at7 manual

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Owner’s Manual

Auto-Tune®

7World Standard Professional

Pitch and Time Correction

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©2010 Antares Audio Technologies.

All rights reserved. Certified Isinglass-free.™

Auto-Tune®, Antares®, AVOX® and Harmony Engine® are registered trademarks of

Antares Audio Technologies. All trademarks are property of their respective owners.

www.antarestech.com

Printed in USA Rev 1.0 PN P23037-0710-M01

http://www.antarestech.com/


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The Obligatory Legal Mumbo-Jumbo

The Antares® Auto-Tune® 7 software and thisUser’s Manual are protected by copyrightlaw. Making copies, adaptations, or derivativeworks without the prior written authorizationof Antares Audio Technologies, is prohibited bylaw and constitutes a punishable violation ofthe law.

Antares Audio Technologies retains allownership rights to the Auto-Tune 7 softwareand its documentation. Use of Auto-Tune 7 is

limited by the following license agreement.

Please carefully read all the terms andconditions of this license agreement. At thetime of installation of the Auto-Tune 7 softwareyou will be presented with a copy of theagreement and asked whether or not you agreeto it. Continuing with the installation processbeyond that point constitutes such agreement.

Auto-Tune 7 License AgreementAntares Audio Technologies grants you a non-transferable, non-exclusive license to use Auto-Tune 7 under the terms and conditions statedin this agreement. Use of Auto-Tune 7 indicatesyour agreement to the following terms andconditions.

LicenseYou may:

1. Use Auto-Tune 7 on only one computer at atime.

You may not:

1. Make copies of Auto-Tune 7 or of theuser manual in whole or in part except asexpressly provided for in this agreement.Your right to copy Auto-Tune 7 and theuser manual is limited by copyrightlaw. Making copies, verbal or mediatranslations, adaptations, derivative works,or telecommunication data transmissionof Auto-Tune 7 without prior written

authorization of Antares, is prohibited bylaw and constitutes a punishable violationof the law.

2. Make alteration or modifications to Auto-Tune 7 (or any copy) or disassemble orde-compile Auto-Tune 7 (or any copy), orattempt to discover the source code ofAuto-Tune 7.

3. Sub-license, lease, lend, rent, or grant otherrights in all or any portion of Auto-Tune 7 (orany copy) to others.

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Term of the AgreementThis agreement is effective until terminatedby you or Antares. You may terminate theagreement at any time by notifying Antares anddestroying all copies of the manual, and erasing

Auto-Tune 7 from all machine-readable media,whether on-line or on archival copies.

In the event of breach of any of the terms ofthis agreement, you shall pay the attorney’sfees of Antares that are reasonably necessaryto enforce the agreement plus resultingdamages.

Limited Warranty And DisclaimerAUTO-TUNE 7 AND ACCOMPANYING

MATERIALS ARE PROVIDED “AS IS”

WITHOUT WARRANTY OF ANY KIND, EITHER

EXPRESS OR IMPLIED, INCLUDING, BUT NOT

LIMITED TO, THE IMPLIED WARRANTIES OF

MERCHANTABILITY AND FITNESS FOR A

PARTICULAR PURPOSE.

Antares Audio Technologies does not warrantthat the functions contained in the program willmeet your requirements. The entire risk as to theuse, quality, and performance of Auto-Tune 7 iswith you.

SOME JURISDICTIONS DO NOT ALLOW

LIMITATIONS ON HOW LONG AN IMPLIED

WARRANTY LASTS, SO THE ABOVE

LIMITATION MAY NOT APPLY TO YOU. THISWARRANTY GIVES YOU SPECIFIC LEGAL

RIGHTS. YOU MAY ALSO HAVE OTHER RIGHTS

WHICH VARY FROM JURISDICTION TO

JURISDICTION.

Limitation of LiabilityIN NO EVENT WILL ANTARES BE LIABLE

FOR ANY DAMAGES, INCLUDING LOSS OF

DATA, LOST PROFITS OR OTHER SPECIAL,

INCIDENTAL, CONSEQUENTIAL OR INDIRECT

DAMAGES ARISING FROM THE USE OF AUTO-TUNE 7 OR ACCOMPANYING MATERIALS.

THIS LIMITATION WILL APPLY EVEN IF

ANTARES OR ITS AUTHORIZED AGENT HAS

BEEN ADVISED OF THE POSSIBILITY OF SUCH

DAMAGE. YOU ACKNOWLEDGE THAT THE

LICENSE FEE REFLECTS THIS ALLOCATION OF

RISK. SOME JURISDICTIONS DO NOT ALLOW

LIMITATION OR EXCLUSION OF LIABILITY FOR

INCIDENTAL OR CONSEQUENTIAL DAMAGES,

SO THE ABOVE LIMITATION MAY NOT APPLY

TO YOU.

