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1. One Direction Real Voice Without Autotune Free
2. Singers Without Autotune

In January of 2010, Kesha Sebert, known as ‘Ke$ha’ debuted at number one on Billboard with her album, Animal. Her style is electro pop-y dance music: she alternates between rapping and singing, the choruses of her songs are typically melodic party hooks that bore deep into your brain: “Your love, your love, your love, is my drug!” And at times, her voice is so heavily processed that it sounds like a cross between a girl and a synthesizer. Much of her sound is due to the pitch correction software, Auto-Tune.

Sebert, whose label did not respond to a request for an interview, has built a persona as a badass wastoid, who told Rolling Stone that all male visitors to her tour bus had to submit to being photographed with their pants down. Even the bus drivers.

Auto-Tune is available as a plug-in for digital audio workstations used in a studio setting and as a stand-alone, rack-mounted unit for live performance processing. The processor slightly shifts pitches to the nearest true, correct semitone (to the exact pitch of the nearest note in traditional equal temperament). Slightly brightening as he ascends, the middle register still maintains ease and displays a warm, masculine tone. Though he gains a slight (pushed) rasp above E4, his voice remains open, projecting well. Unlike the rest of One Direction, Payne has a well-developed mixed voice, allowing him to access a clean, head-dominant C5 belt.

Yet this past November on the Today Show, the 25-year old Sebert looked vulnerable, standing awkwardly in her skimpy purple, gold, and green unitard. She was there to promote her new album, Warrior, which was supposed to reveal the authentic her.

“Was it really important to let your voice to be heard?” asked the host, Savannah Guthrie.

“Absolutely,” Sebert said, gripping the mic nervously in her fingerless black gloves.

“People think they’ve heard the Auto-Tune, they’ve heard the dance hits, but you really have a great voice, too,” said Guthrie, helpfully.

“No, I got, like, bummed out when I heard that,” said Sebert, sadly. “Because I really can sing. It’s one of the few things I can do.”

Warrior starts with a shredding electrical static noise, then comes her voice, sounding like what the Guardian called “a robo squawk devoid of all emotion.”

“That’s pitch correction software for sure,” wrote Drew Waters, Head of Studio Operations at Capitol Records, in an email. “She may be able to sing, but she or the producer chose to put her voice through Auto-Tune or a similar plug-in as an aesthetic choice.”

So much for showing the world the authentic Ke$ha.

Since rising to fame as the weird techno-warble effect in the chorus of Cher’s 1998 song, “Believe,” Auto-Tune has become bitchy shorthand for saying somebody can’t sing. But the diss isn’t fair, because everybody’s using it.

For every T-Pain — the R&B artist who uses Auto-Tune as an over-the-top aesthetic choice — there are 100 artists who are Auto-Tuned in subtler ways. Fix a little backing harmony here, bump a flat note up to diva-worthy heights there: smooth everything over so that it’s perfect. You can even use Auto-Tune live, so an artist can sing totally out of tune in concert and be corrected before their flaws ever reach the ears of an audience. (On season 7 of the UK X-Factor, it was used so excessively on contestants’ auditions that viewers got wise, and protested.)

Indeed, finding out that all the singers we listen to have been Auto-Tuned does feel like someone’s messing with us. As humans, we crave connection, not perfection. But we’re not the ones pulling the levers. What happens when an entire industry decides it’s safer to bet on the robot? Will we start to hate the sound of our own voices?

They’re all zombies!

They’re all zombies!

Cher’s late ‘90s comeback and makeover as a gay icon can entirely be attributed to Auto-Tune, though the song's producers claimed for years that it was a Digitech Talker vocoder pedal effect. In 1998, she released the single, “Believe,” which featured a strange, robotic vocal effect on the chorus that felt fresh. It was created with Auto-Tune.

The technology, which debuted in 1997 as a plug-in for Pro Tools (the industry standard recording software), works like this: you select the key the song is in, and then Auto-Tune analyzes the singer’s vocal line, moving “wrong” notes up or down to what it guesses is the intended pitch. You can control the time it takes for the program to move the pitch: slower is more natural, faster makes the jump sudden and inhuman sounding. Cher’s producers chose the fastest possible setting, the so-called “zero” setting, for maximum pop.

“Believe” was a huge hit, but among music nerds, it was polarizing. Indie rock producer Steve Albini, who’s recorded bands like the Pixies and Nirvana, has said he thought the song was mind-numbingly awful, and was aghast to see people he respected seduced by Auto-Tune.

