Korg D1600

Antares Auto-Tune 3
P I T C H C O R R E C T I O N
Choose automatic pitch correction mode (shown here) or the graphic window (see inset). Choose from one of four source algorithms, in this case Soprano Voice. Choose from one of 29 preset scales, or create your own by clicking in the note panel (middle of window). New MIDI functions in version 3 let you input custom scales. You can also play the new target notes via MIDI in real time. The Retune and Tracking knobs are essential tools for optimizing performance.

Reports

P L U G - I N
Pros: Graphic and auto editing modes. Sourcespecific algorithms. Realtime MIDI input. Supports most plug-in formats. Stylish user interface. Cons: More processor- and memory-intensive than most plug-ins. Contact: Antares, 831-461-7800, www.antarestech.com $299 (DirectX), $399 (MAS, RTAS, VST), $599 (TDM)
Auto-Tune 3s graphic editing mode allows you to manually draw new pitch paths.
Add or shape vibrato by selecting a waveform type and dialing in the depth, rate, and delay. proved much more challenging. Shes a classically trained singer with thick vibrato. Right off the bat, I knew this would be tough; my first Auto-Tune experiments using Automatic mode yielded unusable results. Antares suggests increasing the Retune amount for cases such as this, which I did. The controls are sensitive, so I spent lots of time tweaking in an effort to find the sweet spot. The good news is that I was able to find accurate settings for certain phrases and sections, but I was never able to get one setting for the whole song as I had before. This song required me to delve into Auto-Tunes graphic editing mode, which is a powerful tool for surgical editing. It takes time and patience to get inside a track and massage each note like this, but its nice to have the option to do so. Antares makes no bones about this, saying: Use Auto Mode for quick fixes and Graphical Mode for meticulous tweaking.

by Greg Rule

outed as the worldwide standard in pitch correction, Auto-Tune has changed the face of modern recording. Whether being used for Cher-like pitch quantize effects or for invisible correction of notes that were played or sung off-key,Auto-Tune has indeed established itself as the heavyweight champ in its field. So how to improve upon an already great program? With useful new features and enhancements to the core algorithms, says an Antares spokesperson, and by bringing Auto-Tunes GUI into the modern age. If youre unfamiliar with the basics of Auto-Tune, refer back to our July 97 review of the original version. The hardware version, Antares ATR-1, was reviewed in Jan. 00. So no

KEYBOAR D DECEMBER 2001

beating around the bush lets get right to the performance of this new version.

In Use

I put Auto-Tune 3 through its paces in two pop recording sessions during this review. The first vocalist had a smooth, clear voice. Using the plug-in on her track was a breeze. All I had to do was select the appropriate key signature for the song, make minor adjustments to the Retune and Tracking settings, and that was it. I was essentially able to set and forget. Other than one note in the first verse, Auto-Tune sounded completely invisible from beginning to end, correcting the sharp and flat notes spot on. Perfecto. Using Auto-Tune 3 with another vocalist

w w w. k e y b o a rd o n l i n e. c o m

Vital Stats

TDM, RTAS, AudioSuite, MAS, VST, DirectX Formats System requirements: Mac: PowerPC processor or better, host app that supports the appropriate plug-in format, OS version required by host app; TDM version compatible with PCI TDM systems running Pro Tools III or later. PC: Windows 98 or ME, host app that supports RTAS or DirectX 6.1 or later; DirectX Media Runtime recommended Key features automatic and graphic editing modes, phase-coherent pitch correction of stereo tracks, MIDI input of target pitches, 88.2 and 96kHz sample rate compatibility, enhanced Mix chip usage efficiency for more instantiations per Mix chip (TDM only), AudioSuite version (TDM and RTAS only) Presets 29 selectable scales, 4 source-specific pitch detection/correction algorithms (soprano vocal, alto/tenor voice, low male voice, bass instrument) Copy protection challenge/response Upgrade path registered owners of Auto-Tune can upgrade to version 3 for $99 (MAS, VST, RTAS, DirectX), $149 (TDM), or $229 (VST LE) Downloadable demo? Yes
What I ended up doing was bouncing several passes of the soloed track to disk, each with a different Auto-Tune setting. Then I re-imported the files back into my session, lined them up, comped the best pieces from each pass into a single track, and I had my perfect take. Admittedly this took a lot more time and effort than the first song, but it was worth it. Putting things in perspective, most of my work with Auto-Tune before and after the review has been handled successfully in Automatic mode. The example above was what Id call a worst case scenario.

