Using the I-Beam to make a selection on the Envelope Display now automatically causes the Pitch Graph Display to move to the selected audio. Realtime graphical vibrato depth adjustment: The Adjust Vibrato control allows you to modify the depth of vibrato in your audio while preserving the contour of the original vibrato. Moving this control results in a real-time graphical representation of the resulting vibrato contour. Dedicated Snap To Note button: When using the Line Tool, clicking this button constrains the tool to exact scale notes. Dedicated Clear All Data function: Provides a convenient method to instantly clear all saved tracked audio and correction curve data.

How To Use This Manual

If this is your first experience of Auto-Tune, you will find that Auto-Tune 5 has a very friendly user-interface and is extraordinarily easy to use. However, because Auto-Tune 5 does things that have never been done before, a few aspects of the user-interface may not be immediately obvious. You should at least read either Chapter 3, Auto-Tune 5 Controls, or Chapter 4, Auto-Tune 5 Tutorial, to learn the essential information you will need to operate Auto-Tune 5. And as we mentioned above, if you are upgrading from Auto-Tune 4, go straight to Chapter 5, the New Feature Quick Start Guide, to learn everything you need to know (about Auto-Tunes new features, anyway).
The Contents Of This Manual
Chapter 1: Getting Started The chapter you are reading. Chapter 2: Introducing Auto-Tune 5 This chapter explains basic facts about pitch and how Auto-Tune 5 functions to correct pitch errors. The basic functionality of Auto-Tune 5 is discussed, and information you need in order to use it effectively is provided. Chapter 3: Auto-Tune 5 Controls This chapter is reference information for all of the controls used in the Auto-Tune 5 interface. Chapter 4: Auto-Tune 5 Tutorial This chapter introduces you to details of how Auto-Tune 5 works by guiding you through several tutorials. The tutorials will give you insight into how and when to use each of Auto-Tune 5s key functions. Chapter 5: New Feature Quick Start Guide This chapter contains detailed information about each of Auto-Tune 5s new features. All of this information is also included in Chapter 3, but is presented here to allow experienced Auto-Tune 4 users to quickly come up to speed on the enhancements and new capabilities in Auto-Tune 5. Chapter 6: Creative Applications for Auto-Tune 5 Some cool, but not-so-obvious stuff you can do with Auto-Tune 5.

exactly, as in the periodic waveform shown in the diagram below:
The twelve equally-spaced tones of the Equal Tempered Scale happen to contain a number of intervals that approximate integer ratios in pitch. The following table shows these approximations:
INTERVAL CENTS NEARBY RATIO RATIO IN CENTS
Because of its periodic nature, this sounds pitch can be easily identified and processed by Auto-Tune 5. Other sounds are more complex. This waveform:
minor second major second minor third major third perfect fourth tritone perfect fifth minor sixth major sixth minor seventh major seventh octave

1100 1200

16/15 9/8 6/5 5/4 4/3 3/2 8/5 5/3 16/9 15/8 2
111.75 203.91 315.64 386.31 498.04 701.65 813.69 884.36 996.09 1088.27 1200.00
is of a violin section playing a single note in unison. Our ears still sense a specific pitch, but the waveform does not repeat itself. This waveform is a summation of a number of individually periodic violins. The summation is non-periodic because the individual violins are slightly out of tune with respect to one another. Because of this lack of periodicity, Auto-Tune 5 would not be able to process this sound.

