Antares Auto-tune 4
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Antares Auto-tune 4
Example of "T Pain" Effect using Antares Auto Tune 4
User reviews and opinions
|ivanooi||6:09am on Monday, September 13th, 2010|
|Alot of storage space and easy to use. Lots of Storage, Reliable Performance, Sleek/Compact, Easy To Set Up, Great Sound, Simple Controls|
|daves||3:24am on Sunday, July 4th, 2010|
|Most incredible device this 43 year old will probably ever own! My title says it all, however. my idea of the ipod touch i am going to tell u this loud and clear the ipod touch is 200 dollars but its totally worth for anyone any age it has anyth...|
|FaLa||11:57pm on Friday, June 11th, 2010|
|I have owned this iPod for over a month from ... Good touch screen S p e a k er I have owned this iPod for over a month from an eBay purchase, and it is the best iPod i have ever owned.|
|strycat||3:45am on Wednesday, May 5th, 2010|
|its easy to Use but its been a hell of trick of a time getting Media to play. the Only media movies you can watch is Youtube. This is a good thing to have, but bad thing is after I purchased it. The 2nd generation came right out. Damn it!|
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2004 Antares Audio Technologies. All rights reserved. Certified Isinglass-free All trademarks are property of their respective owners. Antares Audio Technologies 231 Technology Circle, Scotts Valley, California 95066 USA voice: (831) fax: (831) service: (831) (Option 3) web: www.antarestech.com Printed in USA Rev 1.1 PN 24001-0304-M01 iv
The Obligatory Legal Mumbo-Jumbo
The Antares Auto-Tune 4 software and this Users Manual are protected by copyright law. Making copies, adaptations, or derivative works without the prior written authorization of Antares Audio Technologies, is prohibited by law and constitutes a punishable violation of the law. Antares Audio Technologies retains all ownership rights to the Auto-Tune 4 software and its documentation. Use of Auto-Tune 4 is limited by the following license agreement. Please carefully read all the terms and conditions of this license agreement. At the time of installation of the Auto-Tune 4 software you will be presented with a copy of the agreement and asked whether or not you agree to it. Continuing with the installation process beyond that point constitutes such agreement. AUTO-TUNE 4 LICENSE AGREEMENT Antares Audio Technologies grants you a non-transferable, non-exclusive license to use Auto-Tune 4 under the terms and conditions stated in this agreement. Use of Auto-Tune 4 indicates your agreement to the following terms and conditions. LICENSE You may: 1. Use Auto-Tune 4 on only one computer. You may not: 1. Make copies of Auto-Tune 4 or of the user manual in whole or in part except as expressly provided for in this agreement. Your right to copy Auto-Tune 4 and the user manual is limited by copyright law. Making copies, verbal or media translations, adaptations, derivative works, or telecommunication data transmission of Auto-Tune 4 without prior written authorization of Antares, is prohibited by law and constitutes a punishable violation of the law. 2. Make alteration or modifications to Auto-Tune 4 (or any copy) or disassemble or de-compile Auto-Tune 4 (or any copy), or attempt to discover the source code of Auto-Tune 4. 3. Sub-license, lease, lend, rent, or grant other rights in all or any portion of Auto-Tune 4 (or any copy) to others. TERM OF THE AGREEMENT This agreement is effective until terminated by you or Antares. You may terminate the agreement at any time by notifying Antares and destroying all copies of the manual, and erasing Auto-Tune 4 from all machinereadable media, whether on-line or on archival copies.
In the event of breach of any of the terms of this agreement, you shall pay the attorneys fees of Antares that are reasonably necessary to enforce the agreement plus resulting damages. LIMITED WARRANTY AND DISCLAIMER AUTO-TUNE 4 AND ACCOMPANYING MATERIALS ARE PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. Antares Audio Technologies does not warrant that the functions contained in the program will meet your requirements. The entire risk as to the use, quality, and performance of Auto-Tune 4 is with you. SOME JURISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS. YOU MAY ALSO HAVE OTHER RIGHTS WHICH VARY FROM JURISDICTION TO JURISDICTION. LIMITATION OF LIABILITY IN NO EVENT WILL ANTARES BE LIABLE FOR ANY DAMAGES, INCLUDING LOSS OF DATA, LOST PROFITS OR OTHER SPECIAL, INCIDENTAL, CONSEQUENTIAL OR INDIRECT DAMAGES ARISING FROM THE USE OF AUTO-TUNE 4 OR ACCOMPANYING MATERIALS. THIS LIMITATION WILL APPLY EVEN IF ANTARES OR ITS AUTHORIZED AGENT HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. YOU ACKNOWLEDGE THAT THE LICENSE FEE REFLECTS THIS ALLOCATION OF RISK. SOME JURISDICTIONS DO NOT ALLOW LIMITATION OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. Whew! Now that thats over, lets get on to the good stuff.
Whats New in Auto-Tune 4 2
Installing and Authorizing Technical Support
Introducing Auto-Tune 4 Chapter 2
Some background 5
A little bit about pitch How Auto-Tune 4 detects pitch How Auto-Tune 4 corrects pitch Automatic Mode
Auto-Tune 4 Controls
Common Controls Automatic Mode Controls MIDI Functions Graphical Mode Controls 25 33
Vibrato Scaling for modifying the depth of vibrato while maintaining its shape and character Streamlined navigation controls Cursor Pitch Display (back again by popular demand) Selectable Edit Display color schemes
How To Use This Manual
If this is your first experience of Auto-Tune, you will find that Auto-Tune 4 has a very friendly user-interface and is extraordinarily easy to use. However, because Auto-Tune 4 does things that have never been done before, a few aspects of the user-interface may not be immediately obvious. You should at least read either Chapter 3, Auto-Tune 4 Controls, or Chapter 4, Auto-Tune 4 Tutorial, to learn the essential information you will need to operate Auto-Tune 4. And as we mentioned above, if you are upgrading from Auto-Tune 3, go straight to Chapter 5, the New Feature Quick Start Guide, to learn everything you need to know (about Auto-Tune's new features, anyway). THE CONTENTS OF THIS MANUAL Chapter 1: Getting Started The chapter you are reading. Chapter 2: Introducing Auto-Tune 4 This chapter explains basic facts about pitch and how Auto-Tune 4 functions to correct pitch errors. The basic functionality of Auto-Tune 4 is discussed, and information you need in order to use it effectively is provided. Chapter 3: Auto-Tune 4 Controls This chapter is reference information for all of the controls used in the Auto-Tune 4 interface. Chapter 4: Auto-Tune 4 Tutorial This chapter introduces you to details of how Auto-Tune 4 works by guiding you through several tutorials. The tutorials will give you insight into how and when to use each of Auto-Tune 4s key functions. Chapter 5: New Feature Quick Start Guide This chapter contains detailed information about each of Auto-Tune 4's new features. All of this information is also included in Chapter 3, but is presented here to allow experienced Auto-Tune 3 users to quickly come up to speed on the enhancements and new capabilities in Auto-Tune 4. Chapter 6: Creative Applications for Auto-Tune 4 Some cool, but not-so-obvious stuff you can do with Auto-Tune 4.