Conclusions

Auto-Tune is still at the top of the pitch-correcting pack. Building upon an already great foundation, version 3 raises the bar another notch with new features such as realtime MIDI control, source-specific algorithms, and a slick new user interface. It isnt alone in the field, however. There are other realtime pitch-correction plug-ins from Digidesign, TC Works, Waves, and Wave Mechanics, but none offers the type of graphic editing available in Auto-Tune 3.
Speaking of visual editing, some of you have been asking about Celemonys Melodyne software, which has a unique approach to pitch editing. Well be reviewing it soon, but as far as we know, it wont be available as a plug-in only as an offline app. It comes as no surprise that Auto-Tune 3 is a bit of a processor and memory hog compared to many other plug-ins. Its a powerful plug-in, after all, and one that delivers on its promise. But if youve been getting by on a minimal system, be ready to invest in more memory and/or a faster computer. In my case, using native Pro Tools LE on a G3 with 256MB of RAM, Auto-Tune wouldnt operate properly if I had two other high-power plug-ins instantiated. Bottom line: For plug-in users who record live monophonic instruments and vocals (including those recorded in stereo), Auto-Tune 3 is an essential tool for keeping tracks in tune. Its easy to use, powerful, and available in practically all of the popular plug-in formats. Chalk up another Key Buy for Antares. k Greg Rule is the editor-in-chief of Keyboard. Visit him online at www.gregrule.com.

If, on the other hand, your signal is noisy or not well-isolated (as might be more common in a live performance situation) or you are dealing with a particularly breathy or guttural voice, it may be necessary to allow more signal variation (higher Tracking numbers). However, under these circumstances tracking is not guaranteed and a too relaxed setting may introduce distortion and popping.
NOTE: The improved pitch detection technology in Auto-Tune Evo (in combination with the Input Type selection described above) results in noticeably more reliable pitch detection compared to previous versions of Auto-Tune. If you have used older versions of Auto-Tune, you may find that situations that previously required constant modifications of the Tracking control now track perfectly at the default setting.
Key Selection This control lets you select the key of the track you plan to process. 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 This control is used in combination with the Key selection above to define the scale of the track you plan to process. To select a scale, click on the Scale pop p and u 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 Evo 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 be reflected on both the Auto Mode Scale Edit display and the Pitch Graph Display in the Graphical Mode.
Select Pitch Reference Auto-Tune Evo provides the ability to pitch correct stereo tracks while maintaining the tracks phase coherence. (Refer to your host applications manual for instructions on assigning a plug-in to a stereo track.) Click the appropriate button to select which of the two stereo tracks (left or right) Auto-Tune Evo will use as a pitch reference.
NOTE: If there is a marked difference in the two tracks, pick the cleanest, most isolated track. For example, if one track is a close micd vocal while the other is micd from farther away for ambience, or is heavily processed, select the close micd track.