“One by one, I could see that my friends had gone zombie. This horrible piece of music with this ugly soon-to-be cliché was now being discussed as something that was awesome. It made my heart fall,” he told the Onion AV Club in November of 2012.

The Auto-Tune effect spread like a slow burn through the industry, especially within the R&B and dance music communities. T-Pain began Cher-style Auto-Tuning all his vocals, and a decade later, he’s still doing it.

“It’s makin’ me money, so I ain’t about to stop!” T-Pain told DJ Skee in 2008.

“It’s makin’ me money, so I ain’t about to stop!”

Kanye West did an album with it. Lady Gaga uses it. Madonna, too. Maroon 5. Even the artistically high-minded Bon Iver has dabbled. A YouTube series where TV news clips were Auto-Tuned, “Auto-Tune the News”, went viral. The glitchy Auto-Tune mode seems destined to be remembered as the “sound” of the 2000s, the way the gated snare (that dense, big, reverb-y drum sound on, say, Phil Collinssongs) is now remembered as the sound of the ‘80s.

Auto-Tune certainly isn’t the only robot voice effect to have wormed its way into pop music. In the ‘70s and early ‘80s, voice synthesizer effects units became popular with a lot of bands. Most famous is the Vocoder, originally invented in the 1930s to send encoded Allied messages during WWII. Proto-techno groups like New Order and Kraftwerk (ie: “Computer World,”) embraced it. So did American early funk and hip hop groups like the Jonzun Crew.

‘70s rockers gravitated towards another effect, the talk box. Peter Frampton (listen for it on “Do you Feel Like We Do”) and Joe Walsh (used it on “Rocky Mountain Way”) liked its similar-to-a-vocoder sound. The talk box was easier to rig up than the Vocoder — you operate it via a rubber mouth tube when applying it to vocals. But it produces massive amounts of slobber. In Dave Tompkins’ book, How to Wreck a Nice Beach, about the history of synthesized speech machines in the music industry, he writes that Frampton’s roadies sanitized his talk box in Remy Martin Cognac between gigs.

The use of showy effects usually have a backlash. And in the case of the Auto-Tune warble, Jay-Z struck back with the 2009 single, D.O.A., or “Death of Auto-Tune.”

I know we facing a recession
But the music y'all making going make it the great depression
All y'all lack aggression
Put your skirt back down, grow a set man
Nigga this shit violent
This is death of Auto-Tune, moment of silence

That same year, the band Death Cab for Cutie showed up at the Grammys wearing blue ribbons to raise awareness, they told MTV, about “rampant Auto-Tune abuse.”

The protests came too late, though. The lid to Pandora’s box had been lifted. Music producers everywhere were installing the software.

Everybody uses it

Everybody uses it

“I’ll be in a studio and hear a singer down the hall and she’s clearly out of tune, and she’ll do one take,” says Drew Waters of Capitol Records. That’s all she needs. Because they can fix it later, in Auto-Tune.

There is much speculation online about who does — or doesn’t — use Auto-Tune. Taylor Swift is a key target, as her terribly off-key duet with Stevie Nicks at the 2010 Grammys suggests she’s tone deaf. (Label reps said at the time something was wrong with her earpiece.) But such speculation is naïve, say the producers I talked to. “Everybody uses it,” says Filip Nikolic, singer in the LA-based band, Poolside, and a freelance music producer and studio engineer. “It saves a ton of time.”

On one end of the spectrum are people who dial up Auto-Tune to the max, a la Cher / T-Pain. On the other end are people who use it occasionally and sparingly. You can use Auto-Tune not only to pitch correct vocals, but other instruments too, and light users will tweak a note here and there if a guitar is, say, rubbing up against a vocal in a weird way.

“I’ll massage a note every once in a while, and often I won’t even tell the artist,” says Eric Drew Feldman, a San Francisco-based musician and producer who’s worked with The Polyphonic Spree and Frank Black.

But between those two extremes, you have the synthetic middle, where Auto-Tune is used to correct nearly every note, as one integral brick in a thick wall of digitally processed sound. From Justin Bieber to One Direction, from The Weeknd to Chris Brown, most pop music produced today has a slick, synth-y tone that’s partly a result of pitch correction.

One Direction Real Voice Without Autotune Free

However, good luck getting anybody to cop to it. Big producers like Max Martin and Dr. Luke, responsible for mega hits from artists like Ke$ha, Pink, and Kelly Clarkson, either turned me down or didn’t respond to interview requests. And you can’t really blame them.

“Do you want to talk about that effect you probably use that people equate with your client being talentless?”

Um, no thanks.

In 2009, an online petition went around protesting the overuse of Auto-Tune on the show Glee. Those producers turned down an interview, too.