Installing Auto-Tune 4
Any unique instructions for installing Auto-Tune 4 for your specific plug-in format are located in the Auto-Tune 4 Read Me file that accompanies the plug-in. This file may also contain any last-minute Auto-Tune 4 information that didnt make it into this manual. Auto-Tune 4 is designed to work with a wide variety of digital audio applications. Please refer to your host applications user manual for more information on installing and using plug-ins.
Authorizing Auto-Tune 4
Authorization is the process by which this software is allowed to run on your computer. Detailed instructions covering the available authorization options will be found in the the file Authorization Read Me which is included on the installation CD ROM or with your software download. NOTE: When initially installed, this software will run for ten days without authorization. So even if you cant authorize it right away you can still use your software in the meantime. (During this period, click the Try It button whenever you are presented with the Trial Period screen at launch.) But dont procrastinate too long. After those ten days are up, you will no longer be able to launch this software until its authorized.
In the unlikely event that you experience a problem using Auto-Tune 4, try the following: 1. Make another quick scan through this manual. Who knows? You may have stumbled onto some feature that you didnt notice the first time through. 2. Check our web page for tips, techniques, or any late-breaking information: http://www.antarestech.com 3. Call your local Antares dealer. 4. Email our tech support department by pointing your web browser to: http://www.antarestech.com/support/etech.shtml and filling in the form there. 5. Call us at (831) 461-7814 Monday through Friday between 9am and 5pm USA Pacific Standard Time. For options 3, 4, or 5, please be prepared to provide the Registration Code of your copy of Auto-Tune 4.
Chapter 2: Introducing Auto-Tune 4
In 1997, Antares Audio Technologies first introduced the ground-breaking Auto-Tune Pitch Correcting Plug-In. Auto-Tune was a tool that actually corrected the pitch of vocals and other solo instruments, in real time, without distortion or artifacts, while preserving all of the expressive nuance of the original performance. Recording Magazine called Auto-Tune a holy grail of recording. And went on to say, Bottom line, Auto-Tune is amazing. Everyone with a Mac should have this program. (In fact, we know of quite a few people back then who bought kilo-buck ProTools systems just to be able to run Auto-Tune. ) In 2001, Auto-Tune 3 was introduced and established itself as the worldwide standard in professional pitch correction. Today, its used daily by thousands of audio professionals to save studio and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime performance, or even to create unique special effects. Now, never content to leave a good thing alone, Antares has created Auto-Tune 4. Preserving the great sound quality, transparent processing, and ease of use of Auto-Tune, Auto-Tune 4 adds significant new features as well as a sleek new user interface.
NUMBER OF UNDOS Auto-Tune 4 provides multiple Undo/Redo capability in Graphical Mode. Select the maximum allowable number here (up to 20). Choosing a higher number allocates more memory for saving intermediate states.
Automatic Mode Controls
KNOBS All of Auto-Tune 4s continuous parameters are represented as knobs. Depending on your preference, you can control knobs by vertical, horizontal or radial mouse movement. Set your preference in the Options dialog described above. Double-clicking on a knob will return it to its default value. In some host applications, Command/Control clicking on a knob will also reset it to default (see the Auto-Tune 4 Read Me and/or your host application manual for details). KEY SELECTION To select the desired key, click on the Key pop-up and then select the desired note from the pop-up list. This determines the pitch of the first note of the scale according to the standard A3 = 440 Hertz. SCALE SELECTION To select a scale, click on the Scale pop-up and then select the desired scale from the pop-up list. NOTE: To avoid having to deal with scales containing those annoying double flats, double sharps and notes like Cb, E#, Fb and B#, Auto-Tune 4 will automatically choose the simpler of two enharmonically equivalent scales. For example, if you select Db Major, the Edit Scale Display will duly display the Db Major scale. However, if you then go to the Scale selection pop-up and select Minor, the Key will automatically be changed to C# and the Edit Scale Display will, in fact, display the much friendlier C# Minor scale. This will also be reflected on the Pitch Graph Display in the Graphical Mode.
THE SCALES Auto-Tune 4 comes with 29 preprogrammed scales. The first three scales are equal tempered. These are the ubiquitous scales typically found in Western tonal music. The other scales are historical, ethnic, and microtonal scales. An in-depth discussion of these scales and their history is beyond the scope of this manual. The interested reader will find more information in Tuning In Microtonality In Electronic Music by Scott R. Wilkinson, published by Hal Leonard Books. The following is a brief synopsis of the scales: MODERN EQUAL TEMPERAMENT: major: a seven-tone equal tempered major scale. minor: a seven-tone equal tempered minor scale. Equal Tempered chrom.: a twelve-tone equal tempered chromatic scale. HISTORICAL TUNINGS: Ling Lun: a twelve-tone scale dating from 2700 B.C. China. Scholars Lute: a seven-tone scale dating from 300 B.C. China. Greek diatonic genus: a seven-tone scale from ancient Greece. Greek chromatic genus: a seven-tone scale from ancient Greece. Greek enharmonic genus: a seven-tone scale from ancient Greece. Pythagorean: a twelve-tone scale dating from 600 B.C. Greece. This scale is derived by tuning twelve pure perfect fifths upward and adjusting the octaves downward. This leads to some pure intervals and some very impure intervals. Just (major chromatic): a twelve-tone scale. Just intonation tunes the most frequently used intervals to be pure (integer ratios in frequency). These tunings depend on the mode (major or minor) and the key. This scale is tuned for major mode. Just (minor chromatic): (See Just (major chromatic), above) Meantone chrom.: a twelve-tone scale. This tuning is a combination of Pythagorean and just tunings so that music in a wider variety of keys could be usable. Werckmeister III chrom.: a twelve-tone scale. This scale was a first attempt (about Bachs time) to allow an instrument to be played in any scale. It was in response to this scale that Bach wrote WellTempered Clavier. Vallotti & Young chrom.: a twelve-tone scale. Another derivative of the Pythagorean scale designed to allow arbitrary keys. Barnes-Bach (chromatic): a twelve-tone scale. A variation of the Vallotti & Young scale designed to optimize the performance of Bachs Well-Tempered Clavier. 18
The horizontal grid lines represent scale pitches. The key annotation, scale name, scale pitches and Scale Detune value are those defined in the Automatic Mode. They do not affect the computations of the Graphical Mode in any way. They are merely a reference to guide you in drawing the target pitches. If you wish to change them, select the Automatic Mode and change the Key pop-up, Scale pop-up, or the Scale Detune setting, respectively. (Changing the Scale Detune setting will also result in the scale pitch graph lines moving up or down relative to the tracked pitch.) Then, return to Graphical Mode. PITCH GRAPH SCALE The Pitch Graph Scale Buttons control the horizontal (time) and vertical (pitch) scaling of the graph. Clicking the appropriate + button causes the view to zoom in, while clicking a - button causes it to zoom out. NOTE: The horizontal scale buttons always control the Pitch Graph. They also control the Envelope Graph when it is set to Tie (see below). CURSOR PITCH DISPLAY The exact pitch value of the cursor position on the Pitch Graph is constantly displayed as a note name +/- cents. This display is always relative to the currently selected scale (i.e., only scale notes will appear in the pitch display). THE ENVELOPE GRAPH DISPLAY The Envelope Graph displays the amplitude (loudness) envelope of the sound whose pitch is shown in the Pitch Graph. ALL/TIE BUTTONS The Envelope Graphs horizontal (time) scale is controlled by the All and Tie buttons. Clicking the All button causes the envelope graph to display the entire time scale represented by the current buffer setting. This is useful for locating and selecting various portions of audio spread over the duration of a song. Clicking the Tie button slaves the position of the Envelope Graph to that of the Pitch Graph. When this setting is selected, the horizontal scale of the Envelope Graph is controlled by the Pitch Graph horizontal scale buttons.