Command (Mac)/Control (PC) click the control to reset it to its default value of 1.00.
Important Note: This function is specifically for changing the existing quality of a voice, not for manual formant compensation for pitch shifting. AutoTune Evo automatically applies appropriate formant correction when it shifts pitch with Formant Correction Enabled.
is not available in the TDM versions of Auto-Tune Evo. If you wish to use the Formant Correction function on a TDM system, be sure to select the RTAS version of Auto-Tune Evo. Correction Mode Click the appropriate button to select either Automatic or Graphical Mode.
Another Note: Formant Correction
Options Clicking the Options button will bring up a window containing a number of settings that fall into the set and forget category.
NUMBER OF UNDOS Auto-Tune Evo 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.
KNOB CONTROL Lets you select how you want to control the knobs in the Auto-Tune Evo interface.
BUFFER SIZE This controls the number of seconds of memory buffer space that are permanently reserved for pitch tracking and pitch correction data in Graphical Mode. (There is a separate buffer for each plug-in occurrence.) To change the buffer allocation, click in the data field and enter the required number of seconds.
VERTICAL: Position the cursor over a knob, press and hold the left mouse button (or the only mouse button, if youre using a one-button mouse) and move the cursor up to turn the knob clockwise or down to turn the knob counterclockwise. The current value of the knobs parameter appears in its associated numeric display. HORIZONTAL: Position the cursor over a knob, press and hold the left mouse button and move the cursor to the right to turn the knob clockwise or to the left to turn the knob counterclockwise. The current value of the knobs parameter appears in its associated numeric display. RADIAL: Click anywhere around the circumference of the knob, press and hold the left mouse button and rotate the knob in the desired direction. The current value of the knobs parameter appears in its associated numeric display.
USE CUSTOM CURSORS Click the check box to use Custom Cursors in Graphical Mode. Normally, Auto-Tune Evo displays different cursor shapes in the Pitch Graph Display to help you grab and drag objects (e.g., the object cursor, the anchor point cursor, etc.). However, some host applications mistakenly think that they own the cursor when it is in a plug-in window. This may cause the cursor to flash as the host and Auto-Tune Evo alternately try to set the cursor shape. If this annoys you, unclick this check box. It will stop the flashing, but you will no longer see Auto-Tune Evos custom cursors. DISPLAY VERTICAL LINE AT CURSOR TIME POSITION Click the check box to cause

scale containing only those notes that appear in the melody. To use the Learn Scale From MIDI function, ensure that the desired MIDI source is routed to Auto-Tune Evo and then click the Learn Scale From MIDI button. Its color will change to blue and the Edit Scale display will automatically be set to a chromatic scale with all of the notes set to Remove. Now simply play the melody to be corrected from your keyboard or sequencer. Tempo and rhythm dont matter, so take your time and make sure you dont play any wrong notes. As each note is played, the corresponding Remove button in the Edit Scale Display is turned off (adding that note to the scale as a Scale Note). Assume, for example, that your melody starts with D, B, and then A. After playing those notes the display would look like this:
When you have played the entire melody, press the Learn Scale From MIDI button again to end the process. The Edit Scale Display will now contain a scale containing only those notes that appeared in your melody.
If you happen to have made an error during note entry, or want to try again for any other reason, simply click the Learn Scale From MIDI button and start the process again.
NOTE: When you start the process by pressing the Learn Scale From MIDI button, all notes are first Removed from the chromatic scale in preparation for adding just the notes you play. If you then press the Learn Scale From MIDI button again without playing any notes, you will be left with a chromatic scale with all notes removed. In this state, Auto-Tune Evo will pass all notes with no correction applied. So dont do that.
be defining Auto-Tune Evos target pitches via MIDI, be sure that the Target Notes Via MIDI button is off. If it is left on and no MIDI note data is present, Auto-Tune Evo will pass through all audio unprocessed giving the impression that Auto-Tune Evo is not functioning. is some possibility of confusion between the Target Notes Via MIDI function and the Learn Scale From MIDI function described above. To clarify: Target Notes Via MIDI is used to specify target pitches in real time while pitch correction is occurring, while Learn Scale From MIDI is used in advance of correction to create a custom scale. Octave As Played/All Octaves For both of the MIDI functions (Learn Scale from MIDI and Target Notes via MIDI), you can choose whether you want incoming MIDI notes to affect all octaves or just the notes in the specific octaves in which they are played. Simply click the desired button. The button will change color to blue to indicate your choice.
ANOTHER NOTE: We realize that there
IMPORTANT NOTE: If you will not
Target Notes Via MIDI To use the Target Notes Via MIDI function, ensure that the desired MIDI source is routed to Auto-Tune Evo, then click the Target Notes Via MIDI button. Its color will change to blue and the Edit Scale display will automatically be set to a chromatic scale with all of the notes set to Remove. While in this mode, Auto-Tune Evo continuously monitors its MIDI input for Note On messages. At any instant, the scale used for correction is defined by all MIDI notes that are on. For example, if MIDI notes A, C and E are held, Auto-Tune Evos input will be retuned to an A, C or E, whichever is closest to the input pitch. The source of the MIDI input would typically be a MIDI keyboard or sequencer track, and could consist of chords, scales, or, most powerfully, the exact melody that the input should be corrected to.