Some pitch terminology

The pitch of a periodic waveform is defined as the number of times the periodic element repeats in one second. This is measured in Hertz (abbreviated Hz.). For example, the pitch of A3 (the A above middle C on a piano) is traditionally 440Hz (although that standard varies by a few Hz. in various parts of the world). Pitches are often described relative to one another as intervals, or ratios of frequency. For example, two pitches are said to be one octave apart if their frequencies differ by a factor of two. Pitch ratios are measured in units called cents. There are 1200 cents per octave. For example, two tones that are 2400 cents apart are two octaves apart. The traditional twelvetone Equal Tempered Scale that is used (or rather approximated) in 99.9% of all Western tonal music consists of tones that are, by definition, 100 cents apart. This interval of 100 cents is called a semitone.
As you can see, the intervals in the Equal Tempered Scale are NOT equal to the harmonious integer ratios. Rather, the Equal Tempered Scale is a compromise. It became widely used because once a harpsichord or piano is tuned to that scale, any composition in any key could be played and no one chord would sound better or worse than that same chord in another key.
How Auto-Tune 5 detects pitch
In order for Auto-Tune 5 to automatically correct pitch, it must first detect the pitch of the input sound. Calculating the pitch of a periodic waveform is a straightforward process. Simply measure the time between repetitions of the waveform. Divide this time into one, and you have the frequency in Hertz. Auto-Tune 5 does exactly this: It looks for a periodically repeating waveform and calculates the time interval between repetitions. The pitch detection algorithm in Auto-Tune 5 is virtually instantaneous. It can recognize the repetition in a periodic sound within a few cycles. This usually occurs before the sound has sufficient amplitude to be heard. Used in combination with a slight processing delay (typically about 1 to 10 milliseconds), the output pitch can be detected and corrected without artifacts in a seamless and continuous fashion. (Although it must be kept in mind that some plug-in protocols introduce a certain amount of inherent and unpredictable delay.) Auto-Tune 5 was designed to detect and correct pitches up to the pitch C6. (If the input pitch is higher than C6, Auto-Tune 5 will occasionally interpret the pitch an octave lower. This is because it interprets a two cycle repetition as a one cycle repetition.) On the low end, Auto-Tune 5 will detect pitches as low as 25Hz (when the Bass Instrument Input Type is selected). This range of pitches allows intonation correction to be performed on virtually all vocals and instruments. Of course, Auto-Tune 5 will not detect pitch when the input waveform is not periodic. As demonstrated above, Auto-Tune 5 will fail to tune up even a unison violin section. But this can also occasionally be a problem with solo voice and solo instruments as well. Consider, for example, an exceptionally breathy voice, or a voice recorded in an unavoidably noisy environment. The added signal is nonperiodic, and Auto-Tune 5 will have difficulty determining the pitch of the composite (voice + noise) sound. Luckily, there is a control (the Tracking control, discussed in Chapter 3) that will let Auto-Tune 5 be a bit more casual about

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.
KNOB CONTROL Lets you select how you want to control the knobs in the Auto-Tune 5 interface. 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.

NOTE: This setting applies to knob
Sample Rate Display This display indicates the sample rate of the current audio file as reported to Auto-Tune 5 by the host application. rate compatible. If your host application and audio hardware are capable of dealing with up to 192 kHz files, Auto-Tune 5 will process them correctly. However, its important to remember that high sample rate files require substantially more DSP power than 44.1 kHz and 48 kHz files, so the number of possible simultaneous AutoTune 5 instantiations will be decreased. 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, AutoTune 5 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 Auto-Tune 5) match. Instance ID Some host applications assign numerical instance IDs to multiple instances of the same plug-in. If your host does this, the ID will appear in a red display to the immediate right of the Sample Rate display. Instance IDs are particularly useful if you are using any of AutoTune 5s MIDI functions, as they allow you to be sure that you are routing the MIDI stream to the correct instance of Auto-Tune on the desired track. Bypass Auto-Tune 5 does not include a dedicated Bypass control as that function is typically provided by the host applications plug-in interface. However, it is worth noting that Auto-Tune 5 is designed such that switching the bypass state will not cause any audio artifacts. It can safely be used in performance or in the middle of a recorded track.
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.

The Edit Scale Display The Edit Scale Display is used to create custom scales or to modify any of the preset scales. 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 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 a button to toggle its state. The button will light to indicate that its mode is active. If neither of these buttons are lit, Auto-Tune 5 treats this note as a normal scale note, i.e., when the input pitch is close to this note, AutoTune 5 will correct the pitch to this note at the rate set by the Retune Speed control.
If the scale selected in the Scale popup contains exactly 12 notes (e.g., Chromatic, Pythagorean, Meantone Chromatic, Just, etc.), the Virtual Keyboard (see below) will be active and any edits to the scale notes made in the Edit Scale Display will also be reflected on the Virtual Keyboard. setting scale note behaviors in individual octaves, any edits made via the Edit Scale Display will affect all octaves. To edit notes in individual octaves, use the Virtual Keyboard. Bypass If the Bypass button is lit, when the input pitch is close to this note the input will be passed through with no correction. Why set Scale notes to Bypass? There are two main reasons to set one or more scale notes to Bypass. 1.If a performance includes pitch gestures around one or more specific notes that you want to preserve with no modification whatsoever, you can set just those notes to Bypass. This lets Auto-Tune 5 correct any pitch problems elsewhere in the scale but passes everything near the bypassed notes completely unprocessed.
NOTE: Although Auto-Tune 5 allows
2.If a performance contains only a single error, you can set all notes to Bypass except the one sour note. Auto-Tune 5 will then pass the entire performance through unprocessed except for the sour note, which will be corrected. Remove If the Remove button is lit, then the note is simply removed from the current scale. For example, selecting the Chromatic scale and then setting C#, D#, F#, G#, A# to Remove would cause a C Major scale to remain. In that case Auto-Tune 5 would always retune the input to the closest note of the C Major scale. Why set Scale notes to Remove? To understand why it is sometimes necessary to set even correct scale notes to Remove, lets look again at the example from Chapter 2.