The Graphical Tools
The graphical tools are used in conjunction with the edit buttons to create the desired target pitch contour. NOTE: In addition to clicking on the various tools, if your host passes key presses to plug-ins, you can also select the various tools by pressing the number keys 1-7*. * NOTE ALSO: Some hosts reserve the numeric keypad for host keyboard shortcuts even when a plug-in window is active. For that reason, the tool selection shortcuts mentioned above are specifically assigned only to the number keys that appear above the letter keys on the QWERTY portion of your keyboard. THE LINE TOOL (1) The Line Tool is used to draw multi-segment straight lines on the Pitch Graph. Start the process by selecting the Line Tool and clicking anywhere on the Pitch Graph to set an anchor point. As you move the cursor, a line will extend from the anchor point to the cursor position. Click again to set a second anchor point and define the first segment of your pitch contour. Continue clicking and defining lines until your contour is complete. End the process by double-clicking on the final anchor point or pressing <esc> on your keyboard. Pressing Option/Alt on your keyboard during line entry will force the current segment to be perfectly horizontal. Pressing the Shift key on your keyboard while drawing a line causes the line to snap to the nearest semitone. If you move the cursor outside the Pitch Graph during point entry, the graph will automatically scroll. To delete the last anchor point entered, press <delete> on your keyboard (you can do this repeatedly back to the very first anchor point). Only one pitch contour object (line or curve) can exist at any time point on the Pitch Graph. When you complete the entry of a line object, any object(s) that previously existed at the same time will be deleted.
THE CURVE TOOL (2) The Curve Tool is used to draw arbitrary curves on the Pitch Graph. Start the process by selecting the Curve Tool and clicking anywhere on the Pitch Graph to set an anchor point. Hold down your mouse button and move the cursor to draw the desired pitch contour curve. End the process by releasing your mouse button. Unlike the Line Tool, the Pitch Graph will not scroll if you attempt to move the Curve Tool cursor outside the current display area. Only one pitch contour object (line or curve) can exist at any time point on the Pitch Graph. When you complete the entry of a curve object, any object(s) that previously existed at the same time will be deleted. THE ARROW TOOL (3) The Arrow Tool is used to select and drag existing target pitch contour objects (yellow lines and curves) as well as to add or delete anchor points to existing lines. The Arrow Tool behaves as follows: MANIPULATING LINES AND CURVES Clicking on the background of the Pitch Graph and dragging horizontally selects objects anchor points. Shift-clicking extends the selection. Dragging beyond the Pitch Graph boundaries automatically scrolls the graph. Moving the Pointer Tool over a pitch contour object causes the cursor to change to the object cursor (a horizontal bar). Clicking on an unselected curve or line segment with the object cursor causes the curve or segment and its anchor points to become selected and allows that object to be dragged. Clicking on an already selected curve or line segment with the object cursor allows that object, along with all other selected objects, to be dragged. Moving the Arrow Tool over a pitch contour object anchor point (whether that point is currently selected or not) causes the cursor to change into the anchor point cursor (four diagonal arrows). Clicking on an anchor point with the anchor point cursor deselects all other objects and anchor points and selects that anchor point so that it can be dragged. Dragging an anchor point stretches or compresses the pitch contour object relative to the nearest unselected anchor point(s). The extent to which you can drag selected objects is constrained by the position of neighboring unselected objects. 37
In some host applications, holding down the Option/Alt key and then clicking to drag will restrict the cursor to vertical movements only (the cursor will change to indicate this state). The effect of this is to allow you to modify the pitch contour while preserving the objects location in time. This is particularly handy after using the Make Curve button, discussed below.