external A/D converters with independently selectable sample rates, it can be possible to establish a mismatch between the actual conversion sample rate and what the host application thinks is the sample rate. If this happens, Auto-Tune Evo will appear to be correcting pitch to the wrong key. If this appears to be happening, check to be sure that your converter sample rate and your host application sample rate (as displayed by AutoTune Evo) match.
ANOTHER NOTE: If you are using
Pitch Tracking and Correction Objects
Track Pitch The Track Pitch function is used to detect the pitch of the audio to be processed so that it can be displayed on the Pitch Graph Display. Locate the desired audio and press the Track Pitch button. (If you are using Auto-Tune Evos Internal clock (see below) you may (depending on your host) need to click the Reset button to reset the clock position to 00:00:0.) The Track Pitch button will flash blue and red to indicate that Auto-Tune is in Track Pitch mode. Next, start playback of the audio. A graphic representation of the pitch will be drawn to the display as the audio plays. When all of the audio you want to correct has played, stop playback. Note that Auto-Tune will remain in Track Pitch mode (the button will continue to flash). If you are using the Host Clock and want to track the pitch of audio elsewhere in your track, simply use your hosts transport controls to move to that audio and start playback again. Auto-Tune will continue tracking pitch at that point. When you have tracked all of the audio you want to correct, click the Track Pitch button again. You will exit Track Pitch mode and, if you have AutoScroll enabled (as described in the Pitch Graph Display section below), the Pitch Graph will automatically scale in such a way as to include all of the tracked audio. If you have not enabled Auto-Scroll, no scaling will occur.
NOTE: If you are using Auto-Tune Evos Internal Clock (because your host does not provide valid clock information), you will not be able to navigate around your audio while tracking as described above. In that case you should either track all of the audio at once, or track an individual section, then correct it and bounce the changes (or use

YET ANOTHER NOTE: Remember that ANOTHER NOTE: Whenever you NOTE: If a range of time has been
Import Auto The Import 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 Import Auto button causes blue target pitch contour objects (curves for short) to be created from the red input pitch contour data. The blue curve(s) created by the Import 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 Evos Automatic Mode. In addition to the Key and Scale selections, the Retune Speed, and any Scale Detune, it reflects the Automatic Modes Edit Scale settings, Targeting Ignores Vibrato mode (if selected), and Humanize, Natural Vibrato and Create Vibrato settings. As described above for Make Curve, green output pitch curves are also created that represent the exact pitches output at the currently selected Retune Speed.
NOTE: If a range of time has been selected by using the I-Beam Tool, the Import Auto button works only in the selected time range. Otherwise it works on all red pitch data.
by Import Auto will initially be assigned the same default Curves Retune Speed as those created with Make Curve. In fact, pretty much everything we said about the Make Curve function above is equally applicable to the Import Auto function. Once you have used the Import Auto function to create a blue target pitch curve, setting the Graphical Mode Retune Speed to 0 (or having set the default Curves Retune Speed to 0) 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 for all or selected correction curve segments, or further edit the blue curve using any of the Graphical Mode tools to get precisely the effect you want.
ANOTHER NOTE: The curves created
If you arent satisfied with the results of the Import Auto function, simply switch to Automatic Mode, modify any of the settings as desired, and then return to Graphical Mode and click Import Auto again.