Whew! Now that that’s over, let’s get on to thegood stuff.

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Contents

Chapter 1 Getting StartedWhat’s New in Auto-Tune 7 3

Installing and Authorizing 6

Technical Support 6

Chapter 2 Introducing Auto-Tune 7Some background 7

So what exactly is Auto-Tune 7? 7

A little bit about pitch 7

How Auto-Tune 7 detects pitch 9

How Auto-Tune 7 corrects pitch 9

Automatic Mode 10

Graphical Mode 12

Pitch Shifting and Formant Correction 13

Time Shifting and Correction 14

Chapter 3 Auto-Tune 7 Controls

Common Controls 17The Options Window 21

Automatic Mode Controls 24

Graphical Mode Pitch Controls 35

Pen Tablet Input 52

Graphical Mode Time Controls 53

Chapter 4 Auto-Tune 7 TutorialTutorial 1: Automatic Mode Basics 63

Tutorial 2: Targeting Ignores Vibrato Function 64

Tutorial 3: Natural Vibrato Function 65

Tutorial 4: MIDI Functions 65

Tutorial 5: Transpose and Formant Control 66

Tutorial 6: Graphical Mode Basics 67

Tutorial 7: Precision 68

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Tutorial 8: Make Curve Function 69

Tutorial 9: Import Auto Function 70

Tutorial 10: Make Notes Function 72

Tutorial 11: Time: Error Correction 74

Tutorial 12: Time: Creative Editing 75

Chapter 5 The Auto-Tune Vocal Effect(The Cher/T-Pain Style Effect) 77

Chapter 6 The Auto-Tune 7 Scales 79

Index 81

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Welcome!

On behalf of everyone at Antares® Audio Technologies, we’d like to offer both ourthanks and congratulations on your decision to purchase Auto-Tune® 7, the latest(and indisputably greatest) generation of the worldwide standard in professionalpitch correction.

Before you proceed any farther, we’d like to strongly encourage you to register and authorize yourcopy of Auto-Tune 7. (You can skip ahead to the Authorization and Installation instructions on page6. We’ll wait.) Also, if you’re planning on discarding that lovely Auto-Tune 7 box, it’s probably a goodidea to write down the serial number that appears on the bottom of the box for future reference.(The inside cover of this manual would be a good place.)

At Antares, we are committed to excellence in quality, customer service, and technologicalinnovation. With your purchase of Auto-Tune 7, you have created a relationship with Antares whichwe 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

It’s about time.

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Chapter 1: Getting Started

Auto-Tune 7, with its new-from-the-ground-up time manipulation capabilities,represents the most substantial advancement in functionality since Auto-Tune’soriginal introduction in 1997.

If you are new to Auto-Tune, we encourage you to read this manual and work through the tutorials inChapter 4. It’s the quickest way to become familiar with what Auto-Tune 7 does and how it does it.

If you are upgrading from a previous version of Auto-Tune, you will find that most of what you’realready doing will continue to work in Auto-Tune 7, only better. However, with the new timemanipulation functions, there’s more new stuff in Auto-Tune 7 than in any previous Auto-Tuneupdate. To get up to speed quickly, just check out the new feature overview below and then refer to

related sections of in Chapter 3.

ONE BIG IMPORTANT NOTEFor those upgrading from older versions ofAuto-Tune, is it critical to note the following:

Auto-Tune 7 will NOT open sessions createdwith Auto-Tune Evo. (The addition of the timemanipulation capabilities would require youto completely re-track your audio, effectivelynegating any previously made edits in thesession.)

For that reason, we have configured Auto-Tune7 such that it and Auto-Tune Evo can be activein your DAW simultaneously. Additionally,your Auto-Tune 7 license includes a bundledauthorization for Auto-Tune Evo, so you cancontinue to use it to open saved sessions.

Auto-Tune 7 (like Auto-Tune Evo beforeit) will also NOT open sessions createdwith Auto-Tune 5 or earlier versions. Theimprovements made to the core technology areso extensive that it just won’t work.

For that reason, we have also configured Auto-Tune 7 such that it and Auto-Tune 5 and allearlier versions of Auto-Tune can be active inyour DAW simultaneously.

However, it’s important to note that Auto-Tune 5 (and earlier versions) have long beendiscontinued and we will not be releasing

future updates to any of them. Consequently,it’s inevitable that between computer OSadvancements and host updates, those earlierversions will eventually stop working.

If you have current saved sessions withinstances of Auto-Tune 5 or earlier that you mayneed to access into the indefinite future, weoffer the following suggestions:

• If you are satisfied with the current Auto-

Tune settings, use whatever method yourhost offers (bouncing, offline editing, etc.) topermanently render the corrected tracks.