The artists and producers who would talk were conflicted. One indie band, The Stepkids, had long eschewed Auto-Tune and most other modern recording technologies to make what they call “experimental soul music.” But the band recently did an about face, and Auto-Tuned their vocal harmonies on their forthcoming single, “Fading Star.”

Were they using Auto-Tune ironically or seriously? Co-frontman Jeff Gitelman said,

“Both.”

“For a long time we fought it, and we still are to a certain degree,” said Gitelman. “But attention spans are a certain way, and that’s how it is…we just wanted it to have a clean, modern sound.”

Hanging above the toilet in San Francisco’s Different Fur recording studios — where artists like the Alabama Shakes and Bobby Brown have recorded — is a clipping from Tape Op magazine that reads: “Don’t admit to Auto-Tune use or editing of drums, unless asked directly. Then admit to half as much as you really did.”

Different Fur’s producer / engineer / owner, Patrick Brown, who hung the clipping there, has recorded acts like the Morning Benders, and says many indie rock bands “come in, and first thing they say is, ‘We don’t tune anything,’” he says.

Brown is up for ditching Auto-Tune if the client really wants to, but he says most of the time, they don’t really want to. “Let’s face it, most bands are not genius.” He’ll feel them out by saying, with a wink-wink-nod-nod: “Man, that note’s really out of tune, but that was a great take.” And a lot of times they’ll tell him, go ahead, Auto-Tune it.

Marc Griffin is in the RCA-signed band 2AM Club, which has both an emcee and a singer (Griffin’s the singer.) He first got Auto-Tuned in 2008, when he recorded a demo with producer Jerry Harrison, the former keyboardist and guitarist for the Talking Heads.

“I sang the lead, then we were in the control room with the engineer, and he put ‘tune on it. Just a little. And I had perfect pitch vocals. It sounded amazing. Then we started stacking vocals on top of it, and that sounded amazing,” says Griffin.

Now, Griffin sometimes records with Auto-Tune on in real time, rather than having it applied to his vocals in post-production, a trend producers say is not unusual. This means that the artist hears the tuned version of his or her voice coming out of the monitors while singing.

“Every time you sing a note that’s not perfect, you can hear the frequencies battle with each other,” Griffin says, which sounds kind of awful, but he insists it “helps you hear what it will really sound like.”

Singer / songwriter Neko Case kvetched about these developments in an interview with online music magazine, Pitchfork. “I'm not a perfect note hitter either but I'm not going to cover it up with auto tune. Everybody uses it, too. I once asked a studio guy in Toronto, ‘How many people don't use Auto-Tune?’ and he said, ‘You and Nelly Furtado are the only two people who've never used it in here.’ Even though I'm not into Nelly Furtado, it kind of made me respect her. It's cool that she has some integrity.”

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That was 2006. This past September, Nelly Furtado released the album, The Spirit Indestructible. Its lead single is doused in massive levels of Auto-Tune.

Dr. Evil

Dr. Evil

Somebody once wrote on an online message board that the guy who created Auto-Tune must “hate music.” That could not be further from the truth. Its creator, Dr. Andy Hildebrand, AKA Dr. Andy, is a classically trained flautist who spent most of his youth playing professionally, in orchestras. Despite the fact that the 66-year old only recently lopped off a long, gray ponytail, he’s no hippie. He never listened to rock music of his generation.

“I was too busy practicing,” he says. “It warped me.”

The only post-Debussy artist he’s ever gotten into is Patsy Cline.

Hildebrand’s company — Antares — nestled in an anonymous looking office park in the mountains between Silicon Valley and the Pacific Coast, has only ten employees. Hildebrand invents all the products (Antares recently came out with Auto-Tune for Guitar). His wife is the CFO.

Hildebrand started his career as a geophysicist, programming digital signal processing software which helped oil companies find drilling spots. After going back to school for music composition at age 40, he discovered he could use those same algorithms for the seamless looping of digital music samples, and later for pitch correction. Auto-Tune, and Antares, were born.

Watch Diamond Factory, Anthrax Investigation, Auto-Tune, Luis.. on PBS. See more from NOVA scienceNOW.

Auto-Tune isn’t the only pitch correction software, of course. Its closest competitor, Melodyne, is reputed to be more “natural” sounding. But Auto-Tune is, in the words of one producer, “the go-to if you just want to set-it-and-forget-it.”

In interviews, Hildebrand handles the question of “is Auto-Tune evil?” with characteristic dry wit. His stock answer is, “My wife wears makeup, does that make her evil?” But on the day I asked him, he answered, “I just make the car. I don’t drive it down the wrong side of the road.”