any previous correction objects. So you could, for example, use the default graph mode for creating and tweaking some curves in one section of your track, and then switch to Lanes mode to create and edit some Notes objects in a different section of the track. Your previously created and edited curves would remain unaffected. 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).
Detected Pitch Display The Detected Pitch Display will always show the exact pitch of the tracked input data (the red curve) at the current cursor position. Output Pitch Display The Output Pitch Display will always show the exact output pitch (the green curve) at the current cursor position. Object Pitch Display The Object Pitch Display will always show the exact target pitch of the correction object at the current cursor position. For Lines and Curves, this will correspond to the pitch indicated by the blue target pitch curve. For Notes, this will correspond either to the pitch of the graph line or lane on which the Note is situated, or, if Snap to Note has been
Note: The Show Lanes option is only available when the Major, Minor or Chromatic scales are selected. In all other cases, the Show Lanes button will be disabled.
Click the Show Lanes button to toggle its state. The button will turn blue when Show Lanes mode is on (but of course when Show Lanes mode is on, the Pitch Graph is full of Lanes, so its pretty hard to get confused about which mode youre in).
NOTE: You can switch back and forth between display modes at any time. Switching modes has no effect on
turned off and the Note has been offset from the graph line or lane, it will display the note and the amount of offset (in cents). 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 all of the currently tracked audio. This is useful for quickly 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. Auto Scroll When Auto-Scroll is on (the button is blue), Auto-Tune Evo will automatically scroll the Pitch Graph Display to ensure that the current play position is always in the display. When Auto-Scroll is off (the button is pale gray), the display will not scroll to follow the play position.

NOTE: In addition to the above, if Auto-Scroll is off while tracking pitch, when the transport is stopped and the Track Pitch button is clicked to exit Track Pitch Mode, Auto-Tune Evo will not automatically scale the display to encompass all of the tracked audio, as it normally would.
tracking pass, annoyingly requiring you to zoom back in to the bit you were interested in each time. With Auto-Scroll (and therefore automatic rescaling) off, that wouldnt be necessary.

Editing Tools

Editing Modality Unlike versions of Auto-Tune prior to Auto-Tune 5, with Auto-Tune Evo, you are free to use any of the graphical editing functions while either tracking or correcting pitch. You can, for example:
Draw new correction objects while you are either tracking or correcting pitch. Edit existing correction objects while correcting pitch even when the position indicator is passing over the object youre editing (in which case the edit takes effect as soon as you release your mouse button). Click Make Curve, Import Auto or Make Notes while tracking or correcting pitch. (If you do this while tracking pitch, the resulting objects will apply only to the audio that has already been tracked at the instant you click the respective button). Cut, copy or paste correction objects while tracking or correcting pitch. Now, just because you can do something, doesnt necessarily mean you would want to (or that it even makes sense to), but with this functionality, you have a lot of flexibility in developing whatever workflow works best for you.
This is useful when you have zoomed in to a problematic bit of audio and want to track it a number of times with different Tracking settings and observe the effects of the different settings. If Auto-Scroll were on, AutoTune Evo would rescale the display after each

The Graphical Tools

The graphical tools are used in conjunction with the edit buttons to create or modify the desired correction objects.
NOTE: In addition to clicking on the various tools, if your host passes key presses to plug-ins, you can assign selected tools to QWERTY number keys using the Key Binding function in the Options dialog.
enabled, pressing Shift will enable it for as long as Shift is pressed. Conversely, if Snap To Note mode is enabled, pressing Shift will disable it for as long as Shift is pressed. 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 correction object (Line, Curve, or Note) 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.