• If you believe you will need to keep editinginto the future, remove the instances of theearlier versions of Auto-Tune and replacethem with instances of Auto-Tune 7.

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What’s new in Auto-Tune 7The following are the key new features thathave been added in Auto-Tune 7:

The second generation of Evo™ VoiceProcessing Technology

In 2008, Auto-Tune Evo introduced Antares’seriously evolved Evo Voice ProcessingTechnology, setting a new standard in pitchdetection, pitch shifting, and formant processingperformance. In the intervening years, Evo VoiceProcessing Technology has been integratedinto Antares’ full line of vocal processing tools.Now, with Auto-Tune 7, we are introducing thesecond generation of Evo Voice ProcessingTechnology, offering even more natural (if youwant it to be) pitch shifting and throat modeling

over a wider transposition range.

An extremely high quality and easy-to-usetime correction and manipulation system

By far the most dramatic addition to Auto-Tune 7 is its entirely new time correction andmanipulation system. Auto-Tune 7’s timecontrol capabilities combine an extremelyhigh-quality time shifting algorithm with anexceedingly intuitive user interface designed tomake it quick and easy to correct timing errorsor exercise your creative imagination.

Auto-Tune 7’s time manipulation functionsinclude the ability to move a point in timewithin a selected range as well as move arange in time within a larger range. The timefunctions have their own Undo/Redo controlsindependent of the pitch correction controlsand an Enable button that allows you toinstantly switch between your original audioand your time shifted audio.

Enhanced Amplitude Envelope Display

Whenever time control is enabled, theAmplitude Envelope Display will display both the

original audio (in the lower portion of the display)and the time-shifted audio (in the upper portion).

Data File Management System

Since Auto-Tune 7’s time control functionsrequire Auto-Tune to operate on a copy of theaudio you wish to manipulate, we’ve provideda convenient data management dialog that

allows you to establish or move the location ofthe data files, rename their folder, as well asdelete them if they are no longer necessary(after bouncing the final time-modified audio,for example).

The File Management System will also alertyou if the data files are not where Auto-Tune 7expects them to be and will provide informationto help you find them.

The ability to adjust Throat Length on anindividual correction object basis

To give you maximum control over the timbreof your vocal tracks, Throat Length Adjustmentis now an independent property of eachindividual correction object (Curve, Line orNote). While the overall Throat Length is still

set by the master Throat Length knob, eachcorrection object can have its own independentadjustment (either longer or shorter) as desired.

Since each object can have its own ThroatLength adjustment setting, you will nolonger need to automate Throat Length toget the optimum timbre for each note of aperformance.

The ability to record MIDI noteinformation in Graphical Mode andcreate Note Objects from it

When tracking pitch in Graphical Mode, Auto-

Tune 7 will record any MIDI note informationrouted to it (either from another MIDI trackor live from a MIDI controller) and (optionally)display the data on the Pitch Graph Display. Youcan then use the new Make Notes From MIDIfunction to convert the MIDI information intoNote Correction Objects.

Enhanced Graphical ModeAdjust Vibrato function

In previous versions of Auto-Tune, the GraphicalMode Adjust Vibrato function would createits own correction curve, replacing any othercorrection object that had previously beencreated in the selected range. In Auto-Tune 7,the Adjust Vibrato function is additive, acting onany already existing correction object, therebyfreeing you to work on pitch correction andvibrato adjustment in any order desired.

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How to use this manualIf this is your first experience of Auto-Tune, youwill find that Auto-Tune 7 has a very friendlyuser-interface and is extraordinarily easy to

use. However, because Auto-Tune 7 doesthings that have never been done before,some aspects of the user-interface may notbe immediately obvious. You should at leastread either Chapter 3, Auto-Tune 7 Controls,or Chapter 4, Auto-Tune 7 Tutorial, to learn theessential information you will need to operateAuto-Tune 7.

The contents of this manualChapter 1: Getting Started

The chapter you are reading.

Chapter 2: Introducing Auto-Tune 7

This chapter presents some basic facts aboutpitch and how Auto-Tune 7 functions to correctpitch errors, as well as an introduction to Auto-Tune 7’s new time control features. The basicfunctionality of Auto-Tune 7 is discussed,and information you need in order to use iteffectively is provided.

Chapter 3: Auto-Tune 7 Controls

This chapter is reference information for all ofthe controls used in the Auto-Tune 7 interface.

Chapter 4: Auto-Tune 7 Tutorial

This chapter introduces you to details of howAuto-Tune 7 works by guiding you throughseveral tutorials. The tutorials will give youinsight into how and when to use each of Auto-Tune 7’s key functions.

