Contents

Chapter 1 Getting Started
Whats New in Auto-Tune 5 Installing and Authorizing Technical Support 47 49
Chapter 2 Introducing Auto-Tune 5
Some background A little bit about pitch How Auto-Tune 5 detects pitch How Auto-Tune 5 corrects pitch Automatic Mode Graphical Mode
Chapter 3 Auto-Tune 5 Controls
Common Controls Automatic Mode Controls MIDI Functions Graphical Mode Controls Pen Tablet Input
Chapter 4 Auto-Tune 5 Tutorial
Tutorial 1: Automatic Mode Basics Tutorial 2: Targeting Ignores Vibrato Function Tutorial 3: Natural Vibrato Function Tutorial 4: MIDI Functions Tutorial 5: Graphical Mode Basics Tutorial 6: Precision Tutorial 7: Make Curve Function Tutorial 8: Import Auto Function
Chapter 5 New Features Quick Start Guide Chapter 6 Creative Applications

Welcome!

On behalf of everyone at Antares Audio Technologies, wed like to offer both our thanks and congratulations on your decision to purchase Auto-Tune 5, the most powerful intonation correction tool in the world. Before you proceed any farther, wed like to strongly encourage you to register and authorize your copy of Auto-Tune 5. (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 5 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.) As an Auto-Tune 5 owner, you are entitled to receive notification of any software upgrades, technical support, and advance announcements of upcoming products. But we cant send you stuff unless we know who and where you are. So please, register. At Antares, we are committed to excellence in quality, customer service, and technological innovation. With your purchase of Auto-Tune 5, 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

Technical Support

In the unlikely event that you experience a problem using Auto-Tune 5, first try the following 1.Make sure you have the latest version of the software. You can download and install the latest version of the software 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.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.Consult our searchable knowledgebase at: http://www.antarestech.com/support/ index.html 4. Call your local Antares dealer.
Chapter 2: Introducing Auto-Tune 5

Some background

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 the intervening years, Auto-Tune 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 5. Preserving the great sound quality, transparent processing, and ease of use of previous versions of Auto-Tune, Auto-Tune 5 adds significant new features as well as a sleek new user interface.
So what exactly is Auto-Tune 5?
Auto-Tune 5 is a precision tool for correcting intonation errors or creatively modifying the intonation of a performance. Auto-Tune 5 employs state-of-the-art digital signal processing algorithms (many, interestingly enough, drawn from the geophysical industry) to continuously detect the pitch of a periodic input signal (typically a solo voice or instrument) and instantly and seamlessly change it to a desired pitch (defined by any of a number of user-programmable scales, MIDI input, or through the use of graphical editing tools). To take maximum advantage of the power of Auto-Tune 5, you should have a basic understanding of pitch and how Auto-Tune 5 functions to correct pitch errors. This chapter presents basic terminology and introduces Auto-Tune 5s operating paradigm, giving you information you need to use it effectively.

what it considers periodic. Experimenting with this setting will often allow Auto-Tune 5 to track even noisy signals.
How Auto-Tune 5 corrects pitch
Auto-Tune 5 provides two separate and distinct ways to approach pitch correction: Automatic Mode and Graphical Mode. The basic functionality of each is described on the following pages.

Automatic Mode

Auto-Tune 5s Automatic Mode works by continuously tracking the pitch of an input sound and comparing it to a user-defined scale. The scale tone closest to the input is continuously identified. If the input pitch exactly matches the scale tone, no correction is applied. If the input pitch varies from the desired scale tone, an output pitch is generated which is closer to the scale tone than the input pitch. (The exact amount of correction is controlled by the Retune Speed and Humanize settings, described below and in Chapter 3.) Scales The heart of Automatic Mode pitch correction is the Scale. Auto-Tune 5 lets you choose from major, minor, chromatic or 26 historical, ethnic and micro-tonal scales. Individual scale notes can be bypassed, resulting in no pitch correction when the input is near those notes. Individual scale notes can also be removed, allowing a wider range of pitch correction for neighboring pitches. The scale can be detuned, allowing pitch correction to any pitch center. For added flexibility, you can also select the target pitches in real time via MIDI from a MIDI keyboard or a pre-recorded sequencer track.
Retune Speed Auto-Tune 5 also gives you control over how rapidly, in time, the pitch adjustment is made toward the scale tone. This is set with the Retune Speed control (see Chapter 3 for more details). Fast Speed settings are appropriate for short duration notes and for mechanical instruments, like oboe or clarinet, whose pitch typically changes almost instantly. A fast enough setting will also minimize or completely remove a vibrato, as well as produce the infamous Cher effect. Slow Speed settings, on the other hand, are appropriate for longer notes where you want expressive pitch gestures (like vibrato) to come through at the output and for vocal and instrumental styles that are typified by gradual slides (portamento) between pitches. An appropriately selected slow setting can leave expressive gestures intact while moving the average pitch to the correct tonal center. Vibrato Auto-Tune 5 allows real-time adjustment of the depth of any natural vibrato present in the input. Auto-Tune 5 can also add a vibrato to an input that does not naturally exhibit one. You can program the vibrato rate along with individual vibrato depths for pitch, amplitude (loudness) and formant (resonant frequencies). You can also specify delayed vibrato with independently programmable onset delay and onset rate. By combining a fast Retune Speed setting with Auto-Tune 5s Vibrato settings, you can even remove a performers own vibrato and replace it with Auto-Tune 5s programmed vibrato, all in real time. Also, unusual combinations of Vibrato Waveform, Rate and Depth settings can be used for some interesting special effects.