“I just make the car. I don’t drive it down the wrong side of the road.”

The T-Pains and Chers of the world are the crazy drivers, in Hildebrand’s analogy. The artists that tune with subtlety are like his wife, tasteful people looking to put their best foot forward.

Another way you could answer the question: recorded music is, by definition, artificial. The band is not singing live in your living room. Microphones project sound. Mixing, overdubbing, and multi-tracking allow instruments and voices to be recorded, edited, and manipulated separately. There are multitudes of effects, like compression, which brings down loud sounds and amplifies quiet ones, so you can hear an artist taking a breath in between words. Reverb and delay create echo effects, which can make vocals sound fuller and rounder.

When recording went from tape to digital, there were even more opportunities for effects and manipulation, and Auto-Tune is just one of many of the new tools available. Nonetheless, there are some who feel it’s a different thing. At best, unnecessary. At worst, pernicious.

“The thing is, reverb and delay always existed in the real world, by placing the artist in unique environments, so [those effects are] just mimicking reality,” says Larry Crane, the editor of music recording magazine, Tape Op, and a producer who’s recorded Elliott Smith and The Decemberists. If you sang in a cave, or some other really echo-y chamber, you’d sound like early Elvis, too. “There is nothing in the natural world that Auto-Tune is mimicking, therefore any use of it should be carefully considered.”

“I’d rather just turn the reverb up on the Fender Twin in the troubling place,” says Arizona indie rock pioneer Howe Gelb, of the band Giant Sand. He describes Auto-Tune and other correction plug-ins as “foul” in a way he can’t quite put his finger on. ”There’s something embedded in the track that tends to push my ear away.”

Lee Alexander, one time boyfriend of Norah Jones and bass player and producer for her country side project, The Little Willies, used no Auto-Tune on their two records, and says he doesn’t even own the program.

“Stuff is out of tune everywhere…that to me is the beauty of music,” he wrote in an email.

In 2000, Matt Kadane of the band The New Year, and his brother, Bubba covered Cher’s “Believe”, complete with Auto-Tune. They did it in their former Texas Slo-Core band, Bedhead. Kadane told me hated the original “Believe,” and had to be talked into covering it, but had surprisingly found that putting Auto-Tune on his vocals “added emotional weight.” He hasn’t, however, used Auto-Tune since.

“It’s one thing to make a statement with hollow, disaffected vocals, but it’s another if this is the way we’re communicating with each other,” he says.

For some people, I said, it seems that Auto-Tune is a lot like dudes and fake boobs. Some dudes see fake boobs, they know they’re fake, but they get an erection anyway. They can’t help themselves. Kadane agreed that it “can serve that function.”

“But at some point you’d say ‘that’s fucked up that I have an erection from fake boobs!’” he says. “And in the midst of experiencing that, I think ideally you have a moment that reminds you that authenticity is still possible. And thank God not everything in the world is Auto-Tuned.”

The Beatles actually suck

The Beatles actually suck

Does your brain get rewired to expect perfect pitch?

The concept of pitch needing to be “correct” is a somewhat recent construct. Cue up the Rolling Stones’ Exile on Main St., and listen to what Mick Jagger does on “Sweet Virginia.” There are a lot of flat and sharp notes, because, well, that’s characteristic of blues singing, which is at the roots of rock and roll.

“When a (blues) singer is ‘flat’ it’s not because he’s doing it because he doesn’t know any better. It’s for inflection!” says Victor Coelho, Professor of Music at Boston University.

Blues singers have traditionally played with pitch to express feelings like longing or yearning, to punch up a nastier lyric, or make it feel dirty, he says. “The music is not just about hitting the pitch.”

Of course that style of vocal wouldn’t fly in Auto-Tune. It would get corrected. Neil Young, Bob Dylan, many of the classic artists whose voices are less than pitch perfect – they probably would be pitch corrected if they started out today.

John Parish, the UK-based producer who’s worked with PJ Harvey and Sparklehorse, says that though he uses Auto-Tune on rare occasions, he is no fan. Many of the singers he works with, Harvey in particular, have eccentric vocal styles -- he describes them as “character singers.” Using pitch correction software on them would be like trying to get Jackson Pollock to stay inside the lines.

“I can listen to something that can be really quite out of tune, and enjoy it,” says Parish. But is he a dying breed?

“That’s the kind of music that takes five listens to get really into,” says Nikolic, of Poolside. “That’s not really an option if you want to make it in pop music today. You find a really catchy hook and a production that is in no way challenging, and you just gear it up!”