Chapter 5: The Auto-Tune Vocal Effect (i.e.,the Cher/T-Pain style effect)What it is. How to do it.

Chapter 6: The Auto-Tune 7 ScalesBrief descriptions of the various scales available

in Auto-Tune 7.

Smooth continuous scrollingof graphical audio data

If you have selected Auto Scroll in GraphicalMode, the graphical data will scroll smoothlyacross the screen during playback, maintaining

the currently playing audio at the vertical centerof the window.

Amplitude envelope in thegraphical editing window

A display of the tracked audio’s amplitudeenvelope now appears as a backgroundelement in the graphical editing window. Whileits primary function is to help make preciseselections for time shifting, since it is alwaysvisible in the center of the window, it providesa helpful indication of the presence of trackedaudio, even if that audio is currently beyond the

upper or lower boundaries of the window.

Expanded Key Binding shortcutsto incorporate the new timemanipulation controls

What the title says. You can program customkeyboard access to all of the new timemanipulation tools and controls.

The option to display the graphicaltimeline as bars and beats

Primarily designed as reference for timemanipulation, you can now display the graphical

timeline in either absolute time or as bars andbeats relative to your project’s tempo.

NOTE: Bars and beats will only bedisplayed for the range(s) of trackedaudio.

Increased vertical zoom rangein Graphical Mode

For ease of extremely precise pitch editing, youcan now zoom all the way in to the one-cent-per-pixel level.

A display of the cursor’s position in time

Yup. A display of the cursor’s position in time.The display will read out in seconds or bars andbeats, depending on the current Time Displaysetting.

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Installing Auto-Tune 7Any unique instructions for installing Auto-Tune7 for your specific host or plug-in format arelocated in the Auto-Tune 7 Read Me file that

accompanies the plug-in. This file may alsocontain any last-minute Auto-Tune 7 informationthat didn’t make it into this manual.

Auto-Tune 7 is designed to work with a widevariety of digital audio applications. Please referto your host application’s user manual for moreinformation on installing and using plug-ins.

Authorizing Auto-Tune 7Authorization is the process by which Auto-Tune 7 is allowed to permanently run on yourcomputer. Detailed instructions covering theavailable authorization options will be foundin the file “Authorization Read Me” which isincluded on the installation DVD ROM or withyour software download.

NOTE: You will need to authorizeAuto-Tune 7 before you can run it inyour host. If you plan to follow along

with the manual (a good idea), go do it now.

Technical SupportIn the unlikely event that you experience a

problem using Auto-Tune 7, try the following:

1. Make sure you have the latest version ofthe plug-in. You can download and installthe latest version of Auto-Tune 7 from thefollowing web page:

http://www.antarestech.com/download/ update.shtml

2. If you are having problems authorizing yoursoftware, be sure that you have the latestversion of the PACE Interlok drivers. Youcan download and install the latest version

for your operating system from www.paceap.com.

IMPORTANT! Windows users: Afterdownloading and installing the PACEdrivers, you must reboot your computerbefore running your software.

If your problem is not resolved after taking theabove actions, try the following:

1. Make another quick scan through thismanual. Who knows? You may have

stumbled onto some feature that you didn’tnotice the first time through.

2. Consult our searchable knowledgebase at:

http://www.antarestech.com/support/ index.shtml

3. Check our web page for tips, techniques, orany late-breaking information:

http://www.antarestech.com

4. Join the Antares Online Community. TheAntares Online Community is a placewhere Antares product users can gather

to exchange information, compare notes,and get to know other Antares users fromaround the world. Check it out at:

http://www.antarestech.net

5. For the quickest access to newdevelopments, follow us on Twitter and“Like” our Facebook pages:

http://twitter.com/AntaresAudio

http://www.facebook.com/pages/Antares-Audio-Technologies/68524457680

http://www.facebook.com/pages/Auto-Tune/81891651280

http://www.antarestech.com/support/index.shtml



http://www.antarestech.net/











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Chapter 2: Introducing Auto-Tune 7

Some backgroundIn 1997, Antares Audio Technologies first introduced the ground-breaking Auto-TunePitch 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 ofthe expressive nuance of the original performance. Recording Magazine called Auto-Tune the “holygrail of recording.” And went on to say, “Bottom line, Auto-Tune is amazing… Everyone with a Macshould have this program.” (In fact, we know of quite a few people back then who bought kilo-buckPro Tools™ systems just to be able to run Auto-Tune.)

In the intervening years, Auto-Tune has

established itself as the worldwide standardin professional pitch correction. Today, it’sused daily by tens of thousands of audioprofessionals around the world to save studioand editing time, ease the frustration of endlessretakes, save that otherwise once-in-a-lifetimeperformance, or to create what has becomethe signature vocal effect of our time for artistslike Cher, T-Pain, and many, many others.