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. only pitch correct true stereo tracks. If the second track (i.e., the track not selected as a pitch reference) is simply an independent unrelated track, unpredictable (and potentially unpleasant) sounds may result. On the other hand, something interesting might happen. You never know. When Auto-Tune 5 is instantiated on a mono track, this control is inactive (grayed out). Options Clicking the Options button will bring up a window containing a number of settings that fall into the set and forget category. They are:
ANOTHER NOTE: Auto-Tune 5 will
If you are working with a well-isolated solo signal (e.g., tracking in a studio or off of a multitrack master) you can typically set the Tracking control to 25 and forget it. 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. algorithm in Auto-Tune 5 (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. 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. allocated from within your host application, for large buffers, it may be necessary to increase the memory allocation of your host.
ANOTHER NOTE: For hosts that NOTE: As buffer memory is typically NOTE: The improved pitch detection
TRACKING In order to accurately identify the pitch of the input, Auto-Tune 5 requires a periodically repeating waveform, characteristic of a voice or solo instrument. The Tracking control determines how much variation is allowed in the incoming waveform for AutoTune 5 to still consider it periodic.
provide valid time information, AutoTune 5 will display all tracked pitch information at its correct time within the track. If your host supports this capability, setting the buffer to the length of the entire song and tracking the pitch in one pass will allow you to quickly and easily move to each section of audio to be corrected as necessary.

ANOTHER NOTE: If you are using NOTE: Auto-Tune 5 is high sample
controls only. Controls that appear as sliders are not affected. CUSTOM CURSORS Click the check box to use Custom Cursors in Graphical Mode. Normally, Auto-Tune 5 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 5 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 5s custom cursors. NUMBER OF UNDOS Auto-Tune 5 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 and Sliders Auto-Tune 5s continuous controls are represented graphically as knobs or sliders. 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 (Mac)/Control (PC) clicking on a knob will also reset it to default (see the Auto-Tune 5 Read Me and/or your host application manual for details). To adjust a slider, click on the thumb indicator and move it to the desired value, or click anywhere on the display scale to instantly move the indicator to that position. Command (Mac)/Control (PC) clicking anywhere in the display scale will set a control to its default value. 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 popup and then select the desired scale from the pop-up list. scales containing those annoying double flats, double sharps and notes like Cb, E#, Fb and B#, Auto-Tune 5 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.
NOTE: To avoid having to deal with

The Scales

Auto-Tune 5 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 Micro-tonality 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

IMPORTANT NOTE: If you will not
Auto-Tune 5 MIDI Functions
Auto-Tune 5 provides two functions that require it to receive MIDI data from the host application. Depending on your intent, this data could come in real time from a MIDI controller (typically a keyboard) or from a prerecorded MIDI sequencer track. Refer to your host applications manual for details on how to route MIDI to Auto-Tune 5. Please note that some host applications may not support the routing of MIDI information to plug-ins. In that case the following two functions will not be selectable. Target Notes Via MIDI To use the Target Notes Via MIDI function, ensure that the desired MIDI source is routed to Auto-Tune 5, then click the Target Notes Via MIDI button. Its color will change to blue and the Edit Scale display will automatically be set
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 the above. 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 make 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. 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 5 will pass all notes with no correction applied. So dont do that.
NOTE: When you start the process
there is some possibility of confusion between the Learn Scale From MIDI function and Target Notes Via 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
Targeting Ignores Vibrato This feature is designed to help with target note identification when the performance includes vibrato so wide that it approaches adjacent scale notes. The most common symptom of this problem is a pronounced warbling as the input is alternately tuned to each of the upper and lower adjacent notes.

When this function is On, Auto-Tune 5 uses the impressively named Stochastic Optimal Linear Estimation Theory to attempt to recognize vibrato and differentiate between it and intended note changes. Our testing has shown that it works a lot of the time but not always (it depends a great deal on the actual performance). When it works, Auto-Tune 5 ignores the wide vibrato as far as target note selection is concerned. When it doesnt, it works pretty much the same way it would work if the function were Off. The default state of this control is Off. When youve got a vibrato problem, try turning it on and see if it helps.
Scale Detune The Detune parameter allows you to change the pitch standard of Auto-Tune 5 from the default A = 440Hz. The value is set in cents (100 cents = 1 semitone). The range of adjustment is from -100 to +100 cents. For convenience, the detune amount is also displayed in Hertz relative to A440. The Detune function can be used to tune a vocal performance to some irreparably out-of-tune instrument (a piano or organ, for example), or to allow correction to other than the conventional 440Hz standard. If you have a tone that you want to use as the pitch standard, select that tone and play it in a loop. Adjust Scale Detune until the Change meter reads zero. (You may be required to use the Edit Scale Display to remove adjacent notes so that Auto-Tune 5 doesnt tune to the wrong note.) The default Scale Detune setting is 0 cents. Double-clicking or Command (Mac)/Control (PC) clicking the Scale Detune knob will reset it to that value. Humanize One of the criticisms occasionally (if, we feel, unfairly) leveled at pitch correction is that it results in performances that are too perfect. Frankly, its been our experience that for the skillful engineer, AutoTune has always offered the means to perform its magic in a way that makes it virtually impossible for the listener to hear that it has been used (without, of course, comparing the result to the original performance).
Retune Speed Retune controls how rapidly the pitch correction is applied to the incoming sound. 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 any related volume changes will remain). Values from 10 to 50 are typical for vocals (unless youre going for the nowinfamous Cher effect, in which case use 0). Larger values let through more vibrato and other interpretative pitch gestures but also slow down how rapidly pitch corrections are made. Although the above suggestions can be used as starting points, finding the correct Retune setting for a particular performance is largely a matter of trial-and-error and depends on such attributes as song tempo, note duration and vocal style, among others. As always, let you ears be your guide. The default Retune value is 20. Double-clicking or Command (Mac)/Control (PC) clicking the Retune knob will reset it to that value.