Nonetheless, one situation that could previously send you to Graphical Mode was a performance that included both very fast notes and longer sustained notes. The problem was that in order to get the fast notes in tune, youd have to set a fast Retune Speed, which would then make any sustained notes sound unnaturally static. The solution was adjusting in Graphical Mode. Now, with the new Humanize function, you can get the same results quickly and easily in Automatic Mode. The Humanize function differentiates between short and sustained notes and lets you apply a slower Retune Speed just to the sustained notes. Thus, the short notes are in tune and the sustained notes still allow the natural variations of the original performance. Heres how it works: Start by setting Humanize to 0 and adjusting the Retune Speed until the shortest problem notes in the performance are in tune. At this point, any sustained notes may sound unnaturally static. If so, start advancing the Humanize control. The higher the Humanize setting, the more the Retune Speed is slowed for sustained notes. The goal is to find the point where the sustained notes are also in tune and just enough of the natural variation in the performance is present in the sustained notes to sound natural and realistic. (If you set Humanize too high, any problem sustained notes may not be fully corrected.) This is one of those settings where you have to let your ears be your guide. The optimum Humanize setting for any particular performance will depend on the performance style, the other Automatic Mode settings and the specific effect you desire. The default Humanize setting is 0. Doubleclicking or Command (Mac)/Control (PC) clicking the Humanize knob will reset it to that value.
Natural Vibrato The Natural Vibrato function allows real-time modification (either increase or decrease)of the depth of any vibrato present in the input audio while preserving the original shape and character of the vibrato. This function uses the same Stochastic Optimal Linear Estimation Theory as the Targeting Ignores Vibrato function to differentiate between vibrato and intended pitch changes, adjusting the vibrato depth while leaving intended pitch changes intact. The Natural Vibrato function acts independently of the pitch correction functions. Of particular note is the fact that setting a scale note or notes to Bypass still allows vibrato adjustment for those notes. So, if you want to adjust a performances vibrato while making no other pitch changes, you can simply set all scale notes to Bypass and still use the Natural Vibrato function to adjust vibrato depth. 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. Double-clicking or Command (Mac)/Control (PC) clicking the Natural Vibrato knob will reset it to that value.

NOTE: In some cases, this NOTE: This functionality is only
YET ANOTHER NOTE: Be cautious
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.)
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.
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.
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 5 will apply your corrections. 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 are constantly updating their applications functionality, it may be necessary to update to the latest version of your host to use Host Clock Mode. 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.)

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.

ANOTHER NOTE: This function uses NOTE: This function is only available
Adjust Vibrato The purpose of this function is to let you quickly and easily change (either increasing or decreasing) the amount of an existing vibrato, while preserving the original shape and character of the vibrato. To use this function, select the I-Beam tool and highlight the range of audio youd like to edit. Set the desired amount of change using the Adjust Vibrato slider. A blue correction curve will be created that reflects your setting.
The Pitch Graph Display The Pitch Graph displays the pitch contour of the audio to be processed as well as the target pitch contour objects that you create. On this display, the vertical axis represents pitch (with higher notes towards the top) while the horizontal axis represents time. The red curve represents the original pitch contour of the input track, while the desired target pitch or pitch contour is indicated in blue. The horizontal grid lines represent scale pitches. The key annotation, scale name, scale pitches and Scale Detune value are those defined in the Automatic Mode. They do not affect the computations of the Graphical Mode in any way. They are merely a reference to guide you in drawing the target pitches. If you wish to change them, select the Automatic Mode and change the Key pop-up, Scale popup, or the Scale Detune setting, respectively. (Changing the Scale Detune setting will also result in the scale pitch graph lines moving up or down relative to the tracked pitch.) Then, return to Graphical Mode. Pitch Graph Scale The Pitch Graph Scale Buttons control the horizontal (time) and vertical (pitch) scaling of the graph. Clicking the appropriate + button causes the view to zoom in, while clicking a - button causes it to zoom out.
always control the Pitch Graph. They also control the Envelope Graph when it is set to Tie (see below). Cursor Pitch Display The exact pitch value of the cursor position on the Pitch Graph is constantly displayed as a note name +/- cents. This display is always relative to the currently selected scale (i.e., only scale notes will appear in the pitch display). The Envelope Graph Display The Envelope Graph displays the amplitude (loudness) envelope of the sound whose pitch is shown in the Pitch Graph. All/Tie Buttons The Envelope Graphs horizontal (time) scale is controlled by the All and Tie buttons. Clicking the All button causes the envelope graph to display all of the currently tracked audio. This is useful for locating and selecting various portions of audio spread over the duration of a song. Clicking the Tie button slaves the position of the Envelope Graph to that of the Pitch Graph. When this setting is selected, the horizontal scale of the Envelope Graph is controlled by the Pitch Graph horizontal scale buttons.