Auto-Tune is, in fact, the world’s largest-sellingaudio plug-in.

Now, well over a decade after its introduction,

recognizing the enormous increase in thepower of the computers we all use for audiorecording, we’ve evolved Auto-Tune to the nextlevel of performance.

With Auto-Tune 7, you now have control, notonly of pitch, but of rhythm and articulation.Auto-Tune 7’s time manipulation capabilitiescombine an extremely high-quality time-shiftingalgorithm with an exceedingly intuitive userinterface designed to make it quick and easy tocorrect timing errors or exercise your creativeimagination. Auto-Tune 7 gives you the ability

to polish every facet of your vocal tracks in one,integrated, easy-to-use environment.

So what exactly is Auto-Tune 7?Auto-Tune 7 is a precision tool for correctingintonation and timing errors or creativelymodifying the intonation or rhythmic articulationof a performance.

For pitch correction, Auto-Tune 7 employs

state-of-the-art digital signal processingalgorithms (many, interestingly enough, drawnfrom the geophysical industry) to continuouslydetect the pitch of a periodic input signal(typically a solo voice or instrument) andinstantly and seamlessly change it to a desiredpitch (defined by any of a number of user-programmable scales, MIDI input, or throughthe use of graphical editing tools).

To take maximum advantage of the power ofAuto-Tune 7’s pitch correction functions, youshould have a basic understanding of pitch and

how Auto-Tune 7 functions to correct pitcherrors. This chapter presents basic terminologyand introduces Auto-Tune 7’s operatingparadigm, giving you the background you needto use it effectively.

Later in the chapter, we’ll provide an overviewof Auto-Tune 7’s new time manipulationfeatures.

A little bit about pitchPitch is traditionally associated with ourperception of the “highness” or “lowness”of a particular sound. Our perception of pitchranges from the very general (the high pitch ofhissing steam, the low pitch of the rumble ofGodzilla’s enormous footsteps as he stompshis way through Tokyo) to the very specific (theexact pitch of a solo singer or violinist). Thereis, of course, a wide range of variation in the

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middle. A symphony orchestra playing a scalein unison, for example, results in an extremelycomplex waveform, yet you are still able toeasily sense the pitch.

The vocalists and the solo instruments thatAuto-Tune 7 is designed to process have avery clearly defined quality of pitch. The soundgenerating mechanism of these sources is avibrating element (vocal chords, a string, an aircolumn, etc.). The sound that is thus generatedcan be graphically represented as a waveform(a graph of the sound’s pressure over time)that is periodic. This means that each cycle ofwaveform repeats itself fairly exactly, as in theperiodic waveform shown in the diagram below:

Because of its periodic nature, this sound’spitch can be easily identified and processed byAuto-Tune 7.

Other sounds are more complex. Thiswaveform:

is of a violin section playing a single note inunison. Our ears still sense a specific pitch,but the waveform does not repeat itself. Thiswaveform is a summation of a number ofindividually periodic violins. The summation isnon-periodic because the individual violins areslightly out of tune with respect to one another.Because of this lack of periodicity, Auto-Tune 7would not be able to process this sound.

Some pitch terminologyThe pitch of a periodic waveform is defined

as the number of times the periodic elementrepeats in one second. This is measured in Hertz(abbreviated Hz.). For example, the pitch of A4(the A above middle C on a piano) is traditionally440Hz (although that standard varies by a fewHz. in various parts of the world).

Pitches are often described relative to oneanother as intervals, or ratios of frequency. Forexample, two pitches are said to be one octaveapart if their frequencies differ by a factor oftwo. Pitch ratios are measured in units called

cents. There are 1200 cents per octave. Forexample, two tones that are 2400 cents apartare two octaves apart. The traditional twelve-tone Equal Tempered Scale that is used (orrather approximated) in 99.9% of all Westerntonal music consists of tones that are, bydefinition, 100 cents apart. This interval of 100cents is called a semitone.

The twelve equally-spaced tones of the EqualTempered Scale happen to contain a numberof intervals that approximate integer ratiosin pitch. The following table shows these

approximations:

INTERVAL CENTS NEARBY RATIO IN RATIO CENTS

minor second 100 16/15 111.75

major second 200 9/8 203.91

minor third 300 6/5 315.64

major third 400 5/4 386.31

perfect fourth 500 4/3 498.04

tritone 600

perfect fifth 700 3/2 701.65

minor sixth 800 8/5 813.69

major sixth 900 5/3 884.36

minor seventh 1000 16/9 996.09

major seventh 1100 15/8 1088.27

octave 1200 2 1200.00

As you can see, the intervals in the EqualTempered Scale are NOT equal to the

harmonious integer ratios. Rather, the EqualTempered Scale is a compromise. It becamewidely used because once a harpsichord orpiano is tuned to that scale, any compositionin any key could be played and no one chordwould sound better or worse than that samechord in another key.

