pitch shift by 1/100th of semitone VST?

Saw a Youtube video regarding fattening up vocals by detuning clones sharp/flat by 3,6,9,12 hundredths panned hard left/right and that seemed (to me) to work very well.  What Sonar-compatible VST will do this?  Not the transpose function.  Can't find any docs for the Cakewalk Pitch Shifter, so don't know what those sliders are referring to (I.e., no units).  ???

Panup you rock.  Thanks much for the trouble putting that step-by-step together.  I'm printing it out for future employment.  Thanks.

1/100th of a semitone is a "cent". So you know on guitar tuners and pitch tools that have a "cents" readout/adjustment? That's what those numbers/increments represent.
 
Any pitch shifter that allows adjustments in cents will work. IIRC the DSP Transpose function allows for adjustments in cents but yeah, Melodyne should be able to as well and perhaps the Loop Constructor in the Pitch options (I don't recall if it adjusts by cents).
 
I have not thoroughly messed with those tools though so I may be wrong about one or all but you are definitely looking for an "adjust pitch by cents" parameter.
 
https://en.wikipedia.org/wiki/Cent_%28music%29
 
Cheers.

I downloaded the demo of Waves Doubler, intending to purchase while still on sale.  But then I said to myself, "Self, why don't you experiment before forking out more money during Christmas?"  So I did the following (building on Panup's procedure) and frankly I can't tell the difference between the Waves Doubler and this approach.  Can you?
 

1. If necessary, Melodyne or Autotune vocal track.
2. Clone dry vocal track and rename “VocFat”. Add Cakewalk Pitchshifter. Adjust delay time of Pitchshifter to 15ms, and route output to new Aux track “FatAux”
3. Pan hard left, and Clone 4 times using “Repititions” option.  On last clone, Pan hard right, adjust delay time to 10 ms,  and clone 3 more times.  You now have 8 clones routed to Aux track “Fat”, left delayed 15ms and right 10ms.
4. Pitchshift left clones +3, +6, +9, +12 and right clones negative. 
5. Add compression and EQ high shelf to boost treble to the Fat Aux track.
6. Move Fat Aux to top of VocFat tracks and set Aux track output to Vocal bus.
7. Create track folder. Select all fattening tracks, right click and “move to folder”.  
8. Use FatAux fader to adjust amount.

williamcopper
3) the best 'detunes' are those that take into account the harmony --- if your target melody is on a note that is the third of a major triad, go for detune down significantly --
4) if your target melody is on a note that is the fifth of a major triad, detune up a very small amount ---
5) if you are on a minor chord and your target melody is on the third detune up significantly.

I assume you're suggesting these directions to put the 'de'tuned voice closer to just intonation? I'd never thought about this before but it does make a lot of sense. But is it practical to do this on a per-note basis? I wouldn't expect so.

williamcopper
3) the best 'detunes' are those that take into account the harmony --- if your target melody is on a note that is the third of a major triad, go for detune down significantly --
4) if your target melody is on a note that is the fifth of a major triad, detune up a very small amount ---
5) if you are on a minor chord and your target melody is on the third detune up significantly.

But that isn't really a "fattening" process, is it?  What you are describing is "just intonation", the principle that the most "in tune" pitches are not what an equal tempered tuner says is "in tune".  If I am not mistaken, you can tell Melodyne to apply just intonation for the key center you are working in.
 
Harmonies will really pop when they are lined up with "just intonation".  This is why Barbersop quartets sound different from other vocal groups.  They really work those harmonies for just intonation.  As I understand it, the "fattening" effect is really the opposite of getting the pitch clean and perfectly in tune.  Fattening actually spreads out the pitch as if a bunch of tone deaf musicians are going at it (which might be exactly the effect one wants to achieve.)
 

How to do a quick, simple, and effective Automatic Double Tracking effect.

The difference between the manual method and using Waves Doubler is that the latter lets you modulate the shift amount, and modulate each "doubled" copy separately.
 
This is supposed to mimic the random interplay of double-tracked vocals. It doesn't. Real vocals are neither random nor sinewave-modulated, and this is no more realistic than randomly moving drum hits in an effort to "humanize" a drum track. That doesn't mean there's no place for the effect; just recognize that it's a gimmick and decide if the performance benefits from it or not. I'd urge you to not adopt it as part of your default vocal treatment.
 
What the pitch shift does is generate intermodulation distortion. Normally, IMD is considered a bad thing, but for vocals it can work as long as the effect is kept subtle. IM distortion results in new frequencies being injected into the vocal, comprised of the sum and difference frequencies between the two parts. Perceptually, we hear those new high frequencies as a glossy sheen atop the vocal. As long as we can't zero in on them (because they're low volume and moving around) they aren't perceived as separate tones, much the way reverb modulation prevents us from hearing individual resonances.
 
I've gotten both good and ugh-puke results from this method. Depends on the vocal, and how natural-sounding you want it to be. If you find that your 1-cent (1 cent = 1% or 1/100th of a semitone) adjustment is too subtle, start raising the pitch amount one cent at a time until you can clearly hear the effect. Then back it off by 1 cent. You may find the sweet spot at 3 cents or even 7.
 
I would also suggest a band-pass filter on the cloned-and-shifted parts. Most algorithms introduce artifacts that are mostly in the high frequencies, and low frequencies don't benefit from it and only get muddy. Treat your "doubled" tracks' EQ like you would a reverb send. As with a reverb send, it may also help to route your doubled parts to a separate bus so you can easily set their levels relative to the main vocal. Most of the time, you'll want them 3 to 12 dB down.
 
Have fun!

bitflipper
The difference between the manual method and using Waves Doubler is that the latter lets you modulate the shift amount, and modulate each "doubled" copy separately.
 
This is supposed to mimic the random interplay of double-tracked vocals. It doesn't. Real vocals are neither random nor sinewave-modulated, and this is no more realistic than randomly moving drum hits in an effort to "humanize" a drum track. That doesn't mean there's no place for the effect; just recognize that it's a gimmick and decide if the performance benefits from it or not. I'd urge you to not adopt it as part of your default vocal treatment.
 
What the pitch shift does is generate intermodulation distortion. Normally, IMD is considered a bad thing, but for vocals it can work as long as the effect is kept subtle. IM distortion results in new frequencies being injected into the vocal, comprised of the sum and difference frequencies between the two parts. Perceptually, we hear those new high frequencies as a glossy sheen atop the vocal. As long as we can't zero in on them (because they're low volume and moving around) they aren't perceived as separate tones, much the way reverb modulation prevents us from hearing individual resonances.
 
I've gotten both good and ugh-puke results from this method. Depends on the vocal, and how natural-sounding you want it to be. If you find that your 1-cent (1 cent = 1% or 1/100th of a semitone) adjustment is too subtle, start raising the pitch amount one cent at a time until you can clearly hear the effect. Then back it off by 1 cent. You may find the sweet spot at 3 cents or even 7.
 
I would also suggest a band-pass filter on the cloned-and-shifted parts. Most algorithms introduce artifacts that are mostly in the high frequencies, and low frequencies don't benefit from it and only get muddy. Treat your "doubled" tracks' EQ like you would a reverb send. As with a reverb send, it may also help to route your doubled parts to a separate bus so you can easily set their levels relative to the main vocal. Most of the time, you'll want them 3 to 12 dB down.
 
Have fun!

U mek Beepster's brane gooderer.
 
:-)