Contents

Getting Started

Chapter 1

Whats New in Auto-Tune 3 Installing Auto-Tune 3 Authorizing Auto-Tune 3 Technical Support 4 5
Introducing Auto-Tune 3 Chapter 2
Some background A little bit about pitch Some pitch terminology How Auto-Tune 3 detects pitch How Auto-Tune 3 corrects pitch Automatic Mode Graphical Mode 13

Auto-Tune 3 Controls

Chapter 3
Common Controls Sample Rate Display Input Type Correction Mode Select Pitch Reference Bypass Automatic Mode Controls Knobs Key Selection Scale Selection The Scales The Edit Scale Display 18 20
Bypass Remove Cents Set Major/Minor Scale Target Notes via MIDI Learn Scale from MIDI Scale Detune Retune Speed Tracking the Vibato Section The Pitch Change Indicator Graphical Mode Controls The Playback Controls The Pitch Graph Display The Graphical Tools Tracking Retune Speed The Use Cursor Button

Auto-Tune 3 Tutorial

Chapter 4
Tutorial 1: Automatic Mode Tutorial 2: Graphical Mode Tutorial 3: Precision Tutorial 4: The Make Curve Function Tutorial 5: The Make Auto Function 48

Creative Applications

Chapter 5 Index

Welcome!

On behalf of everyone at Antares Audio Technologies, wed like to offer both our thanks and congratulations on your decision to purchase AutoTune 3, 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 3. (You can skip ahead to the Authorization and Installation instructions on page 4. Well wait.) Also, if youre planning on discarding that lovely Auto-Tune 3 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 3 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 3, 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

01-39 AT3 man layout RGB

Chapter 1: Getting Started

Whats New in Auto-Tune 3

If you are upgrading from a previous version of Auto-Tune, you will find that most all of what youre already doing will continue to work in AutoTune 3, only better. The following are the key new features that have been added in AutoTune 3: A revised core pitch detection algorithm that greatly improves pitch detection reliability in both Automatic and Graphical Modes. Source Specific pitch detection and correction algorithms. Choices include Soprano Voice, Alto/Tenor Voice, Low Male Voice, Instrument, and Bass Instrument. Matching the appropriate algorithm to the input results in even faster and more accurate pitch detection and correction. Phase-coherent pitch correction of stereo tracks. A Bass Mode that lowers the lowest detectable frequency by about one octave to 25Hz. Since the lowest E string on a bass guitar is approximately 41Hz, Bass Mode allows the user to apply pitch correction to fretless bass lines as well as other low bass range instruments. The ability to set target pitches in real-time via MIDI from a keyboard or sequencer track. A new Make Scale From MIDI function for occasions when it is not clear exactly what key a melody line is in, or where the line has too many accidentals to fit comfortably into a conventional scale. For those occasions, the Make Scale From MIDI function allows you to simply play the line from a MIDI keyboard or sequencer and let Auto-Tune 3 construct a custom scale containing only those notes that appear in the line. High sample rate (88.2kHz, 96kHz) compatibility (depends upon host application and audio hardware support). Enhanced MIX chip usage efficiency for more instantiations per MIX chip (TDM only)
An AudioSuite version (TDM only). A spiffy new user interface.

How To Use This Manual

Auto-Tune 3 has a very friendly user-interface and is extraordinarily easy to use. However, because Auto-Tune 3 does things that have never been done before, a few aspects of the user-interface may not be immediately obvious. You should read either Chapter 3, Auto-Tune 3 Controls, or Chapter 4, Auto-Tune 3 Tutorial, to learn the essential information you will need to operate Auto-Tune 3.
The Contents Of This Manual
Chapter 1: Getting Started The chapter you are reading. Chapter 2: Introducing Auto-Tune 3 This chapter explains basic facts about pitch and how Auto-Tune 3 functions to correct pitch errors. The basic functionality of Auto-Tune 3 is discussed, and information you need in order to use it effectively is provided. Chapter 3: Auto-Tune 3 Controls This chapter is reference information for all of the controls used in the Auto-Tune 3 interface. Much of the information in this chapter is also presented in Chapter 4, however some of the less important controls are only explained in Chapter 3. Chapter 4: Auto-Tune 3 Tutorial This chapter introduces you to details of how Auto-Tune 3 works by guiding you through several tutorials. The tutorials will give you insight into how and when to use each of Auto-Tune 3s key functions. Chapter 5: Creative Applications for Auto-Tune 3 Some cool, but not-so-obvious stuff you can do with Auto-Tune 3.