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How Auto-Tune 7 detects pitchIn order for Auto-Tune 7 to automatically correctpitch, it must first detect the pitch of the inputsound. Calculating the pitch of a periodic

waveform is a straightforward process. Simplymeasure the time between repetitions of thewaveform. Divide this time into one, and youhave the frequency in Hertz. Auto-Tune 7 doesexactly this: It looks for a periodically repeatingwaveform and calculates the time intervalbetween repetitions.

The pitch detection algorithm in Auto-Tune7 is virtually instantaneous. It can recognizethe repetition in a periodic sound within a fewcycles. This usually occurs before the soundhas sufficient amplitude to be heard. Used in

combination with a slight processing delay, theoutput pitch can be detected and correctedwithout artifacts in a seamless and continuousfashion. (Although it must be kept in mind thatsome plug-in protocols introduce a certainamount of inherent and unpredictable delay.)

Auto-Tune 7 was designed to detect andcorrect pitches up to the pitch C6. (If theinput pitch is higher than C6, Auto-Tune 7will occasionally interpret the pitch an octavelower. This is because it interprets a two cyclerepetition as a one cycle repetition.) On the low

end, Auto-Tune 7 will detect pitches as low as25Hz (when the Bass Input Type is selected).This range of pitches allows intonationcorrection to be performed on virtually allvocals and instruments.

Of course, Auto-Tune 7 will not detect pitchwhen the input waveform is not periodic. Asdemonstrated above, Auto-Tune 7 will fail totune up even a unison violin section. But thiscan also occasionally be a problem with solovoice and solo instruments as well. Consider,for example, an exceptionally breathy voice,or a voice recorded in an unavoidably noisyenvironment. The added signal is non-periodic,and Auto-Tune 7 will have difficulty determiningthe pitch of the composite (voice + noise)sound. Luckily, there is a control (the Trackingcontrol, discussed in Chapter 3) that will letAuto-Tune 7 be a bit more casual about what itconsiders “periodic.”

Experimenting with this setting will often allowAuto-Tune 7 to track even noisy signals.

A NOTE: The above description hasbeen in pretty much every Auto-Tune

manual since the beginning. While itis still definitely true in the general case, it mustbe noted that Auto-Tune Evo did a much better

job than any prior version of Auto-Tune withborderline troublesome material and Auto-Tune7 does even better yet.

How Auto-Tune 7 corrects pitchAuto-Tune 7 provides two separate and distinctways to approach pitch correction: AutomaticMode and Graphical Mode. The basicfunctionality of each is described below.

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Automatic ModeAuto-Tune 7’s Automatic Mode works bycontinuously tracking the pitch of an inputsound and comparing it to a user-definedscale. The scale tone closest to the inputis continuously identified. If the input pitchexactly matches the scale tone, no correctionis applied. If the input pitch varies from the

desired scale tone, an output pitch is generatedwhich is closer to the scale tone than theinput pitch. (The exact amount of correction iscontrolled by the Retune Speed and Humanizesettings, described below and in Chapter 3.)

Scales

The heart of Automatic Mode pitch correctionis the Scale. Auto-Tune 7 lets you choosefrom major, minor, chromatic or 26 historical,ethnic and micro-tonal scales. Individual scalenotes can be bypassed, resulting in no pitchcorrection 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 thetarget pitches in real time via MIDI from a MIDIkeyboard or a pre-recorded sequencer track.

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Retune Speed

Auto-Tune 7 also gives you control over howrapidly, in time, the pitch adjustment is madetoward the scale tone. This is set with theRetune Speed control (see Chapter 3 for more

details).

Fast Speed settings are appropriate for shortduration notes and for mechanical instruments,like oboe or clarinet, whose pitch typicallychanges almost instantly. A fast enough settingwill also minimize or completely remove avibrato, as well as produce the infamous “Chereffect.”

Slow Speed settings, on the other hand, areappropriate for longer notes where you wantexpressive pitch gestures (like vibrato) to

come through at the output and for vocal andinstrumental styles that are typified by gradualslides (portamento) between pitches. Anappropriately selected slow setting can leaveexpressive gestures intact while moving theaverage pitch to the correct tonal center..

Vibrato

Auto-Tune 7 allows real-time adjustment of thedepth of any natural vibrato present in the input.