not function in those versions. However, you can get an equivalent effect by using the Snap To Note function (see below) to constrain a line segment to a semitone, and then using the Arrow Tool to move that horizontal line segment to any intermediate pitch. If you have enabled Snap To Note mode (see below), each segment will automatically snap to the nearest semitone. Pressing the Shift key on your keyboard while drawing a line temporarily toggles the state of the Snap To Line 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. If you move the cursor outside the Pitch Graph during point entry, the graph will automatically scroll. To delete the last anchor point entered, press <delete> on your keyboard (you can do this repeatedly back to the very first anchor point). Only one pitch contour object (line or curve) can exist at any time point on the Pitch Graph. When you complete the entry of a line object, any object(s) that previously existed at the same time will be deleted. 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 Curve Tool (2) The Curve Tool is used to draw arbitrary curves on the Pitch Graph. Start the process by selecting the Curve Tool and clicking anywhere on the Pitch Graph to set an anchor point. Hold down your mouse button and move the cursor to draw the desired pitch contour curve. End the process by releasing your mouse button.
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).

Highlights

Humanize function Realtime natural vibrato adjustment Improved Targeting function renamed

Details

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, Auto-Tune 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). Nonetheless, one situation that could previously send you to Graphical Mode was a performance that included both very fast notes and longer sustained notes. The problem was that in order to get the fast notes in tune, youd have to set a fast Retune Speed, which would then make any sustained notes sound unnaturally static. The solution was adjusting in Graphical Mode. Now, with the new Humanize function, you can get the same results quickly and easily in Automatic Mode. The Humanize function differentiates between short and sustained

Options Dialog

Consolidated Pitch Tracking control: The Automatic and Graphical Mode Tracking controls have been consolidated into a single control and relocated to the Options dialog for set-it-and-forget-it simplicity. Graphical Mode color schemes: AutoTune 4 introduced an optional color scheme designed for readability by people with the most common forms of color blindness. For Auto-Tune 5, we have designed the standard Graphical Mode color scheme to be equally readable. Consequently, the optional color schemes are no longer necessary and have been removed from the Options dialog.
notes and lets you apply a slower Retune Speed just to the sustained notes. Thus, the short notes are in tune and the sustained notes still allow the natural variations of the original performance. Heres how it works: Start by setting Humanize to 0 and adjusting the Retune Speed until the shortest problem notes in the performance are in tune. At this point, any sustained notes may sound static. If so, start advancing the Humanize control. The higher the Humanize setting, the more the Retune Speed is slowed for sustained notes. The goal is to find the point where the sustained notes are also in tune and just enough of the natural variation in the performance is present in the sustained notes to sound natural and realistic. (If you set Humanize too high, any problem sustained notes may not be fully corrected.) This is one of those settings where you have to let your ears be your guide. The optimum Humanize setting for any particular performance will depend on the performance style, the other Automatic Mode settings and the specific effect you desire. The default Humanize setting is 0. Doubleclicking or Command (Mac)/Control (PC) clicking the Humanize knob will reset it to that value. Natural Vibrato The Natural Vibrato function allows real-time modification (either increase or decrease)of the depth of any vibrato present in the input audio while preserving the original shape and character of the vibrato. This function uses the same Stochastic Optimal Linear Estimation Theory as the Targeting Ignores Vibrato function to differentiate between vibrato and intended pitch changes, adjusting the vibrato depth while leaving intended pitch changes intact. The Natural Vibrato function acts independently of the pitch correction functions. Of particular note is the fact that setting a scale note or notes to Bypass still allows vibrato

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.