THE REDO BUTTON The Redo button becomes active whenever you have executed at least one Undo. Clicking the Redo button once will redo the most recent undone change. If you have executed multiple undos, you can continue to click Redo to redo additional changes up to the limit that you set in the Options dialog. THE CUT AND COPY BUTTONS The Cut and Copy buttons become active whenever a pitch contour object is selected. Cut removes selected objects. Both Cut and Copy copy selected objects to the Auto-Tune 4 clipboard. You can then paste the objects elsewhere in the Pitch Graph display. THE PASTE BUTTON The Paste button becomes active whenever an object has been Cut or Copied to the clipboard. Clicking Paste places the contents of the clipboard in the center of the current Pitch Graph view. NOTE: Since only one pitch contour object (line or curve) can exist at any time point on the Pitch Graph, any object(s) that previously existed at the time where an object is Pasted will be deleted. Hence, before you press Paste, be sure that the Pitch Graph view does not contain any pitch contour object(s) that you want to keep. THE SELECT ALL BUTTON The Select All button causes all pitch contour objects, whether currently visible on the Pitch Graph view or not, to become selected. KEYBOARD EQUIVALENTS Some host applications support the following keyboard command equivalents for the above Edit Buttons. Others reserve these commands for their own use. Consult your host applications manual for details (or just try them and see if they work). Command/Control-Z Command/Control-X Command/Control-C Command/Control-V Command/Control-A undo cut copy paste select all
THE MAKE CURVE BUTTON The Make Curve button is enabled whenever there is any red input pitch contour data present in the Pitch Graph (whether it is displayed in the current Pitch Graph view or not). Pressing the Make Curve button causes yellow target pitch contour objects (curves for short) to be created from the input pitch contour data. These curve objects can then be dragged and stretched for very meticulous pitch correction. This is the central technique of Auto-Tune 4s Graphical Mode and is described in more detail in Chapter 4. NOTE: If a range of time has been selected by using the I-beam Tool, the Make Curve button works only in the selected time range. Otherwise it works on all red pitch data. THE MAKE AUTO BUTTON The Make Auto button is enabled whenever there is any red input pitch contour data present in the Pitch Graph (whether it is displayed in the current Pitch Graph view or not). Pressing the Make Auto button causes yellow target pitch contour objects (curves for short) to be created from the red input pitch contour data. The yellow curve(s) created by the Make Auto function is a precise representation of the pitch correction that would result from processing the tracked input pitch through the current settings of Auto-Tune 4s Automatic Mode. These include the Automatic Modes Key and Scale selections, the Edit Scale settings, the Improved Targeting mode (if selected), and the Scale Detune, Retune Speed and Vibrato settings. NOTE: If a range of time has been selected by using the I-beam Tool, the Make Auto button works only in the selected time range. Otherwise it works on all red pitch data. ANOTHER NOTE: If you are adding pitch variation using the Automatic Modes Vibrato function, the variation in pitch will be visually reflected in the yellow curve when you Make Auto. However, since there is no easy way to visually represent specific changes in amplitude or formant, if you have used the Automatic Modes Vibrato function to introduce amplitude and/or formant variation, the Make Auto curve will be blue rather than yellow to remind you that these elements will be introduced into your Graphical Mode output. YET ANOTHER NOTE: The Automatic Mode Tracking control is not involved in the Make Auto function. In Graphical Mode, the input pitch has already been determined, (i.e., the red input pitch contour), hence the Automatic Mode Tracking setting is not needed for the Make Auto computation.
Once you have used the Make Auto function to create a yellow (or blue) target pitch curve, setting the Graphical Mode Retune Speed to 0 and clicking Correct Pitch will result in exactly the same output as you would have gotten by processing the audio through Automatic Mode. Alternatively, you can adjust the Retune Speed or further edit the yellow curve using any of the Graphical Mode tools to get precisely the effect you want. If you arent satisfied with the results of the Make Auto function, simply switch to Automatic Mode, modify any of the settings as desired, and then return to Graphical Mode and click Make Auto again. NOTE: In addition to its use as a Graphical Mode correction tool, the Make Auto function can also be used to provide an informative visual representation of the results of Automatic Mode settings. If there are times when youd prefer to use Automatic Mode, but cant quite zero in on the ideal settings, examining the results of various settings with the Make Auto function can give you a visual picture of exactly whats going on. This will often make it readily apparent which Automatic Mode settings need to be changed to give your desired results. STILL ANOTHER NOTE: One potentially confusing aspect of the Make Auto function is the relationship between the Automatic Mode Retune Speed setting and the Graphical Mode Retune Speed setting. To summarize: The Automatic Mode Retune Speed controls how the input audio would be processed in Automatic Mode. Changing this setting will change the shape of the yellow curve that will be created by the Make Auto function. The Graphical Mode Retune Speed controls how quickly the pitch of the input audio will be changed to that of the yellow target pitch curve by the Correct Pitch function. As mentioned above, to precisely duplicate the results of Automatic Mode, set the Graphical Mode Retune Speed to 0. VIBRATO SCALING The purpose of this function is to quickly and easily change (either increasing or decreasing) the amount of an existing vibrato, while preserving the original shape and character of the vibrato. To use this function, select the I-beam tool and highlight the range of audio youd like to edit. When a range of audio is selected, the Make Vibrato Curve button becomes active. Set the desired amount of change using the Scale Vibrato Amount knob and then click the Make Vibrato Curve button to create a correction curve. Audition the result. If its not exactly what you wanted, click Undo and try again. 42
1. In the Edit Scale Display, click the Remove buttons next to the notes B, D, F# and G#. 2. Play A2-A3-A2 sweep again. You will now hear an arpeggiated A Major triad because you have removed all the other notes from the scale. To continue: 1. In the Edit Scale Display, click the Bypass button next to E. 2. Play A2-A3-A2 sweep again. You will now hear the effect of not correcting the E. During the time that Auto-Tune 4 would normally be tuning the input to E, Auto-Tune 4 instead enters bypass mode and passes the input through uncorrected. To continue: 1. Set the Retune Speed to about 30. 2. Play A2-A3-A2 sweep again. Compare the 30 setting to the 0 setting. 3. Try various other Speed settings. The setting of 0 is fast: Auto-Tune 4 makes instantaneous pitch changes. The setting of 30 is slower. Auto-Tune 4 makes gradual pitch changes. This parameter controls how rapidly the pitch correction is applied to the incoming pitch. The units are milliseconds. A value of zero will cause instantaneous changes from one tone to another and will completely suppress a vibrato (note that related volume changes will remain). Retune values from 10 to 50 are typical for vocals. To continue: 1. Set the Retune Speed to 0 2. In the Edit Scale Display, click the Remove buttons next to to all the notes except F#. 3. Play A2-A3-A2 sweep again. As the sound is playing, move Scale Detune knob. The output pitch will be locked to F#, however, you will hear the output pitch change with the Detune slider movement. This is because the Detune knob is changing the pitch standard of the scale. Finally: 1. Select sine wave from the Vibrato Type pop-up. 2. Play A2-A3-A2 sweep again. 3. Experiment with the various vibrato controls to hear their effects.