Singers Without Autotune

If you’re of the generation raised on technology-enabled perfect pitch, does your brain get rewired to expect it? So-called “supertasters” are people who are genetically more sensitive to bitter flavors than the rest of us, and therefore can’t appreciate delicious bitter things like IPAs and arugula. Is the Auto-Tune generation likewise more sensitive to off key-ness, and thus less able to appreciate it? Some troubling signs point to ‘yes.’

“I was listening to some young people in a studio a few years ago, and they were like, ‘I don’t think The Beatles were so good,’” says producer Eric Drew Feldman. They were discussing the song “Paperback Writer.” “They’re going, ‘They were so sloppy! The harmonies are so flat!”

Just make me sound good

Just make me sound good

John Lennon famously hated his singing voice. He thought it sounded too thin, and was constantly futzing with vocal effects, like the overdriven sound on “I Am the Walrus.” I can relate. I love to sing, and in my head, I hear a soulful, husky, alto. What comes out, however, is a cross between a child in the musical Annie, and Gretchen Wilson: nasal, reedy, about as soulful as a mosquito. I’m in a band and I write all the songs, but I’m not the singer: I wouldn’t subject people to that.

Producer and Editor Larry Crane says he thinks lots of artists are basically insecure about their voices, and use Auto-Tune as a kind of protective shield.

“I’ve had people come in and say I want Auto-Tune, and I say, ‘Let’s spend some time, let’s do five vocal takes and compile the best take. Let’s put down a piano guide track. There’s a million ways to coach a vocal. Let’s try those things first,’” he says.

Recently, I went over to a couple-friend’s house with my husband, to play with Auto-Tune. The husband of the couple, Mike, had the software on his home computer – he dabbles in music production – and the idea was that we’d record a song together, then Auto-Tune it.

We looked for something with four-part harmony, so we could all sing, and for a song where the backing instrumental was available online. We settled on Boyz II Men’s “End of the Road.” One by one we went into the bedroom to record our parts, with a mix of shame and titillation not unlike taking turns with a prostitute.

When we were finished, Mike played back the finished piece, without Auto-Tune. It was nerve wracking to listen to, I felt like my entire body was cringing. Although I hit the notes OK, there was something tentative and childlike about my delivery. Thank God these are my good friends, I thought. Of course they were probably all thinking the same thing about their performances, too, but in my mind, my voice was the most annoying of all, so wheedling and prissy sounding.

Then Mike Auto-Tuned two versions of our Boys II Men song: one with Cher / T-Pain style glitchy Auto-Tune, the other with “natural” sounding Auto-Tune. The exaggerated one was hilariously awesome – it sounded just like a generic R&B song.

But the second one shocked me. It sounded like us, for sure. But an idealized version of us. My husband’s gritty vocal attack was still there, but he was singing on key. And something about fine-tuning my vocals had made them sound more confident, like smoothing out a tremble in one’s speech.

The Auto-Tune or not Auto-Tune debate always seems to turn into a moralistic one, like somehow you have more integrity if you don’t use it, or only use it occasionally. But seeing how really innocuous-yet-lovely it could be, made me rethink. If I were a professional musician, would I reject the opportunity to sound, what I consider to be, “my best,” out of principle?

The answer to that is probably no. But then it gets you wondering. How many insecure artists with “annoying” voices will retune themselves before you ever have a chance to fall in love?

Video stills from:
TiK ToK by Ke$ha
Animal by Ke$ha
Believe by Cher
In The Air Tonight by Phil Collins
Buy U A Drink by T-Pain
Hung Up in Glee
Big Hoops by Nelly Furtado
Piano Fire by Sparklehorse and P.J. Harvey
Imagine by John Lennon

Contents

Introduction

This document addresses some of the common issues that can occur in IP Telephony one-way audio conversations that involve Cisco gateways. The Cisco gateways that this document covers are Cisco IOS^® gateways and routers, Catalyst switches, and DT-24+ gateways.

Prerequisites

Requirements

This document is intended for personnel who are involved with IP Telephony networks and have basic knowledge of voice networks.

Components Used

This document is not restricted to specific software or hardware versions.

Conventions

Refer to Cisco Technical Tips Conventions for more information on document conventions.

Problem

This document provides scenarios and solutions to these problems:

• When a phone call is established from an IP station through a Cisco IOS voice gateway or router, only one of the parties receives audio (one-way communication).

• When a toll-bypass call is established between two Cisco gateways, only one of the parties receives audio (one-way communication).