Graphical Mode Controls

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 5s 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 red to indicate that AutoTune 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 red). 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 the pitch display will automatically scale in such a way as to include all of the tracked audio. 5s 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 a destructive editor if available) and then move on to the next section. audio to be processed exceeds the currently set size of the buffer as set in the Options dialog, playback will stop when the buffer is full. If this happens, increase the buffer size as necessary.
ANOTHER NOTE: If the length of the NOTE: If you are using Auto-Tune
about changing the Tracking value (in the Options dialog) after performing the Track Pitch function. Auto-Tune 5 uses the Tracking setting during both the Track Pitch function and while correcting pitch. Changing the Tracking setting after Tracking Pitch, but before correcting, may result in unpredictable pitch modifications or strange (though possibly interesting) artifacts. Correct Pitch (host dependent) If youre new to Auto-Tune and following along here in the manual, youre probably scanning the Graphical Mode screen and wondering where the heck the Correct Pitch button is. And if youre an experienced Auto-Tune user, youre probably wondering the same thing. Well, you can stop looking. Its not there. In all previous versions of Auto-Tune, after creating correction curves, you would have to press the Correct Pitch button in order to put Auto-Tune into correction mode. As a result, the Auto-Tune window always had to be open in order to use Graphical Mode. Well, no longer. Now, simply create your corrections and play. Essentially, anytime you are not tracking pitch, Auto-Tune 5 will be correcting. It is this basic change that allows you to use multiple instances of Auto-Tune 5 simultaneously in Graphical Mode without having to have their windows visible. available for hosts that provide valid time information. See the Selectable Clock Source section below for details. Sync to host transport (host dependent) If your host provides valid time information, once you have tracked audio and created correction curves (see below), Auto-Tune 5 will maintain sync with the host program, allowing you to move around in your track at will. No more having to always start playback at exactly the same location. functionality may require updating to the latest version of your host program. Check the Read Me file for details.

STILL ANOTHER NOTE: One NOTE: In addition to its use as a
Retune Speed The Retune Speed setting is used only during the pitch correction process. Its similar in function but separate from the Retune Speed control in Automatic Mode. In Graphical Mode, the target pitch is not the scale tone nearest to the input, but rather the blue target pitch curve. The Retune Speed control allows you to specify how quickly AutoTune 5 will change the pitch of the input to that of the target pitch curve. A value of zero will cause the output pitch to precisely track the target pitch curve. Depending on the target pitch curve, this may or may not provide the desired results. Slower values will have the effect of smoothing out the target pitch curve. As ever, you should let your ears be your guide to selecting the proper value for a particular performance. The default Retune Speed is 20. Command (Mac)/Control (PC) clicking the slider will reset it to that value. values may also allow you to use simple horizontal line segments to define the target pitches while still preserving the natural pitch gestures of the original performance. See Chapter 4 for details.
NOTE: Slower Retune Speed
If a correction curve already exists in the selected range (as a result of Make Curve, Import Auto or the use of the Line or Curve tool), that curve will be replaced by the Adjust Vibrato curve. Consequently, if you need to both modify the vibrato and correct the pitch of a phrase, you should first adjust the vibrato and then manipulate the resulting blue curve to correct the pitch. (If you do it in the opposite order, your vibrato adjustment will wipe out your previously executed pitch correction, often resulting in exclamations of a possibly profane nature.) The default Adjust Vibrato setting is 0. Command (Mac)/Control (PC) clicking the slider will reset it to that value. when some tracked audio has been selected with the I-Beam tool. If no audio is selected, the slider handle will not appear. Once some audio is selected, the handle will appear. the same Stochastic Optimal Linear Estimation Theory as the Auto Modes Targeting Ignores Vibrato 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 Adjust 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 Adjust Vibrato seems to be making changes to parts of the audio youd like to leave alone, simply Undo the adjustment and use the I-Beam to select only the vibrato portions you wish to edit.