2.Make sure Snap To Note is engaged and use the Line Tool to draw a horizontal line at C3 as shown below:
3.Set the Retune Speed to 20 and play back the sound. Experiment with other Retune Speeds to see their effect on the green correction curve and to hear their effects. Some notes: Vibratos and other pitch gestures typically occur with related loudness gestures. Specifically, with vibratos, some vocalists produce mostly pitch variations and little loudness variations while others produce small pitch variations and a lot of loudness variations (the latter is often called tremolo). Nonetheless, almost all voices seem to produce a combination of both pitch and related loudness variations. Therefore, trying to take an existing vibrato and change it (say speed it up) often sounds unnatural because the new pitch variation does not correspond to the original (and still present) loudness variation. These considerations are also important when correcting pitch. Its rarely effective to draw in a new pitch gesture at the desired pitch, even though that gesture may have worked well in another performance. As this tutorial has demonstrated, the following two techniques provide successful approaches to Graphical Mode pitch correction:
0.Set the Retune Speed to 0 and play back 1 the sound. Note that the errant note is now in tune. To continue, here is an alternative approach to the same pitch problem using the Line Tool. 1.Click Select All and then click Cut to delete the curves you created in the steps above.
The first technique uses the Make Curve button to create a curve of the existing pitch, allowing you to drag that curve up or down,
or stretch it by dragging one end vertically. The Retune Speed can then be set very fast (0 to 5). This will force a precise re-tuning, but will sound extremely natural since the target pitch curve will precisely synchronize with the original loudness gestures of the voice. The second technique is to draw a flat line segment across the duration of a tone at the desired pitch and then set the Retune Speed in the range of 20 to 40. This has the effect of gently moving the input pitch towards the desired pitch. The slower values of 20 to 40 will let through a vibrato but still draw the overall pitch closer to being in tune. The average pitch will eventually settle to the given line and the pitch gestures will occur both sharper and flatter relative to that line. The settling time is about twice the Retune Speed setting (in milliseconds). 20 to 40 will let through about one-half of a typical vibrato. Slower settings will let through more vibrato but will cause the new pitch to be reached more slowly.

A NOTE: An indication of Auto-Tune Evos seriously enhanced pitchtracking capabilities is the wildly oscillating curve at the end of rainbow. That is actually the result of Auto-Tune Evo tracking the faint reverb tail at the end of the word.
Well continue with an example of selective pitch shifting.
11.Ensure that Formant Correction is engaged. With the Arrow tool still selected, move the cursor over the middle of the G3 note and notice that it turns into the pitch shift cursor (little vertical up-and-down arrows). Click on the note and drag it up two semitones to A3. Play the file and listen to the melodic change. 12.Select the Scissors tool and click on the A3 note at about the 8.3 second point (at the pronounced pitch peak) to cut it into two notes. 3.Select the Arrow tool again and drag the 1 first of these two notes back down to G3. Play the file and listen to the result. 4.To create a smoother transition between 1 the G3 and A3 notes, move the Arrow tool cursor over the left end of the A3 note so that the cursor turns into the length adjustment cursor (little horizontal leftand-right arrows). Drag the left end of the note about a 1/10 of a second to the right to open a transition between it and the previous note. It should look something like this:
Finally, well look at why using the chromatic scale can be a problem for particularly troublesome performances, along with another way to deal with the problem. 5. Use the Zoom tool focus on the words 1 are blue. 16. Set the Key and Scale to G Chromatic. 17. Select the I-Beam tool and highlight the range of the words are blue (from about 12.5 seconds to 17 seconds). For maximum effect, set Number of Note Objects to a least 50. 8.Click Make Notes: 1
Yikes! Since much of the word blue is so sharp that its closer to D#3 than to the intended D3, A lot of the Note objects end up on D#3. Changing the Number of Note Objects setting to see its effect can be quite educational here, but no setting will give us what we really want, which is blue as one note on D3. 9.One way to fix this would be to manually 1 drag each note segment from D#3 to D3, but that would be annoyingly fiddly and time-consuming. Instead, use the Arrow tool to drag the right end of any of the note segments already on D3 to the end of blue (just shy of 17 seconds). Then drag the left end of that same note to the beginning of blue (at about 13.3 seconds). All of the unwanted D#3s are overwritten and you end up with one correct note on D3:
Note the shape of the green output curve and play the file. You can continue to adjust the left A3 notes end point and/or its Retune Speed until you get exactly the transition you desire.