Tutorial 2: The Improved Targeting Function
This tutorial will demonstrate the purpose and use of the Automatic Mode's Improved Targeting function. Begin the tutorial by doing the following: 1. Load or import wide_vibrato into a track of your host program. This is a recording of a male voice singing a sustained "G" with a pronounced vibrato. Play the track so that you are familiar with the original audio. Despite the wide vibrato, you will notice that the singer's pitch drifts alternately sharp and flat. 2. Set up Auto-Tune 4 to be an insert effect on that track. 3. Set Auto-Tune 4 to Automatic Mode. 4. Set the Key to C and the Scale to Chromatic. 5. Set the Input Type to Low Male Voice 6. Set Retune Speed to a value of 24. 7. Use your host program's controls to Bypass Auto-Tune 4. Set wide_vibrato to loop continuously and put your host program into Play mode. Watch the blue Detected Pitch indication on Auto-Tune 4's Virtual Keyboard. As you will see, the singer's vibrato is so wide that it consistently gets closer to G# and F# than G, causing Auto-Tune to intermittently select those notes as target pitches. 8. Check that Improved Targeting is not selected and remove Auto-Tune 4 from Bypass. Watch the Detected Pitch indication and listen to the result. As you will hear, whenever Auto-Tune 4 thinks G# or F# is the target pitch, it will move the input closer to those notes, in effect making the situation worse. 9. Now, leaving all other settings the same, click Improved Targeting. With Improved Targeting engaged, Auto-Tune 4s vibrato identification algorithm recognizes the pitch excursions as vibrato and continues to use "G" as the target pitch. Next, we'll use Graphical Mode for a dramatic graphic demonstration of the effect of Improved Targeting: 1. Still using "wide_vibrato," set up Auto-Tune 4 as described in Steps 1-5 above. 2. Set Retune Speed to 0. 3. Make sure Improved Targeting is Off. 4. Set Auto-Tune 4 to Graphical Mode. 5. Click the Track Pitch button and play wide_vibrato through Auto-Tune 4. 6. Stop playback (depending on your host application, you may also have to click the Track Pitch button again to stop the tracking function). 47
A red curve will appear in the Pitch Graph. This is the pitch contour of wide_vibrato. 7. Click the Make Auto button. A yellow curve will appear. This curve represents the pitch correction that would result from processing the audio with the current Automatic Mode settings. Note all the instances in which Auto-Tune 4 identifies G# or F#as the target pitch. 8. Set Auto-Tune 4 back to Automatic Mode. 9. Set Improved Targeting to On. 10. Return once again to Graphical Mode. 11. Click Make Auto (there is no need to track pitch again, as the red pitch curve is still present in the Pitch Graph). 12. Notice that the yellow curve is now a straight line on "G," indicating that the Improved Targeting algorithm has accurately identified the pitch excursions as vibrato as has therefore ignored it as far as target pitch selection is concerned.
Tutorial 3: Using the Automatic Mode MIDI Functions
This tutorial will introduce you to Auto-Tune 4s two Automatic Mode MIDI functions: Learn Scale From MIDI and Target Notes Via MIDI. With Learn Scale From MIDI, you can create the correct scale for a particular melody without knowing a G-sharp from a B-flat. Simply play with the melody on a MIDI keyboard which is patched through your host application to Auto-Tune 4 or play an existing MIDI file with contains the MIDI notes of the melody to be processed. Begin the tutorial by doing the following: 1. Load or import the audio file somewhere into a track of your host program. This is a recording of Somewhere Over the Rainbow sung with fairly extreme pitch errors. (Our very talented singer made us promise to tell you that she did this on purpose at our request.) 2. Set up Auto-Tune 4 to be an insert effect on that track. 3. Import the MIDI file somewhere.mid into your host programs MIDI sequencer. 4. Select Auto-Tune 4 as the target for the MIDI track. 5. Select Automatic Mode and click the Learn Scale from MIDI button so that its LED lights. 6. Click the All Octaves button so that its associated LED lights. 7. Play the MIDI file through once and watch as the scale develops on Auto-Tune 4s virtual keyboard and in the Scale Edit window. As each note is sung, it is added to the scale until the scale incudes every note that appears in the melody. 48
8. Set the Retune control to 20 and play the audio track using this scale. NOTE: You can also instantaneously define a scale by playing all of the notes of the scale as a chord (i.e., all scale notes played on the same beat) and recording that into a MIDI track. This is an ideal way to use Auto-Tune 4 in music with many key (scale) changes. With Target Notes Via MIDI, Auto-Tune 4 looks at its MIDI input in real time to determine its current target note(s). Try the following with the provided audio and MIDI files: 1. Set up your host program and load or import the somewhere audio and MIDI files as described in steps 14 above. 2. Select Automatic Mode and click the Target Note Via MIDI button so that its LED lights. 3. Click the Octaves as Played button so that its associated LED lights. 4. Play the audio and MIDI track together and watch the current target note change in real time on the Virtual Keyboard and listen to the results. The most interesting part of the Target Notes Via MIDI feature is that it only operates for the duration of the MIDI note that is, when there is no current MIDI Note On value, Auto-Tune 4 is effectively in Bypass mode. This means that if you delay the MIDI notes, then the audio performs its attacks as performed and then corrects to pitch when the MIDI note occurs (of course, at whatever Speed is set). In the case of the Somewhere vocal performance, most of the intonation problems happen during the notes sustain portions. Try moving the notes in the MIDI file around and listen to the results. This gives far more subtle control than Automatic Mode alone, while not being quite as tweaky as operating in Graphical Mode. NOTE: The MIDI functions look only at MIDI note values. Controller data such as Pitch Bend or Mod Wheel do not affect Auto-Tune 4s performance. Long live MIDI!
Tutorial 4: Graphical Mode Basics
This tutorial will introduce you to the basic Graphical Mode functions, again using the A2-A3-A2 sweep file from Tutorial 1. Begin the tutorial by doing the following: 1. Load or import A2-A3-A2 sweep into a track of your host program. Play the track so that you are familiar with the original audio. 2. Set up Auto-Tune 4 to be an insert effect on that track. 3. Set Auto-Tune 4 to Automatic Mode. 4. Set the Key to A and the Scale to Major. 49
5. Set Auto-Tune 4 to Graphical Mode. 6. Click the Track Pitch button. 7. Play the sweep signal through Auto-Tune 4. 8. Stop playback (depending on your host application, you may also have to click the Track Pitch button again to stop the tracking function). A red curve will appear in the Pitch Graph. This is the pitch contour of the sweep signal. To continue: 1. Select the Magnifying Glass tool and drag out a box on the Pitch Graph that encloses the red curve. The result will be something like the following:
2. Select the Line tool and enter a line similar to that below. By clicking multiple anchor points on the Pitch Graph, line segments joining the points will be drawn.
When done, double-click the last point or press <esc> on the keyboard.
To erase the last point entered, press <delete> on the keyboard (you can press <delete> repeatedly to erase back to the first anchor point). 3. Set the Retune Speed to 0. Click the Correct Pitch button and play back the sound to hear the effect. 4. Select the Curve tool and create a curve similar to the one shown below. Click and hold the mouse button and drag to draw the curve. When done, release the mouse button.
5. Press Correct Pitch and play back the sound to hear the effect. 6. Vary the Retune Speed between 0 and 50 and note the effect. Now that we have some yellow lines and curves on the Pitch Graph Display, this would be a good time to become familiar with the functions of the Arrow and Scissors Tools. (Refer back to Chapter 3 for detailed descriptions of the Arrow and Scissors Tools' behaviors.) As you experiment in the following steps, press Correct Pitch and play back the file to hear the effect of each action. 7. Select the Arrow Tool. 8. Drag the Arrow Tool across the Pitch Graph to select objects. 9. Move the cursor over curves and anchor points. Practice selecting entire curves and individual anchor points. 10. Use the Arrow Tool to drag selected curves and individual anchor points. 11. Use the Arrow Tool to double-click anywhere on one of the existing line (not curve) segments to create a new anchor point. Use the Arrow Tool to drag the new point to a new position. 12. Still using the Arrow Tool, double-click on the new anchor point you created in Step 11 to delete it and return the line to its initial state.