16/15 9/8 6/5 5/4 4/3
111.75 203.91 315.64 386.31 498.04

3/2 8/5 5/3 16/9 15/8 2

701.65 813.69 884.36 996.09 1088.27 1200.00
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 3 detects pitch
In order for Auto-Tune 3 to automatically correct pitch, it must first detect the pitch of the input sound. Calculating the pitch of a periodic waveform is a straighforward process. Simply measure the time between repetitions of the waveform. Divide this time into one, and you have the frequency in Hertz. Auto-Tune 3 does exactly this: It looks for a periodically repeating waveform and calculates the time interval between repetitions. The pitch detection algorithm in Auto-Tune 3 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 that depends largely on what else your CPU is doing at the time.) Auto-Tune 3 was designed to detect and correct pitches up to the pitch C6. (If the input pitch is higher than C6, Auto-Tune 3 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 3 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 3 will not detect pitch when the input waveform is not periodic. As demonstrated above, Auto-Tune 3 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 non-periodic, and Auto-Tune 3 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 3 be a bit more casual about what it considers periodic. Experimenting with this setting will often allow Auto-Tune 3 to track even noisy signals.

Correction Mode

Click the appropriate button to select either Automatic or Graphical Mode.

Select Pitch Reference

Auto-Tune 3 provides the ability to pitch correct stereo tracks while maintaining the tracks phase coherence. (Refer to your host applications manual for instructions on assigning a plug-in to a stereo track.) Click the appropriate button to select which of the two stereo tracks (left or right) Auto-Tune 3 will use as a pitch reference. Note: If there is a marked difference in the two tracks, pick the cleanest, most isolated track. For example, if one track is a close micd vocal while the other is micd from farther away for ambience, or is heavily processed, select the close micd track.
Another Note: Auto-Tune 3 will 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.

Bypass

Auto-Tune 3 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 3 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.

Automatic Mode Controls

All of Auto-Tune 3s continuous parameters are represented as knobs. To turn a knob, position the cursor over the desired 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 each parameter appears in its associated numeric display. Double-clicking on a knob will return it to its default value. In some host applications, Command/Control clicking on a knob will also reset it to default (see the Auto-Tune 3 Read Me and/or your host application manual for details).

Key Selection

To select the desired key, click on the Key pop-up and then select the desired note from the pop-up list. This determines the pitch of the first note of the scale according to the standard A3 = 440 Hertz.

Scale Selection

To select a scale, click on the Scale pop-up and then select the desired scale from the pop-up list.

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 3 correct any pitch problems elsewhere in the scale but passes everything near the bypassed notes completely unprocessed. 2. If a performance contains only a single error, you can set all notes to Bypass except the one sour note. Auto-Tune 3 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 setting C#, D#, F#, G#, A# to Remove would cause a C Major scale to remain. In that case AutoTune 3 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 1.
This phrase is in D Major and, if all the pitch errors were no greater than about 49 cents, would work fine with a standard D Major scale (D, E, F#, G, A, B, C# ). However, the pitch error of three semitones at the end of the last note is so large that with B and C # present in the Scale, as the pitch fell, Auto-Tune 3 would see first C# and then B as the target pitch and therefore allow the error to remain. With C# and B removed from the Scale, Auto-Tune 3 continues to see D as the target pitch for the entire duration of the note and therefore pulls the phrase up to the correct pitch.
The number in the Cents column is the associated notes interval, in cents, from the root note of the scale. Its provided for reference purposes and to help you choose which notes of a microtonal scale to include or remove.
Set Major Scale/Set Minor Scale
When any scale that includes more than seven notes (i.e., any non-diatonic scale) is selected, the Set Major Scale and Set Minor Scale buttons will appear. Clicking on either of these buttons will Remove all notes from the scale except for those notes closest to the notes of a traditional diatonic major or minor scale (depending, of course, on which button you clicked).

When you have played the entire melody, press the Make 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 Make Scale From MIDI button and start the process again.
Note: When you start the process by pressing the Make 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 Make 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 3 will pass all notes with no correction applied. So dont do that. Another Note: We realize that there is some possibility of confusion between the Make 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 Make Scale From MIDI is used in advance of correction to create a custom scale.