• When a phone call is established from an IP station that is placed behind a VPN 3002 Hardware Client, only one of the parties receives audio (one-way communication).

Solutions

The causes of one-way audio in IP Telephony can be varied, but the root of the problem usually involves IP routing issues. This section takes a look at some of the scenarios and solutions that have been found in the field.

Ensure That IP Routing Is Enabled on the Cisco IOS Gateway and Routers

Some Cisco IOS gateways, such as the VG200, disable IP routing by default. This default setting leads to one-way voice problems.

Note: Before you go any further, ensure that IP routing is enabled on your router. In other words, ensure that your router does not have the no ip routing global configuration command.

In order to enable IP routing, issue this global configuration command on your Cisco IOS gateway:

Check Basic IP Reachability

Always check basic IP reachability first. Because Real-Time Transport Protocol (RTP) streams are connectionless (transported over UDP), traffic may travel successfully in one direction but get lost in the opposite direction. This diagram shows a scenario in which this can happen:

Subnets A and B can both reach Subnet X. Subnet X can reach Subnets A and B. This allows the establishment of TCP connections between the end stations (A and B) and the Cisco CallManager. Therefore, signaling can reach both end stations without any problems, which allows the establishment of calls between A and B.

Once a call is established, an RTP stream that carries the audio must flow in both directions between the end stations. In some cases, Subnet B can reach Subnet A, but Subnet A cannot reach Subnet B. Therefore, the audio stream from A to B always gets lost.

This is a basic routing issue. Use IP routing troubleshooting methods in order to get to the stage at which you can successfully ping Phone A from Gateway B. Remember that ping is a bidirectional verification.

This document does not cover IP routing troubleshooting. However, confirm these as some initial steps to follow:

• Default gateways are configured at the end stations.

• IP routes on those default gateways lead to the destination networks.

Note: This list explains how to verify the default router or gateway configuration on various Cisco IP phones:

• Cisco IP Phone 7910—Press Settings, select option 6, and press volume down until the Default Router field shows up.

• Cisco IP Phone 7960/40—Press Settings, select option 3, and scroll down until the Default Router field shows up.

• Cisco IP Phone 2sp+/30vip—Press **#, and then press # until gtwy= appears.

Note: When you use the Cisco IP SoftPhone application and more than one network interface card (NIC) is installed in the box, ensure that the box sources the correct NIC. This issue is commonly present in IP SoftPhone software version 1.1.x. Version 1.2 should resolve this issue.

Note: When you use Cisco DT-24+ Gateways, check the DHCP Scope and ensure that there is a Default Gateway (003 router) option in the scope. The 003 router parameter populates the Default Gateway field in the devices and PCs. Scope option 3 should have the IP address of the router interface that will route for the gateway.

Verify Correct Media Termination Point Configuration

If transcoding is configured for an intercluster trunk (ICT), ensure that a Media Termination Point (MTP) is configured in the Media Resource Group and Media Resource Group List associated with the trunk. If you specify an MTP when one is not needed, or fail to configure an MTP if it is needed, it has been known to cause one way voice issues for ICT configurations.

Bind the H.323 Signaling to a Specific IP Address on the Cisco IOS Gateway and Routers

When the Cisco IOS gateway has multiple active IP interfaces, some of the H.323 signaling may be sourced from one IP address and other parts of it may reference a different source address. This can generate various kinds of problems. One such problem is one-way audio.

In order to get around this problem, you can bind the H.323 signaling to a specific source address. The source address can belong to a physical or virtual interface (loopback). Use the h323-gateway voip bind srcaddr ip-address command in interface configuration mode. Configure this command under the interface with the IP address to which the Cisco CallManager points.

This command was introduced in Cisco IOS Software Release 12.1(2)T. Refer to H.323 Support for Virtual Interfaces.

Caution: A bug exists in Cisco IOS Software Release 12.2(6) in which this solution can actually cause a one-way audio problem. For more information, refer to Cisco bug ID CSCdw69681 (registered customers only) .

Bind the MGCP Signaling to the MGCP Media Packet Source Interface on the Cisco IOS Gateway

One-way voice can occur in Media Gateway Control Protocol (MGCP) gateways if the source interface for signaling and media packets is not specified. You can bind the MGCP media to the source interface if you issue the mgcp bind media source-interface interface-id command and then the mgcp bind control source-interface interface-id command. Reset the MGCP gateway in Cisco CallManager after you issue the commands.

If the mgcp bind command is not enabled, the IP layer still provides the best local address.

The guidelines for the mgcp bind command are:

• When there are active MGCP calls on the gateway, the mgcp bind command is rejected for both control and media.