NOTE: This function uses the same algorithm as the Auto Modes Improved Targeting function to attempt to differentiate between vibrato and intended pitch changes. Therefore, you can typically select a portion of your audio containing both vibrato and intended pitch change and the Scale Vibrato function will scale the vibrato while leaving the intended pitch changes alone. But again, depending on the actual performance, sometimes this will work better than others. If Scale Vibrato seems to be making changes to parts of the audio youd like to leave alone, simply Undo the scaling and use the I-beam to select only the vibrato portions you wish to edit. GRAPHIC PITCH EDITING TOOLS As mentioned above, this is the one area where we have made substantive changes to previous functionality. We realize that it will undoubtedly cause some initial frustration for seasoned AT veterans while they have to relearn the new functionality, but it is our experience that the new tools provide both increased power and increased ease-of-use once you get used to them. So, without further ado, the new tools: NOTE: In addition to clicking on the various tools, if your host passes key presses to plug-ins, you can also select the various tools by pressing the number keys 1-7*. * NOTE ALSO: Some hosts reserve the numeric keypad for host keyboard shortcuts even when a plug-in window is selected. For that reason, the tool selection shortcuts mentioned above are specifically assigned only to the number keys that appear above the letter keys on the QWERTY portion of your keyboard. LINE TOOL (1): Works like current Auto-Tune 3 Line Tool, plus: Pressing Shift while drawing a line causes the line to snap to the nearest semitone. CURVE TOOL (2): Works exactly like the current Auto-Tune 3 Curve Tool. ARROW TOOL (3): In the pitch display, works as it does in Auto-Tune 3 with the following additions: Double-click anywhere on an existing line to add an intermediate handle point Double-click on an existing handle point (except for end points) to remove it and cause a straight line to be drawn between the now adjacent handle points. The Arrow Tool has no function in the Envelope display
SCISSORS TOOL (4): Click anywhere on an existing line or curve to break it in two at the point clicked. Although it will look like there is only one handle created at the break point, there are actually two (one for each of the two newly created line or curve segments). Simply move the top handle to reveal the other one. MAGNIFYING GLASS (5): Drag in the pitch display to zoom into that area (as in Auto-Tune 3) Click in the pitch display to increase both horizontal and vertical zoom factors one step (if possible). Cursor shows default + Option(Mac)/Alt(PC)-Click in the pitch display to decrease both horizontal and vertical zoom factors one step (if possible). Cursor changes to - while modification key is pressed. Drag in the Envelope display to have that time range appear in the pitch display (most useful for navigating when the Envelope display in in all mode). The pitch range of the pitch display will be automatically scaled such that all of pitch information in that time range is visible on the screen. I-BEAM TOOL (6): Drag in either the pitch or Envelope display to select an area for Make Curve or Make Auto or Vibrato Scaling. The selection area is reflected in both displays. HAND TOOL (7): Drag in any direction in the pitch display to move the area displayed. Drag in the Envelope display to move the area displayed horizontally. NOTE: This only works if Tie is selected. If All is selected, the icon will have an X through it to indicate that movement is not possible. Have fun!
Chapter 6: Creative Applications for Auto-Tune
Auto-Tune 4 works on vocals so well you may think thats all it can do. Actually, lots of instruments can use it to great advantage. Fretless bass, electric violin, trombone, even the theremin, all feature continuous pitch potential, unconstrained by frets or keys. Here are some other ideas for using Auto-Tune 4: Produce instant double tracking in one take! Record onto two tracks, processing only one of the tracks through Auto-Tune 4. If youre going for a tight double track, set Retune Speed rather fast and Detune Auto-Tune 4 slightly. Increase both of these parameters to broaden the doubled effect. You can also use some Vibrato to make a more dynamic effect (small depth and rate values are best, with medium delay). Of course, you can also decide to record a single virgin track, and bounce that to another, processing through Auto-Tune 4. This way you can dial in the effect while auditioning the mix. Recording with two mics (as above) while improvising can also produce heterophonic effects (the effect of two players and instruments playing the same melody, which actually varies with some different pitch material). The more constrained your scale is in Auto-Tune 4, the morevariation there will be between the two performances. To set up a drone or ambient aura behind a melodic performance, try sending some of the signal to Auto-Tune 4 with an extremely constrained scale (for example, in the key of C: C, F, G, A#) and then on to a lush, long reverb. The effect produced will be a steady backdrop of chanting tones behind the main melodic material. Dont be afraid to use just as little of Auto-T une 4 as you need. Its quite possible that a performer has really quite good intonation, but fails consistently on one or two notes. In this case, use Auto-Tune 4s individual Bypass function (using the Edit Scale display or on the Virtual Keyboard) to bypass all the notes except the one(s) which need the retuning. This way, Auto-Tune 4 is working in a completely transparent mode, and only when needed.
Antares Audio Technologies contacting iv Authorizing Auto-Tune Auto-Tune 4 background 5 what it is 5 Automatic Mode 2, 9 Controls 17 Retune Speed 10 Scales 9 Vibrato 10 Automatic Mode Controls 17 Bypass 21 Bypass All 23 Cents 22 Edit Scale Display 20 Hold Button 32 Improved Targeting 29 Key Selection 17 Knobs 17 Octave as Played/All Octaves 27 Pitch Change Indicator 32 Remove 21 Remove All 23 Retune Speed 28 Scale Detune 27 Scale Selection 17 Set All 22 Set Major Scale/Set Minor Scale 23 The Scales 18 Tracking 28 Vibrato Section 29 Virtual Keyboard Common Controls 13 Bypass 15 Correction Mode 14 Input Type 14 Options 15 Sample Rate Display 13 Select Pitch Reference 14 Correction Mode 14
Real-Time Auto-Tune Vocal Effect and Pitch Correcting Plug-in
2011 Antares Audio Technologies. All rights reserved. Certified Isinglass-free. All trademarks are property of their respective owners. www.antarestech.com Printed in USA Rev 2.0 PN 21031-0311-M02
The Obligatory Legal Mumbo-Jumbo
The Antares Auto-Tune EFX software and this Users Manual are protected by copyright law. Making copies, adaptations, or derivative works without the prior written authorization of Antares Audio Technologies, is prohibited by law and constitutes a punishable violation of the law. Antares Audio Technologies retains all ownership rights to the Auto-Tune EFX software and its documentation. Use of AutoTune EFX is limited by the following license agreement. Please carefully read all the terms and conditions of this license agreement. At the time of installation of the Auto-Tune EFX software you will be presented with a copy of the agreement and asked whether or not you agree to it. Continuing with the installation process beyond that point constitutes such agreement.