Scale Detune

The Detune parameter allows you to change the pitch standard of AutoTune 3 from the default A = 440Hz. The values are cents (100 cents = 1 semitone). The range of adjustment is from -100 to +100 cents. 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. Refer to the following table to convert cents to Hertz relative to 440Hz.

DETUNE SETTING A=HERTZ

-20 -16 -12 -8 -+4 +8 +12 +16 +20
This table can be extended in either direction by adding or subtracting 4 cents per Hertz, as appropriate.
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 dialog to remove adjacent notes so that Auto-Tune 3 doesnt tune to the wrong note.) The default Scale Detune setting is 0 cents. Double-clicking the Scale Detune knob will reset it to that value.

The Pitch Change Indicator
The Pitch Change Indicator shows you how much the pitch is being changed, measured in cents (100 cents = one semitone). For example, if the indicator bar has moved to the left to -66, it indicates that the input pitch is 66 cents too sharp and Auto-Tune 3 is lowering the pitch by 66 cents to bring the input back to the desired pitch.

Graphical Mode Controls

The Playback 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. Its LED will flash to indicate that Auto-Tune is waiting for audio. Next, start playback of the audio. (The Track Pitch LED will light steadily.) When all of the audio you want to correct has played, stop playback. Track Pitch is automatically deactivated and the detected pitch is displayed on Note: If the length of the audio to be processed exceeds the currently set size of the buffer (see below), playback will stop when the buffer is full. If this happens, increase the buffer size as necessary.

Correct Pitch

After you have used the graphical tools (as described below) to create a target pitch contour, this button is used to apply the pitch correction to the audio. In all cases, pressing the Correct Pitch button and then starting playback will cause the pitch correction to be applied to the audio. In some host applications, starting playback when the Pitch Graph contains any yellow pitch correction contour will automatically engage the Correct Pitch function. Check your Auto-Tune 3 Read Me file for details.

Set Buffers

Set Buffers controls the number of seconds of memory buffer space that are permanently reserved for pitch tracking and pitch correction data. (There is a separate buffer for each plug-in occurrence.) To change the buffer allocation, click on the Set Buffers data field and enter the required amount into the resulting dialog box. Note: As buffer memory is typically allocated from within your host application, for large buffers, it may be necessary to increase the memory allocation of your host. Another Note: Some host applications allow Auto-Tune 3 to display all tracked pitch information at their correct times within the track (see the Auto-Tune 3 Read Me file for details). If your application 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.

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 yellow. The horizontal grid lines represent scale pitches. The key annotation, scale name, scale pitches and Scale Detune value are those defined in the Automatic Mode. They do not affect the computations of the Graphical Mode in any way. They are merely a reference to guide you in drawing the target pitches. If you wish to change them, select the Automatic Mode and change the Key pop-up, Scale pop-up, or the Scale Detune setting, respectively. (Changing the Scale Detune setting will also result in the scale pitch graph lines moving up or down relative to the tracked pitch.) Then, return to Graphical Mode.

Pitch Graph Scale

The Pitch Graph Scale Buttons control the horizontal (time) and vertical (pitch) scaling of the graph. Clicking the appropriate + button causes the view to zoom in, while clicking a - button causes it to zoom out.
Note: The horizontal scale buttons always control the Pitch Graph. They also control the Envelope Graph when it is set to Tie (see below).
The Envelope Graph Display
The Envelope Graph displays the amplitude (loudness) envelope of the sound whose pitch is shown in the Pitch Graph.

Envelope Graph Scale

The + and - buttons next to the Envelope Graph control the vertical scale as expected, while the horizontal (time) scale is controlled by the All and Tie buttons. Clicking the All button causes the envelope graph to display the entire time scale represented by the current buffer setting. This is useful for locating and selecting various portions of audio spread over the duration of a song. Clicking the Tie button slaves the position of the Envelope Graph to that of the Pitch Graph. When this setting is selected, the horizontal scale of the Envelope Graph is controlled by the Pitch Graph horizontal scale buttons.

The Graphical Tools

The graphical tools are used in conjunction with the edit buttons to create the desired target pitch contour.

The Line Tool

The Line Tool is used to draw multi-segment straight lines on the Pitch Graph. Start the process by selecting the Line Tool and clicking anywhere on the Pitch Graph to set an anchor point. As you move the cursor, a line will extend from the anchor point to the cursor position. Click again to set a second anchor point and define the first segment of your pitch contour. Continue clicking and defining lines until your contour is complete. End the process by doubleclicking on the final anchor point or pressing <esc> on your keyboard. 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).