NOTE: If, while the Line Tool is
Unlike the Line Tool, the Pitch Graph will not scroll if you attempt to move the Curve Tool cursor outside the current display area. The Snap To Note mode does not affect the Curve Tool. 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. selected, you move the cursor onto the Envelope Graph Display, it will temporarily change to the Magnifying Glass Tool, allowing you to quickly and easily move to any other point in your audio and then resume editing without needing to manually change tools. The Arrow Tool (3) The Arrow Tool is used to select and drag existing target pitch contour objects (blue 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 Arrow 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.
NOTE: If, while the Curve Tool is
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. 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 above. Clicking on the background of the Pitch Graph deselects all selected objects. ADDING AND DELETING ANCHOR POINTS Moving the Arrow Tool over an existing line segment and double-clicking will add an intermediate anchor point at that point. The cursor will change to the anchor point cursor and the new anchor point can then be dragged. Moving the Arrow Tool over an existing anchor point (except for end points) and double-clicking will remove that anchor point and cause a straight line to be drawn between the now adjacent anchor points. The Arrow Tool will not add or delete anchor points on curves, only on lines created with the Line Tool. While the above may seem a bit mindboggling on first reading, in practice its quite intuitive. Spend a minute or two playing with the Arrow Tool and all will become clear.

selected, you move the cursor onto the Envelope Graph Display, it will temporarily change to the Magnifying Glass Tool, allowing you to quickly and easily move to any other point in your audio and then resume editing without needing to manually change tools. Scissors Tool (4) Moving the Scissors Tool over an existing curve or line segment and clicking will break the line segment or curve in two at the point clicked. Although it will look like there is only one anchor point created at the break point, there are actually two (one for each of the two newly created line or curve segments). Simply use the Arrow Tool to move the top anchor point to reveal the other one. selected, you move the cursor onto the Envelope Graph Display, it will temporarily change to the Magnifying Glass Tool, allowing you to quickly and easily move to any other point in your audio and then resume editing without needing to manually change tools. Magnifying Glass (5) In the Pitch Graph, use the Magnifying Glass to click and drag a box around an area of interest. Dragging off the Pitch Graph automatically scrolls the graph. When you release the mouse button, the scale and position of the Pitch Graph will be changed to display the area enclosed by the box. When the Magnifying Glass cursor is displaying the default +, clicking the Magnifying Glass anywhere in the pitch display will increase the displays horizontal and vertical zoom factors one step (if possible). Pressing Option(Mac)/Alt(PC) will cause the cursor to change to -. In this state, clicking anywhere in the pitch display will decrease the displays horizontal and vertical zoom factors one step (if possible).
NOTE: If, while the Scissors Tool is
NOTE: If, while the Arrow Tool is
Dragging the Magnifying Glass in the Envelope Display will cause the selected time range to appear in the Pitch Display (most useful for navigating when the Envelope Display is 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 the I-Beam Tool in either the Pitch or Envelope Display to select an area for Make Curve or Import Auto or Adjust Vibrato (see above). The selection area will be reflected in both displays. If the Envelope Display is set to All, using the I-Beam Tool to make a selection anywhere in the Envelope Display will cause the selected audio to appear in the Pitch Display. This is handy for quickly moving around your track to make various edits. Hand Tool (7) Drag the Hand Tool in any direction in the Pitch Display to move the area displayed. selected, you move the cursor onto the Envelope Graph Display, it will temporarily change to the Magnifying Glass Tool, allowing you to quickly and easily move to any other point in your audio and then resume editing without needing to manually change tools. The Edit Buttons Once some audio has been tracked and/or pitch contour objects created, they can be affected or edited in various ways with the Edit Buttons. The Edit Buttons are context sensitive, i.e., only the buttons that are applicable to the current state of the pitch display are active. If a particular button does not have a valid function relative to the current pitch display state, it will be grayed out. If it does have a valid function, it will appear dark gray.

about changing the Tracking value (in the Options dialog) after performing the Track Pitch function. Auto-Tune 5 uses the Tracking setting during both the Track Pitch function and while correcting pitch. Changing the Tracking setting after Tracking Pitch, but before correcting, may result in unpredictable pitch modifications or strange (though possibly interesting) artifacts. Correct Pitch (host dependent) If youre an experienced Auto-Tune user, youre probably wondering where the Correct Pitch button is. Well, you can stop looking. Its not there. In all previous versions of Auto-Tune, after creating correction curves, you would have to press the Correct Pitch button in order to put Auto-Tune into correction mode. As a result, the Auto-Tune window always had to be open in order to use Graphical Mode. Well, no longer. Now, simply create your corrections and play. Essentially, anytime you are not tracking pitch, Auto-Tune 5 will be correcting. It is this basic change that allows you to use multiple instances of Auto-Tune 5 simultaneously in Graphical Mode. available for hosts that provide valid time information. See the Selectable Clock Source section below for details. Sync to host transport For hosts that provide valid time information, Auto-Tune 5 will now maintain sync with the host program. Once you have tracked audio and created correction curves, you can move around in your track at will. No more having to always start playback at exactly the same location. functionality may require updating to the latest version of your host program. Check the Read Me file for details. Additionally, if your host does not provide valid time information or does not strictly adhere to its plug-in format specification, sync problems could ensue. In that case, see the Selectable Clock Source section below. (Again, check the Read Me file for any specific examples.)
Selectable Clock Source For hosts that do not provide valid time information, Auto-Tune 5s clock display and selection functions let you use an internal time reference for Auto-Tune 4 style operation. Since all of the controls in the Clock section are used together, we will describe them as a group. Determining if your host provides valid clock information To determine if your host supplies valid clock information, click the Host button to select the host-supplied clock and put your host into Play. If Auto-Tune 5 is receiving valid timing information from your host, the Position display should constantly update to reflect your current position in the track. Moving forward or backward in the track should result in corresponding display updates. If this is in fact happening, you have confirmed your hosts timing info. Simply leave the clock setting on Host and enjoy all of Auto-Tune 5s new features. On the other hand, if the display does not update or if it does not accurately reflect your hosts transport, Auto-Tune 5 may be getting bad (or no) clock information. In that case, you will need to use the Internal clock option. Using Internal Clock Mode To select Auto-Tune 5s Internal clock, click the Internal button. To track and correct pitch in Internal Clock mode: 1.Use your host transport to move to the beginning of the section you want to correct and note that position, as you will need to return to that precise place for correction. 2.Click the Reset button to set the clock position to 00:00:0. 3.Click the Track Pitch button, play the desired audio and then stop the transport. 4.Use the various tools described below to create your pitch correction curves. 5.Use your host transport to return to the precise start location defined in step 1.

