In conclusion, Auburn Sounds’ Inner Pitch is a versatile and powerful tool for creative sound manipulation. It offers a rich set of features for musicians, producers, and sound designers alike. The plugin has a wide range of compatibility and is available in VST3, VST2, AAX, AU, and LV2 plugin formats for Windows, Mac, and Linux operating systems.

Download the plugin here

Check out Auburn Sounds Inner Pitch Manual