Auto-Tune 7 can also add a vibrato to an inputthat does not naturally exhibit one. You canprogram the vibrato rate along with individual

vibrato depths for pitch, amplitude (loudness)and formant (resonant frequencies). You canalso specify delayed vibrato with independentlyprogrammable onset delay and onset rate.

By combining a fast Retune Speed setting withAuto-Tune 7’s Vibrato settings, you can evenremove a performer’s own vibrato and replaceit with Auto-Tune 7’s programmed vibrato, all inreal time. Also, unusual combinations of VibratoWaveform, Rate and Depth settings can beused for some interesting special effects

An Example of Automatic Mode Correction

As an example, consider this before-and-after graphic representation of the pitch of avocal phrase that contains both vibrato andexpressive gestures.

In the original performance, we can see thatalthough the final note should be centeredaround D, the vocalist allowed the tail of thenote to fall nearly three semitones flat. The“after” plot is the result of passing this phrasethrough Auto-Tune 7’s Automatic Modeprogrammed to a D Major Scale (with C# and Bset to ”Remove”) and a Retune Speed settingof 25. That Retune Speed causes the pitchcenter to be moved to D, while still retainingthe vibrato and expressive gestures. (SettingC# and B to ”Remove” is necessary to keepAuto-Tune 7 from trying to correct the seriouslyflat tail of the last note to those pitches. SeeChapter 3 for more details.)

10.0 10.5 11.0

D3

B2

ORIGINALPERFORMANCE

CORRECTED BYAUTO-TUNE 7

C#3

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Graphical ModeThe Graphical Mode is similar to the AutomaticMode in that it also continuously tracks thepitch of the incoming sound and modifies theoutput pitch to be closer to a desired pitch. Butin the Graphical Mode, the desired pitch is not apredefined scale tone, but rather is a graphicalrepresentation of your desired pitch (called a

“correction object”).As in Automatic Mode, the rate of changetowards the desired pitch is controlled by theRetune Speed control, but in Graphical Modeyou can assign a different Retune Speed toeach individual correction object, ensuring thatany pitch change is as natural (or as wacky) asyou desire.

The key feature of Graphical Mode is the PitchGraph display. On this display, the vertical axisrepresents pitch (with higher notes towards thetop) while the horizontal axis represents time.Depending on your host, you can resize theGraphical Mode window up to the limit of yourmonitor size.

On the Pitch Graph, the red curve representsthe original pitch contour of the input track,while the desired target pitch or pitch contour(as defined by one of the three possibleCorrection Objects described below) isindicated in blue. The green curve displays theexact output pitch based on the current settingof the Retune Speed for each correction object.

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The horizontal grid lines (or Lanes, when ShowLanes in selected) represent scale pitches. Thekey annotation, scale name, and scale detunevalue are those defined by the common areacontrols at the top of the interface. They do not

affect the computations of the Graphical Modein any way. They are merely a reference toguide you in setting the target pitches.

Graphical Mode also includes the EnvelopeGraph, which displays the amplitude (loudness)envelope of the sound whose pitch is shownin the Pitch Graph. The horizontal scale of thisgraph will either 1) show the envelope of theentire extent of the pitch-detected sound or 2)align with the horizontal scale and position ofthe Pitch Graph above it.

To define the desired pitches, Graphical Modeprovides three different Pitch CorrectionObjects: Lines, Curves and Notes. You can drawdesired target pitches using the Line and Curvedrawing tools, selectively modify the existingpitch contours using the Make Curve function,or use Note Objects to display and modify thepitch of each individual target note. The differentObjects can be freely intermixed on a track toaccomplish different tasks, or just to allow youto work in whichever way feels easiest.

In addition, Auto-Tune 7 introduces the abilityto define target pitches using MIDI. Similar inconcept to the Target Notes Via MIDI functionin Automatic Mode, when tracking pitch inGraphical Mode, Auto-Tune 7 will record anyMIDI note information routed to it (eitherfrom another MIDI track or live from a MIDIcontroller) and (optionally) display the data onthe Pitch Graph Display. You can then usethe new Make Notes From MIDI functionto convert the MIDI information into NoteCorrection Objects.

Complete image scaling and scrolling controlsare provided, along with a selection of graphical

tools which allow easy editing, including cut,copy and paste functions.

Given the power of the tools, there is a hugevariety of possible Graphical Mode workflows,but the basic steps you will typically perform inGraphical Mode are:

• In your host application, select some soundfor processing.

• Bring up Auto-Tune 7. Set the buffer lengthto at least the number of seconds from thebeginning of the track to the end of the audio

you are going to process. Press the TrackPitch button, then play back the audio. Thepitch will be detected and then displayed inthe Pitch Graph as a red curve.

• When you have tracked all the audio youwant to work with, stop the transport to exitTrack Pitch mode.