NOTE: This function acts only on vibrato present in the original performance. If the original performance does not contain vibrato, this control will have no audible effect.
adjustments function independently of the Create Vibrato functions described below. However, since both functions can operate simultaneously, they can interact in ways that may or may not be useful, depending on your intent. In most cases, you should probably use one or the other. The default Natural Vibrato setting is 0. Doubleclicking or Command (Mac)/Control (PC) clicking the Natural Vibrato knob will reset it to that value. Targeting Ignores Vibrato Target note identification is the process by which Auto-Tune decides which note is the note the performer intended to sing or play, so that it may re-tune any pitch errors closer to that note. Normally, the target note is the nearest active scale note to the current input pitch. The Targeting Ignores Vibrato feature is designed to help with target note identification when the performance includes vibrato so wide that it approaches adjacent scale notes. The most common symptom of this problem is a pronounced warbling as the input is alternately tuned to each of the upper and lower adjacent notes. When this function is On, Auto-Tune Evo uses the impressively named Stochastic Optimal Linear Estimation Theory to attempt
ANOTHER NOTE: Natural Vibrato
to recognize vibrato and differentiate between it and intended note changes. Our testing has shown that it works a lot of the time but not always (it depends a great deal on the actual performance). When it works, Auto-Tune Evo ignores the wide vibrato as far as target note
selection is concerned. When it doesnt, it works pretty much the same way it would work if the function were Off. The default state of this control is Off. When youve got a vibrato problem, try turning it on and see if it helps.

The Edit Scale Display

The Edit Scale Display is used to create custom scales or to modify any of the preset scales selected in the Scale popup. Edits made using this display are associated with each scale. That is, each scale retains its own edits independent of the other scales. For example, if you select C Major in the Key and Scale popups and Remove or Bypass certain notes and then change to C Minor and make other edits, when you return to C Major your previous edits associated with C Major will be restored. The Edit Scale window displays each note of the currently selected scale in the currently selected key. If the selected scale includes more than twelve notes, Up and Down arrows will appear to allow scrolling through all of the available notes. Beside each note name are two buttons: a Bypass button and a Remove button. Click on

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.

Create Vibrato Functions

SAWTOOTH Gradually rises from minimum to maximum and then drops instantaneously to minimum to start the cycle again. Rate Sets the rate of the vibrato over a range of 0.1 Hz to 10 Hz. The default Rate setting is 5.5 Hz. Double-clicking or Command (Mac)/Control (PC) clicking the Rate knob will reset it to that value. Variation Sets the amount of random variation that will be applied to the Rate and Amount parameters on a note to note basis. Useful for humanizing the vibrato by adding random errors. The controls in this section are designed to add a synthesized vibrato to the input. While vibrato is typically perceived to be a variation solely in pitch, careful analysis shows that, depending on the voice or instrument and the style of the individual performer, variations in amplitude (loudness) and formant resonances are also involved. Reflecting this, Auto-Tune Evo includes a plethora of vibrato functions to allow the creation of much more convincing vibratos. (And for the adventuresome, they can be abused to create some interesting effects.) The controls are: Shape Menu Selects the shape of the vibrato.The choices are: NO VIBRATO Pretty self-explanatory. SINE WAVE Changes smoothly from minimum to maximum and back again. The most common choice for a conventional vibrato. SQUARE Jumps to maximum where it spends 50% of the cycle and then jumps to minimum for the remaining 50% of the cycle. The range is from 0 (no variation) to 100 (maximum variation). The default Variation setting is 20. Double-clicking or Command (Mac)/Control (PC) clicking the Variation knob will reset it to that value. Onset Delay Sets the amount of time (in msec) between the beginning of a note and the beginning of the onset of vibrato. The range is from 0 to 1500ms (1.5 seconds). The default value is 500ms. Double-clicking or Command (Mac)/ Control (PC) clicking the Onset Delay knob will reset it to that value. Onset Rate Sets the amount of time (in msec) between the end of the Onset Delay (set above) and the point at which the vibrato reaches the full Amounts set in the Pitch, Amplitude and Formant Amount settings. The range is from 0 to 1500ms (1.5 seconds). The default value is 500ms. Double-clicking or Command (Mac)/ Control (PC) clicking the knob will reset it to that value. Onset Example: As an example of the above parameters, assume an Onset Delay of 1000ms and an Onset Rate of 750ms. In that case, each time a new note starts there will be no vibrato at all for the first second (1000ms) followed by a 3/4 second (750ms) period during