Auto-Tune EFX License Agreement Antares Audio Technologies grants you a non-transferable, non-exclusive license to use Auto-Tune Evo under the terms and conditions stated in this agreement. Use of Auto-Tune Evo indicates your agreement to the following terms and conditions. License You may: 1.Use Auto-Tune EFX on only one computer at a time. You may not: 1. Make copies of Auto-Tune EFX or of the user manual in whole or in part except as expressly provided for in this agreement. Your right to copy Auto-Tune EFX and the user manual is limited by copyright law. Making copies, verbal or media translations, adaptations, derivative works, or telecommunication data transmission of Auto-Tune EFX without prior written authorization of Antares, is prohibited by law and constitutes a punishable violation of the law. 2. Make alteration or modifications to AutoTune EFX (or any copy) or disassemble or de-compile Auto-Tune EFX (or any copy), or attempt to discover the source code of Auto-Tune EFX. 3. Sub-license, lease, lend, rent, or grant other rights in all or any portion of Auto-Tune EFX (or any copy) to others.
Term of the Agreement This agreement is effective until terminated by you or Antares. You may terminate the agreement at any time by notifying Antares and destroying all copies of the manual, and erasing Auto-Tune EFX from all machine-readable media, whether on-line or on archival copies. In the event of breach of any of the terms of this agreement, you shall pay the attorneys fees of Antares that are reasonably necessary to enforce the agreement plus resulting damages.
Auto-Tune EFX AND ACCOMPANYING MATERIALS ARE PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE.
Limited Warranty And Disclaimer
IN NO EVENT WILL ANTARES BE LIABLE FOR ANY DAMAGES, INCLUDING LOSS OF DATA, LOST PROFITS OR OTHER SPECIAL, INCIDENTAL, CONSEQUENTIAL OR INDIRECT DAMAGES ARISING FROM THE USE OF AutoTune EFX OR ACCOMPANYING MATERIALS. THIS LIMITATION WILL APPLY EVEN IF ANTARES OR ITS AUTHORIZED AGENT HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. YOU ACKNOWLEDGE THAT THE LICENSE FEE REFLECTS THIS ALLOCATION OF RISK. SOME JURISDICTIONS DO NOT ALLOW LIMITATION OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU.
Limitation of Liability
Whew! Now that thats over, lets get on to the good stuff.
Antares Audio Technologies does not warrant that the functions contained in the program will meet your requirements. The entire risk as to the use, quality, and performance of Auto-Tune EFX is with you.
SOME JURISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS. YOU MAY ALSO HAVE OTHER RIGHTS WHICH VARY FROM JURISDICTION TO JURISDICTION.
Chapter 1 Getting Started
Installing and Authorizing Technical Support 9
How It Works
Whats it do? How to do it Useful tips
Auto-Tune EFX Tutorials
1: Auto-Tune Vocal Effect 2: Pitch Correction
On behalf of everyone at Antares Audio Technologies, wed like to offer both our thanks and congratulations on your decision to purchase Auto-Tune EFX, the quickest, easiest tool for real-time pitch correction and creating the AutoTune Vocal Effect. Before you proceed any farther, wed like to strongly encourage you to register and authorize your copy of Auto-Tune EFX. (You can skip ahead to the Authorization and Installation instructions on page 5. Well wait.) Also, if youre planning on discarding that lovely Auto-Tune EFX box, its probably a good idea to write down the serial number that appears on the bottom of the box for future reference. (The inside cover of this manual would be a good place.) At Antares, we are committed to excellence in quality, customer service, and technological innovation. With your purchase of Auto-Tune EFX, you have created a relationship with Antares which we hope will be long and gratifying. Let us know what you think. You can count on us to listen. Again, thanks. The Whole Antares Crew
Chapter 1: Getting Started
Installing Auto-Tune EFX
Auto-Tune EFX is designed to work with a wide variety of digital audio applications. Please refer to your host applications user manual for more information on installing and using plug-ins. (Although in most cases, simply double-clicking the Auto-Tune EFX installer and following the resulting directions will be all you need to do.)
Authorizing Auto-Tune EFX
Authorization is the process by which AutoTune EFX is allowed to permanently run on your computer. Detailed instructions covering the available authorization options will be found in the file Authorization Read Me which is included with your software download.
NOTE: When initially installed, this software will run for ten days without authorization.
In the unlikely event that you experience a problem using Auto-Tune EFX, try the following: 1.Make sure you have the latest version of the plug-in. You can download and install the latest version of Auto-Tune EFX from the following web page: http://www.antarestech.com/download/ update.shtml 2.If you are having problems authorizing your software, be sure that you have the latest version of the PACE Interlok drivers. You can download and install the latest version for your operating system from the following web page: http://portal.knowledgebase.net/article. asp?article=174703&p=5764 If your problem is not resolved after taking the above actions, try the following: 1.Consult our searchable knowledgebase at: http://www.antarestech.com/support/ index.html 2.Check our web page for tips, techniques, or any late-breaking information: http://www.antarestech.com 3.Submit a question directly to our Customer Support department at: http://www.antarestech.com/contact 4.Ask that guy down the street. (You know. The one who lives in his moms basement and spends his days playing World of Warcraft. Hell know.)
So even if you cant authorize it right away you can still use your software in the meantime. (During this period, click the Continue button whenever you are presented with the Trial Period screen at launch.) But dont procrastinate too long. After those ten days are up you will no longer be able to launch Auto-Tune EFX until its authorized. Auto-Tune EFX authorization requires an iLok USB smart key. If you already own other audio plug-ins, you probably already have one. If not, they can be purchased from many local music stores as well as most online music technology retailers.
Chapter 2: How It Works
In 1997, Antares first introduced the ground-breaking Auto-Tune Pitch Correcting Plug-In and Recording Magazine called Auto-Tune the holy grail of recording. In the intervening years, Auto-Tune has established itself as the worldwide standard in professional pitch correction. Today, its used daily by tens of thousands of audio professionals to save studio and editing time, ease the frustration of endless retakes, or save that otherwise once-in-a-lifetime performance.
Whats it do?
Auto-Tune EFX lets you choose between two different flavors of the Auto-Tune Vocal Effect and real-time pitch correction.