• If the bind interface is not up, the command is accepted but does not take effect until the interface comes up.

• If the IP address is not assigned on the bind interface, the mgcp bind command is accepted but takes effect only after a valid IP address is assigned. During this time, if MGCP calls are up, the mgcp bind command is rejected.

• When the bound interface goes down, either because of a manual shutdown on the interface or because of operational failure, the bind activity is disabled on that interface.

• When bind is not configured on the Media Gateway Controller (MGC), the IP address that is used to source MGCP control and media is the best available IP address.

Check That the Telco or Switch Correctly Sends and Receives Answer Supervision

If you have a Cisco IOS gateway that connects to a Telco or switch, verify that answer supervision is sent correctly when the called device behind the Telco or switch answers the call. Failure to receive the answer supervision causes the Cisco IOS gateway to fail to cut through (open) the audio path in a forward direction. This failure causes one-way voice. A workaround is to issue the voice rtp send-recv on command.

For more information, see Cut Through Two-Way Audio Early with the voice rtp send-recv Command on the Cisco IOS Gateway and Routers.

Cut Through Two-Way Audio Early with the voice rtp send-recv Command on the Cisco IOS Gateway and Routers

The voice path is established in the backward direction at the start of the RTP stream. The forward audio path is not cut through until the Cisco IOS gateway receives a Connect message from the remote end.

In some cases, it is necessary to establish a two-way audio path as soon as the RTP channel is opened, which is before the Connect message is received. In order to achieve this, issue the voice rtp send-recv global configuration command.

Check cRTP Settings on a Link-by-Link Basis on Cisco IOS Gateway and Routers

This issue applies to scenarios, such as toll-bypass, in which more than one Cisco IOS router or gateway is involved in the voice path and compressed RTP (cRTP) is used. cRTP, or RTP Header Compression, is a method to make the VoIP packet headers smaller in order to regain bandwidth. cRTP takes the 40-byte IP, User Datagram Protocol (UDP), or RTP header on a VoIP packet and compresses it to 2 to 4 bytes per packet. This compression yields approximately 12 kbps of bandwidth for a G.729 encoded call with cRTP. For more information on cRTP, refer to Voice Over IP - Per Call Bandwidth Consumption.

cRTP is done on a hop-by-hop basis, with decompression and recompression on every hop. Each packet header must be examined for routing. Therefore, cRTP needs to be enabled on both sides of an IP link.

It is also important to verify that cRTP is working as expected on both ends of the link. Cisco IOS Software release levels vary in terms of switching paths and concurrent cRTP support.

In summary, the history is:

• In Cisco IOS Software releases earlier than Cisco IOS Software Release 12.0(5)T, cRTP is process-switched.

• In Cisco IOS Software Release 12.0(7)T, and in Cisco IOS Software Release 12.1(1)T, fast- and Cisco Express Forwarding (CEF)-switching support for cRTP is introduced.

• In Cisco IOS Software Release 12.1(2)T, algorithmic performance improvements are introduced.

If you run cRTP on Cisco IOS Software platforms (Cisco IOS Software Release 12.1), verify that Cisco bug ID CSCds08210 (registered customers only) does not affect your Cisco IOS Software release. The symptom of this bug is the failure of VoIP and fax over IP to work with the RTP header compression on.

Verify the Clocking Configurations on the Cisco IOS Gateway

If you find that there are clock slips on the E1 or T1 interface from the show controller {e1 t1} command, there might be some mismatch in the clocking configuration on the Voice Gateway. Refer to Clocking Configurations On Voice-Capable IOS-Based Platforms and make sure that the clocking configurations on the Voice Gateway are correct.

Verify Minimum Software Level for NAT on the Cisco IOS Gateway and Routers

If you use Network Address Translation (NAT), you must meet the minimum software-level requirements. Earlier versions of NAT do not support skinny protocol translation. These earlier versions lead to one-way voice issues. Precisions tune auto care.

You must run Cisco IOS Software Release 12.1(5)T or later for Cisco IOS gateways to support skinny and H.323 version 2 with NAT simultaneously. For more information, refer to NAT-Support of IP Phone to Cisco CallManager.

Note: If your Cisco CallManager uses a TCP port for skinny signaling that is different than the default port (2000), you must adjust the NAT router. Issue the ip nat service skinny tcp port number global configuration command.

The minimum software level that is required in order to use NAT and skinny simultaneously on a PIX firewall is 6.0. For more information, refer to Cisco PIX Firewall Version 6.0.