which the vibrato depths will increase from none to the full amounts set in the various Amount parameters for a total of 1.75 seconds from the beginning of the note to the time full vibrato depth was reached. Pitch Amount Sets the amount that the pitch changes. The range is from 0 (no change) to 100 (maximum change). The default setting is 18. Command (Mac)/Control (PC) clicking the slider will reset it to that value. Amplitude Amount Sets the amount that the loudness changes. For the most realistic vibrato, the amount of amplitude change should be substantially less than pitch change, although for special effects, anything goes. The range is from 0 (no change) to 30 (maximum change). The default setting is 10. Command (Mac)/Control (PC) clicking the slider will reset it to that value. Formant Amount Sets the amount that the resonant timbre changes. The range is from 0 (no change) to 100 (maximum change). The default setting is 70. Command (Mac)/Control (PC) clicking the slider will reset it to that value.
NOTE: The vibrato is re-started every time Auto-Tune Evo matches the incoming pitch to a different scale tone. Also, the vibrato is applied after the effects of the Retune Speed control. Hence, even with a slow retune value of 50, a square wave vibrato will make instantaneous changes in pitch.
ANOTHER NOTE: As mentioned above, although we perceive vibrato primarily as a variation in pitch, in most cases there is also matching (though more subtle) variations in amplitude and timbre. Setting Auto-Tune Evos Retune Speed to 0 will remove an existing vibratos pitch variation, but the amplitude and timbral variation will remain. If you then apply a new vibrato using AutoTune Evos Create Vibrato section, the results may be less than convincing. Auto-Tune Evos Vibrato section is more often useful for adding a vibrato to an input that originally had none, or for various special effects. YET ANOTHER NOTE: The Create Vibrato controls function completely independently of the Natural Vibrato function. Changes in that function have no direct effect on the depth of any vibrato resulting from the Create Vibrato controls. However, since both functions can operate simultaneously, they can interact in ways that may or may not be useful, depending on your intent. In most cases, you should probably use one or the other.

NOTE: In some cases, this functionality may require updating to the latest version of your host program. Check the Read Me file for details.
Additionally, if your host does not provide valid time information or does not strictly adhere to its plug-in format specification, sync problems could ensue. In that case, see the Selectable Clock Source section below. (Again, check the Read Me file for any specific examples.) Selectable Clock Source For hosts that do not provide valid time information, Auto-Tune Evos clock display and selection functions let you use an internal time
Using Internal Clock Mode To select Auto-Tune Evos Internal clock, click the Internal button. To track and correct pitch in Internal Clock mode: 1. Use your host transport to move to the beginning of the section you want to correct and note that position, as you will need to return to that precise place for correction. 2. Click the Reset button to set the clock position to 00:00:0. 3. Click the Track Pitch button, play the desired audio and then stop the transport. 4. Use the various tools described below to create your pitch correction curves. 5. Use your host transport to return to the precise start location defined in step 1. 6. Click the Reset button to reset the clock position to 00:00:0. 7. Play your audio. Auto-Tune Evo will apply your corrections. Internal Clock nonetheless have the capability to automatically reset the clock to 00:00:0. (Versions of Pro Tools HD and Pro Tools LE prior to v7.2 specifically have this capability.) In those cases, steps 2 and 6 above are not necessary. In Internal Clock Mode, the following features are unavailable: Sync to Host Transport (obviously) Multiple simultaneous Graphical Mode instances with windows not open
NOTE: As the various host developers are constantly updating their applications functionality, it may be necessary to update to the latest version of your host to use Host Clock Mode. NOTE: Some hosts that require
In addition, we are working with host developers to ensure that as many as possible provide valid clock info, so even if yours doesnt now, it may well add that capability in a future version. (And if it doesnt now, you might want to drop the developers an email and let them know youd like it to.) Sample Rate Display This display indicates the sample rate of the current audio file as reported to Auto-Tune Evo by the host application.

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

As you select slower Retune Speeds, the output progressively reflects the shape and position of the original tracked input pitch. This is much easier to understand visually than to describe. Simply zoom in on a Note and adjust its Retune Speed over its entire range. You will see the green output curve change in real time and all will be clear. while all new Notes are created with the default Notes Retune Speed set in the Options dialog, you can then select individual Notes (or cut up single Notes to create multiple Notes) and assigned a custom Retune Speed to each one. Once created, Note objects can be dragged up or down to change their pitch, can have their beginning and/or end positions moved forward or backward, or can be cut into multiple shorter Notes for individual processing. Check out the tutorial in Chapter 4 for an example of working with Notes. Number of Note Objects When Auto-Tune Evo analyzes the input pitch for the purpose of creating Note objects, it must make decisions about what constitutes notes and what constitutes transitions between notes as well as differentiating between a single note with wide vibrato and a series of separate notes of alternating pitch. Often, the right choice depends on the style and technique of a specific performance. The Number of Note Objects control lets you give Auto-Tune Evo some guidance in making these decisions.
NOTE: This function is only available when some tracked audio has been selected with the I-Beam tool. If no audio is selected, the knob will not become active. Once some audio is selected, the knob will become active. To set the Number of Note Objects value for all tracked audio, double-click the I-Beam tool in the Pitch or Envelope Display to highlight the range of all tracked audio. ANOTHER NOTE: Remember that
Number of Note Objects in a range where you have already performed some pitch correction will regenerate new Note objects and replace any correction objects that were previously in that range. As a result, adjusting the Number of Note Objects value should be the first action you take before proceeding with any pitch correction or Note or Curve-based pitch shifting. If not, frustration is almost guaranteed to ensue. When Number of Note Objects is set to the Less end of its range: Small variations in pitch are treated as a single Note. Large cyclical variations in pitch are seen as vibrato and treated as a single Note. A gradual pitch change is seen as a transition between notes and no Note objects are created for it. When Number of Note Objects is set to the More end of its range:

ADDING AND DELETING ANCHOR POINTS:
The Note Tool The Note Tool is used to draw new Notes (duh!). Simply click and drag near the desired horizontal graph line or lane (depending on the current display mode) to create a new Note. Only one pitch contour object (Line, Curve, or Note) can exist at any time point on the Pitch Graph. When you complete the entry of a new Note, any object(s) that previously existed at the same time will be deleted.
NOTE: New Notes will always be drawn precisely on semitone or scale note graph lines or lanes (depending on the display mode), regardless of the setting of the Snap To Note button. If you wish to create a note that is offset from a line or lane, first draw the note on the nearest line or lane, then ensure that Snap To Note mode is off and use either the Arrow tool or the Nudge buttons to move the Note to the desired pitch.
Tool is selected, you move the cursor onto the Envelope Graph Display, it will temporarily change to the Magnifying Glass Tool, allowing you to quickly and easily move to any other point in your audio and then resume editing without needing to manually change tools (is this beginning to sound familiar?). The Arrow Tool The Arrow Tool is used to select and drag or edit existing correction objects (Lines, Curves, or Notes) as well as to add or delete anchor points to existing lines. The Arrow Tool behaves as follows:
ANOTHER NOTE: If, while the Note
Moving the Arrow Tool over an existing line segment and double-clicking will add an
intermediate anchor point at that point. The cursor will change to the anchor point cursor and the new anchor point can then be dragged. Moving the Arrow Tool over an existing anchor point (except for end points) and double-clicking will remove that anchor point and cause a straight line to be drawn between the now adjacent anchor points. The Arrow Tool will not add or delete anchor points on curves, only on lines created with the Line Tool.
MANIPULATING NOTE OBJECTS: The Arrow tool is used to modify the pitch of a Note object (i.e., move it up or down on the Pitch Graph) or to modify the start and/or end points of a Note (i.e., adjust those points forward or backward in time).
Notes start or end point will replace any other correction objects that currently exist in the extended time range.

The Edit Buttons

Once some audio has been tracked and/or correction objects created, they can be affected or edited in various ways with the Edit Buttons. The Edit Buttons are context sensitive, i.e., only the buttons that are applicable to the current state of the pitch display are active. If a particular button does not have a valid function relative to the current pitch display state, it will be grayed out (i.e., colored dark gray). If it does have a valid function, it will appear pale gray. The Clear All Button Clicking the Clear All button erases all tracking and correction information, whether or not it is currently visible on the Pitch Display. Since you can not undo this function (and accidentally executing it could be catastrophic), you must confirm your intent in a warning dialog.
NOTE: If youre absolutely certain you want to clear everything and dont want to be bothered by the confirmation dialog, Option-click the Clear All button to bypass the warning.
The Undo Button The Undo button becomes active whenever you move or modify a target pitch contour object. Clicking the Undo button once will undo the most recent change. If you have made multiple changes, you can continue to click Undo to undo additional changes up to the limit that you set in the Options dialog. 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 Snap To Note Button Press this button to enable Snap To Note mode when using the Line Tool or moving Note objects. In Snap To Note mode, each line segment will automatically snap to the nearest semitone and Notes can only be moved to exact semitones (or exact scale notes for microtonal scales). Pressing the Shift key on your keyboard while drawing a line or moving a Note object temporarily toggles the state of the Snap To Note button. I.e., if Snap To Note mode is not 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. The Select All Button The Select All button causes all correction objects, whether currently visible on the Pitch Graph view or not, to become selected.
The Cut And Copy Buttons The Cut and Copy buttons become active whenever one or more correction objects are selected. Cut removes selected objects. Both Cut and Copy copy selected objects to the Auto-Tune Evo clipboard. You can then paste the objects elsewhere in the Pitch Graph display. The Paste Button The Paste button becomes active whenever one or more objects have been Cut or Copied to the clipboard. To paste object(s) from the clipboard:

Tutorial 3: Natural Vibrato Function
This tutorial will demonstrate the use of the Natural Vibrato function using the same audio file we used in the previous tutorial. 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. 2.Set up Auto-Tune Evo to be an insert effect on that track. 3.Set Auto-Tune Evo 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.Set wide_vibrato to loop continuously and put your host program into Play mode. 8.Set Natural Vibrato to 12 and note the effect on the vibrato. Set Natural Vibrato to -12 and note the effect on the vibrato. 9.Set all Scale notes to Bypass to disable any pitch correction. Again, adjust Natural Vibrato as in Step 8 and note that its effect is still active.
Tutorial 4: Using the Automatic Mode MIDI Functions
This tutorial will introduce you to Auto-Tune Evos 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 the melody on a MIDI keyboard which is patched through your host application to AutoTune Evo 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 Evo 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 Evo as the target for the MIDI track. 5.Select Automatic Mode and click the Learn Scale from MIDI button so that it turns blue and its indicator changes to On. 6.Click the All Octaves button so that it turns blue (if it is not already). 7.Play the MIDI file through once and watch as the scale develops on Auto-Tune Evos virtual keyboard and in the Scale Edit window. As each note is sung, it is added to the scale until the scale includes every note that appears in the melody. 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 Evo in music with many key (scale) changes.