Auto-Tune EFX pitch correction works by continuously tracking the pitch of your vocal and comparing it to the notes in the (usercustomizable) scale of your song. The scale note closest to the input pitch is identified as the target note. If the vocals pitch exactly matches the target note, no correction is applied. If the vocals pitch varies from the target note, either sharp or flat, the output pitch is smoothly corrected to the target note. But in addition to its use in pitch correction, Auto-Tune has also gained renown as the tool of choice for what has become one of the signature vocal sounds of our time. First heard on Chers 1998 mega-hit Believe, variations of the Auto-Tune Vocal Effect have gone on to appear on songs from a huge variety of artists. Most recently, its use by artists in the pop, R&B and hip-hop communities has rekindled intense interest in the effect and introduced the magic of AutoTune to an even larger community of musicians and producers. As a result, we have created Auto-Tune EFX, an affordable, easy-to-use tool for basic real-time pitch correction and creating the Auto-Tune Vocal Effect.
Auto-Tune Vocal Effect
The Auto-Tune Vocal Effect is what is technically known as pitch quantization. That is, instead of allowing all of the small variations in pitch and the gradual transitions between notes that are a normal part of singing (and speaking, for that matter), the Auto-Tune Vocal Effect limits each note to an exact pitch, stripping out any variation, as well as forcing instantaneous transitions between notes. The process of choosing the pitches to quantize to is the same as described above for pitch correction. The difference is that for pitch correction, the correction is done smoothly in order to make the process as transparent as possible. For the Auto-Tune Vocal Effect, the correction is instantaneous.
How to do it
Auto-Tune EFX has been designed to make almost everything automatic. Simply follow the steps below: 1.Select an effect type Auto-Tune EFX provides two alternative versions of the Auto-Tune Vocal Effect as well as real-time pitch correction.
2.Select Vocal Type
In order to do its magic, Auto-Tune EFX needs to figure out exactly what pitches are being sung. It will do its best job of pitch detection if it knows the general range of the vocal part. You can help it out by clicking on the Vocal Type popup menu and selecting your tracks vocal type. The choices are: Soprano Voice
Hard EFX: This is the classic Auto-Tune Vocal Effect. Sung notes will be restricted to the exact scale pitches and transitions between notes will be instantaneous.
Alto/Tenor Voice Baritone/Bass Voice Instrument (anything that isnt actually a voice)
3.Select Key and Scale
Soft EFX: This version of the Auto-Tune Vocal Effect allows slight pitch variations and slightly less instant note transitions.
Pitch Correct: This setting provides highquality, real-time pitch correction of your vocal, while preserving all of the expressive nuance of the original performance. To select an effect, either click and hold on the Effect Type switch and move it to the desired setting or simply click on the desired setting to move the switch to that position.
Use the Key and Scale popup menus to set the Key and Scale of your track. The appropriate Note buttons will light blue to indicate that they are in the scale and that the input vocal can be corrected or forced to those notes.
A Tip: If you dont know the key of your track, trial-and-error works pretty well. Start by setting Major or Minor and then just trying one Key after another until one sounds good.
4.Play your track Auto-Tune EFX will process your input vocal and, depending on your choice of Effect Type, will either correct or quantize it to the target scale notes. Mr. Hand will continuously indicate the current target note. If you like the result, youre done. If not, continue with the next step.
5.Customize the Scale Depending on the specific vocal line, adding or removing scale notes can give you distinctly different results. Try any combination of the following:
Click on a lit blue Note button to remove it from the scale and prevent Auto-Tune EFX from correcting or quantizing the output to that note. Click on an unlit Note button to add it to the scale and allow Auto-Tune EFX to correct or quantize the output to that note.
Click and play and click and play until you get exactly the result you want.
Some useful tips
1.If youre not getting the result you want, even though youre sure youve set the correct Key and Scale, try some other keys and/or scales. Sometimes a melody might actually give a more interesting effect in other than its correct scale. 2.Use your hosts automation facility to change the Key or Scale, or toggle the state of various Note buttons, in real time. This is particularly useful for songs with complex chord progressions or modulations. 3.Try the chromatic scale. If you are doing pitch correction and the singer is never more than 49 cents off (i.e., just less than half a semi-tone actually a pretty huge error), everything should work just fine, regardless of key changes or modulations. Although our experience shows that if youre going for the classic Auto-Tune Vocal Effect, chromatic rarely provides it, for a specific song, it might be just what you want. 4.Create a custom scale for a particular vocal track. Start by selecting any chromatic scale and remove selected notes until youre left with a combination that sounds good. 5.Try re-pitching the vocal line. Watch Mr. Hand and note which notes appear in the melody. Remove one or more of those notes from the scale and try adding various adjacent notes. You might end up with something interesting (but then again, you might not). 6.Wear blue plaid boxer shorts. They not only keep you cooler in summer, but help to repel rabid marmosets. 7.Dont forget your hosts Bypass function. Limiting the Auto-Tune Vocal Effect to specific phrases can provide sonic contrast in your song. 8.Have fun.
Chapter 3: Auto-Tune EFX Tutorials
This chapter introduces you to how Auto-Tune EFX works by guiding you through two brief tutorials. The tutorials require a number of audio files. They can be found on the Auto-Tune EFX DVD, or you can download them from: http://www.antarestech.com/download/update.shtml Then just follow these steps:
Tutorial 1: Auto-Tune Vocal Effect
1.Create a new project in your host and import the tutorial files hidin_vocal.wav and hidin_accomp.wav onto two tracks of the project. 2.Play the tracks and adjust their relative levels to your taste. 3.Instantiate Auto-Tune EFX on the vocal track. Set Effect Type to Hard EFX. 4.Set Vocal Type to alto/tenor. Set Key to A flat and set Scale to minor. 5.Play your project. Voil! Instant Auto-Tune Vocal Effect. 6.Change the Effect Type to Soft EFX and play again to hear the difference. 7.Switch back to Hard EFX and click the A#/ Bb button to remove that note form the scale. 8.Play the project again and note that youve subtly changed the melody. The syllable -ther of together and the word on at the end of the second phrase are now forced to B instead of their original Bb.
Tutorial 2: Pitch Correction
1.Mute or discard the tracks from Tutorial 1 from your project. 2.Import the tutorial files dont_give_up_ vocal.wav and dont_give_up_accomp. wav onto two tracks of your project. 3.Play the tracks and adjust their relative levels to your taste. Note the various pitch problems in the vocal.* 4.Instantiate Auto-Tune EFX on the vocal track. Set Effect Type to Pitch Correct. 5.Set Vocal Type to soprano. Set Key to D and set Scale to major. 6.Play your project. Voil! Instant pitch correction. 7.Youre done. (Hey, we said they were brief.) *Our very talented singer made us promise to tell you that she did this on purpose at our request.
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