The Zoom/Select Tool

The Zoom/Select Tool serves two purposes, depending on whether it is used in the Pitch Graph or the Envelope Graph. In the Pitch Graph, use the Zoom/Select Tool 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. In the Envelope Graph, click and drag with the Zoom/Select Tool to select a range of time containing audio. This causes the Make Curve button to become active (see below). Clicking Make Curve will create a pitch contour curve with anchor points at the selection boundaries. Note: The Zoom/Select Tool can also be used to add new anchor points in the middle of an existing curve previously created by the Make Curve function. Simply select a range of time such that one or both boundaries of your selection fall at the point(s) where you would like a new anchor point and then click Make Curve. Voil.

The Undo Button

The Undo button becomes active whenever you move or modify a target pitch contour object. Clicking the Undo button allows you to alternately undo and redo the last change.

The Cut and Copy Buttons

The Cut and Copy buttons become active whenever a pitch contour object is selected. Cut removes selected objects. Both Cut and Copy copy selected objects to the Auto-Tune 3 clipboard. You can then paste the objects elsewhere in the Pitch Graph display.

The Paste Button

The Paste button becomes active whenever an object has been Cut or Copied to the clipboard. Clicking Paste places the contents of the clipboard in the center of the current Pitch Graph view. Note: Since only one pitch contour object (line or curve) can exist at any time point on the Pitch Graph, any object(s) that previously existed at the time where an object is Pasted will be deleted. Hence, before you press Paste, be sure that the Pitch Graph view does not contain any pitch contour object(s) that you want to keep.

The Select All Button

The Select All button causes all pitch contour objects, whether currently visible on the Pitch Graph view or not, to become selected. Keyboard Equivalents Some host applications support the following keyboard command equivalents for the above Edit Buttons. Consult the Auto-Tune 3 Read Me file or your host applications manual for details (or just try them and see if they work). Command/Control-Z Command/Control-X Command/Control-C Command/Control-V Command/Control-A undo/redo cut copy paste select all

The Graphical Mode Tracking control is similar in function but separate from the Tracking control in Automatic Mode. In order to accurately identify the pitch of the input, Auto-Tune 3 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 Auto-Tune 3 to still consider it periodic. If you are working with a well-isolated solo signal (e.g., tracking in a studio or off of a multi-track tape) 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. The default Tracking value is 25. Double-clicking the Tracking knob will reset it to that value. Note: Be cautious about changing the Tracking value after performing the Track Pitch function. Auto-Tune 3 uses the Tracking setting during both the Track Pitch and the Correct Pitch functions. Changing the Tracking setting after Tracking Pitch, but before Pitch Correction, may result in unpredictable pitch modifications or strange (though possibly interesting) artifacts.
The Retune setting is used only during the Correct Pitch process. Its similar in function but separate from the Retune control in Automatic Mode. In Graphical Mode, the target pitch is not the scale tone nearest to the input, but rather the yellow target pitch curve. The Retune Speed control allows you to specify how quickly Auto-Tune 3 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. Double-clicking the Retune Speed knob will reset it to that value. Note: Slower Retune Speed 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.