With Target Notes Via MIDI, Auto-Tune Evo 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 it turns blue and its indicator changes to On. 3.Click the Octaves as Played button so that it turns blue (if it is not already). 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 Evo 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 (at whatever Retune 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. at MIDI note values. Controller data such as Pitch Bend or Mod Wheel do not affect Auto-Tune Evos performance.
NOTE: The MIDI functions look only
Tutorial 5: Transpose and Formant Control
This tutorial will demonstrate Auto-Tune Evos pitch shifting, formant correction and throat modeling capabilities. It will make use of the same audio file used in the previous tutorial. Begin the tutorial by doing the following: 1.Load or import the audio file somewhere into a track of your host program. 2.Set up Auto-Tune Evo to be an insert effect on that track. (If you are using a Pro Tools HD system, use the RTAS version of the plug-in.) 3.Set the Key to G and the scale to Major. Set the Retune Speed knob to 27. 4.Play the audio file. Note that these settings do a pretty good job of correcting the most obvious problems in the performance. 5.Set the Transpose control to 6 (a perfect fifth up). Check to be sure that Formant is off. 6.Play the audio file and listen to the quality of the voice. Since the formants are being shifted with the pitch, you will hear the familiar chipmunk effect. 7.Click the Format button to turn on formant correction. Set the Throat Length to 120. 8.Play the audio file again and note the difference. 9.Play the audio file again while adjusting the Throat Length control to hear the effect of changing the modeled vocal tract. 0.Repeat steps 5 through 9 with different 1 settings of the Transpose control.

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.
NOTE: You can also use the Curve tool to draw an arbitrary transition between any two notes.
0.The easiest solution, of course, is to select 2 the right scale. Change the Key and Scale from G Chromatic to G Major. Click Make Notes again. Set the Number of Note Objects to 20. Voil.
Chapter 5: New Feature Quick Start Guide
This chapter brings all of the new Auto-Tune Evo features together in one place to help experienced Auto-Tune 5 users learn the new features without having to slog through all of the stuff they already know. (The items below also appear in their appropriate places elsewhere in the manual.) With a few exceptions, the new features in Auto-Tune Evo are additions to the current Auto-Tune 5 functionality. In other words, pretty much everything that isnt a new feature works pretty much the same as it did in Auto-Tune 5. The exceptions are noted below.
Dramatically enhanced core technology
While Auto Tunes patented processing technology has always provided unmatched speed and accuracy, for Auto-Tune Evo, Dr. Andy has gone back to the proverbial drawing board to create a seriously evolved voice processing technology that takes advantage of the hugely more powerful computers that are now the norm for digital audio recording. The result is Evo Voice Processing Technology, offering powerful new features and capabilities along with pitch detection and correction that is substantially more accurate and reliable over a much wider range of audio input quality.
If you are satisfied with the current AutoTune 5 settings, use whatever method your host offers (bouncing, offline editing, etc.) to permanently render the corrected tracks. If you believe you will need to keep editing into the future, remove the instances of AutoTune 5 and replace them with instances of Auto-Tune Evo. Now back to the good stuff.
Redesigned user interface
Continuing the process begun with Auto-Tune 5, we have again refined the Auto-Tune user interface to allow for smoother, more intuitive workflow.
Reorganized common controls
With the addition of the new pitch shifting, formant correction, and throat modeling capabilities described below, we have reorganized the common control area to ensure that all of the parameters used by both correction modes are easily available at all times. The following controls that were previously located in the Automatic Mode window are now in the common area:

Key Scale Scale Detune

Tracking control back where it belongs
Back in Auto-Tune 5, we consolidated the Auto Mode and Graphical Mode Tracking controls and moved the resulting control to the Options dialog. This turned out to be a none-too-popular move. Its now back in the common control area where its instantly accessible in either mode. (And speaking of the Tracking control, the new Evo Processing technology allows the Tracking control to more easily correct (the now rare)octave pitch-tracking errors.)
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.
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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
throat length, while a value of 0.70 represents a 30% decrease in throat length. Formant Correction is engaged. When Formant Correction is not engaged, this control is disabled (grayed out). Since Formant Correction is not available in the TDM versions of Auto-Tune Evo, Throat Length is also not available in the TDM versions. If you wish to use the Throat Length function on a TDM system, be sure to select the RTAS version of Auto-Tune Evo. In addition to simply changing vocal timbre, increasing throat length is useful when the original performance is female and you want to transpose it down and have it sound more male. Conversely, decreasing throat length is useful when the original input is male and you want to transpose it up and have it sound female or childlike. the ability to radically change the throat length, keep in mind that the variation in the length of human vocal tracts is rarely more than about 20% in either direction. If you are looking for a realistic vocal characteristic, start with modest settings of this control. More extreme settings can produce dramatic results, but probably not what anyone would call realistic. Command (Mac)/Control (PC) click the control to reset it to its default value of 1.00.