Note: These levels of software do not necessarily support all the Registration, Admission, and Status (RAS) messages that are necessary for full gatekeeper support. Gatekeeper support is outside the scope of this document.

Disable voice-fastpath on AS5350 and AS5400

The Cisco IOS Software command voice-fastpath enable is a hidden global configuration command for the AS5350 and AS5400. The command is enabled by default. In order to disable it, issue the no voice-fastpath enable global configuration command.

When the command is enabled, it caches the IP address and UDP port number information for the logical channel that is opened for a specific call. The command prevents the RTP stream from reaching the application layer. Instead, the packets are forwarded at a lower layer. This helps to reduce CPU utilization marginally, in high call volume scenarios.

When supplementary services such as hold or transfer are used, the voice-fastpath command causes the router to stream the audio to the cached IP address and UDP port. The new logical channel information that is generated after a call on hold is resumed or after a transfer is completed is disregarded. In order to get around this problem, traffic must go to the application layer constantly so that redefinition of the logical channel is taken into account and audio is streamed to the new IP address and UDP port pair. Therefore, be sure to disable voice-fastpath in order to support supplementary services.

Configure the VPN IP Address with SoftPhone

Cisco IP SoftPhone allows a PC to work like a Cisco IP Phone 7900 Series phone. Remote users who connect back to their company network through a Virtual Private Network (VPN) must configure some additional settings in order to avoid a one-way voice problem. This is because the media stream needs to know the endpoint of the connection.

The solution is to configure the VPN IP address, instead of the IP address of the network adapter, under the Network Audio Settings. For more information, refer to How to Use Cisco IP SoftPhone over VPN.

Configure VPN 3002 to Work in Network Extension Mode

A Cisco VPN 3002 Hardware Client can operate in two modes: client mode and network extension mode (NEM). In client mode, all the hosts behind the Cisco VPN 3002 client are port address translated to the outside IP address of the VPN 3002 client. H.323 does not work with port address translation (PAT) and results in one-way audio when an IP phone is placed behind a VPN 3002 client. When the VPN 3002 works in NEM, the remote networks can see each other via their real IP addresses, not a NAT-based or PAT-based IP address. If the VPN 3002 is configured to work in NEM, H.323 can work. In other words, IP phones that are behind a VPN 3002 client can only work when VPN 3002 works in NEM. Therefore, in order to avoid one-way voice issues with a VPN 3002 client, configure the VPN 3002 client to use NEM.

In order to configure the Cisco VPN 3002 Hardware Client to use NEM, choose Configuration > Quick > PAT and click No, use Network Extension mode in the PAT window.

For more information, refer to Configuring Cisco VPN 3002 Hardware Client to Cisco IOS Router with EzVPN in Network Extension Mode

Additional Information: Verify One-Way Audio

Two useful commands to use in order to verify packet flow are the debug cch323 rtp command and the debug voip rtp command. The debug cch323 rtp command displays packets that are transmitted (X) and received (R) by the router. An uppercase character indicates successful transmission or reception. A lowercase character indicates a dropped packet.

Note: In Cisco IOS Software Release 12.2(11)T and later, the debug cch323 rtp command-line interface (CLI) command has been replaced by the debug voip rtp command.

Collect Call Traffic Information over the PIX Firewall

You can troubleshoot one way calls by gathering call traffic information across the PIX Firewall. The PIX capture command can be used to verify the port open and used when a call occurs. Refer to Handle VoIP Traffic with the PIX Firewall for more information on VoIP traffic across the PIX Firewall.

Note: Make sure to disable the capture command after you generate the capture files that you need in order to troubleshoot.

Cisco Unified Communications Manager One-Way Audio Issue

This issue can only occur in an outgoing initial SIP call setup where MTP is required. In this case, the outgoing SIP INVITE message will contain an SDP offer. The issue may occur in these scenarios:

• Outgoing SIP trunk calls with Media Termination Point Required checked on the SIP trunk

• Calls between IPv6-only endpoints and IPv4-only endpoints

Solution

MTP resources may be intermittently leaked, which results in failure of SIP calls that require MTP resources. From RTMT, available MTP resources reach 0 and MTP allocation failure counts go up for each call requiring an MTP. The SDP portion of the initial INVITE will incorrectly contain a=inactive.

Complete these steps in order to resolve the issue:

1. Uncheck Media Termination Point Required on the SIP Trunk configuration, if possible.

2. If Early Offer is required, configure Early Offer, but leave Media Termination Point Required unchecked.

3. For IPv6 deployment, use dual-stack rather than IPv6-only endpoints.

Note: This is documented in Bug ID CSCtk77040 (registered customers only) .

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