Graphical Mode function to each of the QWERTY number keys (i.e., the number keys across the top of your keyboard). So no matter what your personal editing workflow, you can ensure that your most-used functions are always only a key press away. See the Graphical Mode section below for details.
WINDOW SIZE (VST and Audio Units versions only) Since some hosts and/or plug-in formats do not support real-time plug-in window resizing (i.e., dragging on the corner of the window), the Window Size controls allow you to select among three preset sizes or specify a custom size of your choice.
Note: Some hosts do not support immediate resizing of an open plug-in window. If yours in one of those, after clicking Save, you will have to close the AutoTune Evo window and reopen it to have the size change take affect.

Options Dialog

The following additions have been made to the Option dialog:
DISPLAY VERTICAL LINE AT CURSOR TIME POSITION Click the check box to cause
a vertical line to be displayed at the cursor position in Graphical Mode. This is most useful when you are comparing the various pitch values (tracked pitch, correction object pitch, and output pitch) at one or more time locations in your track.
DEFAULT RETUNE SPEEDS Recognizing that you will likely use different pitch correction objects for different tasks (e.g., traditional pitch correction, pitch shifting, Auto-Tune Vocal effects, etc.), you can streamline your workflow by setting your own custom default Retune Speed settings for each type of object (i.e., Curves, Lines, and Notes). See the Graphical Mode section below for details. KEY BINDINGS Auto-Tune Evos new Key Binding system lets you assigned virtually any
resizing is supported in all current versions of Pro Tools LE and HD, neither the RTAS nor TDM versions of Auto-Tune Evo include (or need) the Window Size controls. SAVE AS DEFAULT When the Save as default box is checked, any changes you make to the various Options settings are saved as defaults for all future instances of Auto-Tune Evo. If you want to make a temporary change to an Option setting for a particular track, but want to retain the previous default for future instances, uncheck the Save as default box before clicking the Save button. Your modified value

will take effect in the current instance of AutoTune Evo, but future instances will revert to the previously saved value.
Formant correction (Native versions only)

Highlights

Transpose (Real-time pitch shifting) Formant correction (Native versions only) Throat modeling (Native versions only)
Click the Formant button to toggle Auto-Tune Evos formant correction function on and off. The button will turn blue when formant correction is active and will be pale gray when it is inactive. Engaging Formant Correction prevents the shifting of a voices resonant frequencies to ensure that its vocal characteristics are preserved over the pitch shift range. (For a more complete explanation of formant correction, refer to the Pitch Shifting and Formant Correction section in Chapter 2.)

Details Transpose

In addition to any pitch correction applied by Automatic Mode, the Transpose control lets you shift the overall pitch of your performance over a two octave range (+/- one octave), selectable in precise semitone increments. In Automatic Mode, this transposition is accomplished in real time.
is not available in the TDM versions of Auto-Tune Evo. If you wish to use the Formant Correction function on a TDM system, be sure to select the RTAS version of Auto-Tune Evo.
Throat modeling (Native versions only)
Transpose control is limited to semitone intervals, you can combine this control with the Scale Detune control to pitch shift your track by any arbitrary microtonal interval over the two-octave range with singlecent accuracy. The default Transpose setting is 0 semitones (i.e., no transposition). Double-clicking or Command (Mac)/Control (PC) clicking the Transpose knob will reset it to that value.
Another Note: Although the
The shape of a singers throat is a prime contributor to their vocal character. Auto-Tune Evo lets you modify the vocal quality of a performance by actually varying the geometry of a physical model of the human vocal tract and processing the original performance through that model. The Throat Length control lets you modify the length of the modeled throat. The range of the control is.50 to 1.80. Values above 1.00 represent a lengthening of the throat while values below 1.00 represent a shortening of the throat. The actual values represent the percentage change in the throat length. For example, a value of 1.20 represents a 20% increase in