Tutorial 2: Graphical Mode
This tutorial will introduce you to the basic Graphical Mode functions, again using the A2-A3-A2 sweep file from Tutorial 1. Begin the tutorial by doing the following: 1. Load or import A2-A3-A2 sweep into a track of your host program. Play the track so that you are familiar with the original audio. 2. Set up Auto-Tune 3 to be an insert effect on that track. 3. Set Auto-Tune 3 to Automatic Mode. 4. Set the Key to A and the Scale to Major. 5. Set Auto-Tune 3 to Graphical Mode. 6. Click the Track Pitch button. 7. Play the sweep signal through Auto-Tune 3. 8. Stop playback (depending on your host application, you may also have to click the Track Pitch button again to stop the tracking function). A red curve will appear in the Pitch Graph. This is the pitch contour of the sweep signal. To Continue: 1. Select the Zoom/Select tool and drag out a box on the Pitch Graph that encloses the red curve. The result will be something like the following:
2. Select the Line tool and enter a line similar to that below. By clicking multiple anchor points on the Pitch Graph, line segments joining the points will be drawn.
When done, double-click the last point or press <esc> on the keyboard. To erase the last point entered, press <delete> on the keyboard (you can press <delete> repeatedly to erase back to the first anchor point). 3. Set the Retune Speed to 0. Click the Correct Pitch button and play back the sound to hear the effect. 4. Select the Curve tool and create a curve similar to the one shown below. Click and hold the mouse button and drag to draw the curve. When done, release the mouse button.
5. Press Correct Pitch and play back the sound to hear the effect. 6. Vary the Retune Speed between 0 and 50 and note the effect.
Now that we have some yellow lines and curves on the Pitch Graph Display, this would be a good time to become familiar with the functions of the Pointer Tool. (Refer back to Chapter 3 for a detailed description of the Pointer Tools behavior.) 7. Select the Pointer Tool. 8. Drag the Pointer Tool across the Pitch Graph to select objects. 9. Move the cursor over curves and anchor points. Practice selecting entire curves and individual anchor points. 10. Use the Pointer Tool to drag selected curves and individual anchor points. Option/Alt-drag to constrain movement to vertical only. 11. Press Correct Pitch and play back the file to hear the effect of each movement. 12. Select one or more objects and play with the Edit Buttons (Undo, Cut, Copy, Paste, Select All). This would also be a good time to see if the Edit Button keyboard equivalents: Command/Control-Z Command/Control-X Command/Control-C Command/Control-V Command/Control-A undo/redo cut copy paste select all

7. Use the Zoom/Select Tool to drag a selection in the Envelope Graph as shown:
8. Click the Make Auto button. Auto-Tune 3 will compute a new yellow curve object from the existing pitch data:
PITCH DRAWN TO NEIGHBORING TONE
Assuming that this entire phrase should be centered around E3, there are several problem spots, indicated above, where the pitch is being incorrectly adjusted towards neighboring tones. 9. To hear the pitch corrections that would be produced in Automatic Mode, set the Graphical Mode Retune Slider to 0, (fast) and play back the file. 10. Switch to the Automatic Mode and click the Remove buttons next to C, D and F. 11. Return to the Graphical Mode and use the Zoom/Select tool to drag out a selection in the Envelope Graph, as in Step 7. 12. Press the Make Auto button. Auto-Tune 3 will compute a new yellow curve from the existing pitch data:

RAISED PITCH

Note how the pitch errors from the previous curve have been removed. Also, note the raised pitch indicated above. This occurs because the Automatic Mode Retune slider value of 20 is slow compared to the rapidly increasing pitch that is occurring at that point in time. But even with the raised pitch, the average output pitch is centered on E3 and the phrase sounds in tune.
Chapter 5: Creative Applications for Auto-Tune 3
Auto-Tune 3 works on vocals so well you may think thats all it can do. Actually, lots of instruments can use it to great advantage. Fretless bass, electric violin, trombone, even the theremin, all feature continuous pitch potential, unconstrained by frets or keys. Here are some other ideas for using Auto-Tune 3: Produce instant double tracking in one take! Record onto two tracks, processing only one of the tracks through Auto-Tune 3. If youre going for a tight double track, set Retune Speed rather fast and Detune AutoTune 3 slightly. Increase both of these parameters to broaden the doubled effect. You can also use some Vibrato to make a more dynamic effect (small depth and rate values are best, with medium delay). Of course, you can also decide to record a single virgin track, and bounce that to another, processing through Auto-Tune 3. This way you can dial in the effect while auditioning the mix. Recording with two mics (as above) while improvising can also produce heterophonic effects (the effect of two players and instruments playing the same melody, which actually varies with some different pitch material). The more constrained your scale is in Auto-Tune 3, the more variation there will be between the two performances. To set up a drone or ambient aura behind a melodic performance, try sending some of the signal to Auto-Tune 3 with an extremely constrained scale (for example, in the key of C: C, F, G, A#) and then on to a lush, long reverb. The effect produced will be a steady backdrop of chanting tones behind the main melodic material. Dont be afraid to use just as little of Auto-Tune 3 as you need. Its quite possible that a performer has really quite good intonation, but fails consistently on one or two notes. In this case, use Auto-Tune 3s individual Bypass function (in the Edit Scale display) to bypass all the notes except the one(s) which need the retuning. This way, Auto-Tune 3 is working in a completely transparent mode, and only when needed.