New Auto-Scaling behavior
If Auto-Scroll is off while tracking pitch, when the transport is stopped and the Track Pitch button is clicked to exit Track Pitch Mode, AutoTune Evo will not automatically scale the display to encompass all of the tracked audio, as it normally would. This is useful when you have zoomed in to a problematic bit of audio and want to track it a number of times with different Tracking settings and observe the effects of the different settings. If Auto-Scroll were on, Auto-Tune Evo would rescale the display after each tracking pass, annoyingly requiring you to zoom back in to the bit you were interested in each time. With Auto-Scroll (and therefore automatic rescaling) off, that wouldnt be necessary.
Chapter 6: The Auto-Tune Vocal Effect
In addition to its adoption as the worldwide standard in professional 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 effect have gone on to appear on songs from a huge variety of artists. Since there seems to be a lot of mythology about how its accomplished, we thought wed provide the official Antares version here.

What is it?

Quite simply, 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 its exact target pitch, stripping out any variation, as well as forcing instantaneous transitions between notes.
Automatic Mode 1.As we already mentioned, start by setting Retune Speed to 0. 2.Set the Key and Scale to the key and scale of your track. 3.Play your track. If you like the result, youre done. 4.If youre not happy with the result, try one or more of the following:

How to do it.

There are basically two key elements to producing the Auto-Tune Vocal Effect: 1.Retune Speed = 0 2.Pick the right scale Thats pretty much it. Really. There are, however, some possible variations in approach, depending mainly on whether you want to use Automatic Mode or Graphical Mode. Here are the details:

the scale notes. Depending on the specific vocal line, adding or removing scale notes can give you distinctly different effects. a different key and/or scale. the chromatic scale (although our experience is that if youre going for the classic effect, chromatic rarely provides it). a Retune Speed of 1 or 2 or a bit slower. This will allow slight pitch variations and slightly less instant note transitions, but may result in the right effect for a particular performance.

Try Try

5.Dont forget your hosts Bypass function. Limiting the Auto-Tune Vocal Effect just to specific phrases can provide sonic contrast in your song.
Graphical Mode Using Auto-Tune Evos new graphical Note objects will give you the ultimate control over the Auto-Tune Vocal Effect. 1.Since you want all of your notes quantized, start by opening the Options dialog and setting the default Notes Retune Speed to 0. 2.Unless you will using something other than a standard diatonic scale, turn on Show Lanes mode. 3.Track your audio. 4.Click the Make Notes button. If necessary, adjust the Number of Note Objects control to get as accurate a representation of the desired target notes as possible. 5.Make sure that all of the Note objects in the range where you want the effect to happen butt up against each other (this will ensure that all of the note transitions are instantaneous). If they dont, either use the Arrow tool to extend existing Note boundaries so that they do, or use the Note tool to draw new notes to fill in any gaps. 6.Play your track. If you like the result, youre done. 7.If youre not happy with the result, simply experiment with changing the pitch or length of individual Notes. The beauty of Note objects is that you can literally sculpt any melodic contour to get exactly the effect you desire. 8.Once you get the effect exactly as you like it, Auto-Tune Evos new graphical Paste function will allow you to copy all of the Note objects and paste them in subsequent verses or choruses or wherever else in your track youd like the same effect.
Chapter 7: Other Creative Applications for Auto-Tune Evo
Auto-Tune Evo 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 Evo: Produce instant double tracking in one take! Record onto two tracks, processing only one of the tracks through Auto-Tune Evo. If youre going for a tight double track, set Retune Speed rather fast and Detune Auto-Tune Evo 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 Evo. 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 Evo, the more variation 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 Evo 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-Tune Evo 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 AutoTune Evos 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 Evo is working in a completely transparent mode, and only when needed.