• Define target pitches using any combinationof Correction Objects (Lines, Curves orNotes) and the graphical tools and adjusteach object’s Retune Speed and vibratodepth for the desired effect.

• If desired, set a transposition interval, engageformant correction, or modify overall vocalcharacter with the Throat Length control.Then use the Throat Length Adjust control toindividually set the vocal timbre of each note.

• Play back the track. The pitch will becorrected or shifted as specified.

Pitch Shifting, Formant Correctionand Throat ModelingAuto-Tune 7’s Pitch Shifting, FormantCorrection, and master Throat Modelingfunctions are located in the common controlarea and available in both Automatic andGraphical Modes.

Pitch Shifting

In addition to any pitch correction applied byeither Automatic or Graphical Mode, Auto-Tune7 provides a Transpose function that lets youshift the overall pitch of your performance overa two octave range (+/- an octave), selectable inprecise semitone increments.

In Automatic Mode, this transposition isaccomplished in real time.

In Graphical Mode, this function does notaffect the Pitch Edit Display. It providesoverall transposition after any pitch shiftingaccomplished with the graphical editing tools.

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lets you use Antares’ unique throat modelingtechnology to modify a voice’s character bypassing it through a precise physical model ofthe human vocal tract.

New to Auto-Tune 7 is the ability in GraphicalMode to individually modify the throat modelingfor each note or correction object, offering anentirely new level of creative control.

Time Shifting and CorrectionBy far the most dramatic addition to Auto-Tune 7 is its entirely new time correction andmanipulation system. We’ve designed Auto-Tune 7’s time control capabilities to combinean extremely high-quality time-shiftingalgorithm with an exceedingly intuitive user

interface designed to make it quick and easy tocorrect timing errors or exercise your creativeimagination.

Time Tracking

In order to do its time shifting magic, Auto-Tune7 must first create a copy of the audio you wishto edit. This is accomplished with the TrackPitch and Time function. To help manage thisaudio data, we’ve provided a convenient DataFile Management dialog that allows you toestablish or move the location of the data files,rename their folder, as well as delete them if

they are no longer necessary (after bouncingthe final time-modified audio, for example).


Time Tools

Although allowing for an enormous amount offlexibility, Auto-Tune 7’s time shifting functionsmake use of two easy-to-use tools; the MovePoint tool and the Move Region tool.

The Move Point tool allows you to selecta range of audio and pick any point in therange and move it forward or back in time,compressing and expanding the audio around it.

The Move Region tool is designed for movingnotes, words, or phrases while preservingthe timing of the moved element. As with the

Although you can also accomplish overalltransposition in Graphical Mode by selectingall the correction objects in your track andmanually moving them up or down, in mostcases, using the Transpose function will provide

superior results.

Formant Correction

A sound’s ”formants” are the combinedacoustic resonances that result from the physicalstructure of whatever is producing the sound.

In the case of a human voice, air from yourlungs is forced through your vocal chords,causing them to vibrate. From there, the voiceis propagated through the throat, the mouthand out through the lips. It is the shape ofthese structures that create the resonant

characteristics that define your unique vocalidentity.

When a vocal is pitch-shifted by large intervalswithout formant correction, not only is the pitchof sung notes shifted, but the formants areshifted as well. The resulting effect is not justof a person singing higher or lower notes, butof a person who is literally growing or shrinking(depending on the direction of the shift).While this can be useful for producing singingchipmunks, it typically does not producerealistic pitch-shifting over ranges larger than a

semitone or two.Engaging Auto-Tune 7’s Formant Correctionprevents the shifting of a voice’s resonantfrequencies to ensure that its vocalcharacteristics are preserved over the pitchshift range.

AN IMPORTANT NOTE: Over the verysmall intervals usually associatedwith basic pitch correction, formant

shifting is essentially inaudible and Auto- Tune’s classic pitch adjustment technologystill provides the optimum results. Formant

Correction is designed to be used with overalltransposition or on tracks where notes areshifted by large intervals.

Throat Modeling

As mentioned above, the shape of a singer’sthroat is a prime contributor to their vocalcharacter. Auto-Tune 7’s Throat Length control

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Move Point tool, you first select a range of audioand then select the region within that selectionthat you want to move and move it forward orback in time, again compressing and expandingthe audio around it.

Both tools are context sensitive. That is, theychange function (from selection to moving,for example) depending on what lies beneaththem on the screen. As a result, the timemanipulation process becomes smooth andintuitive, never breaking your creative flow withthe need to switch tools or remember somecommand key to temporarily change function.

The time functions also have their own Undo/ Redo controls independent of the pitchcorrection controls and an Enable button thatallows you to instantly switch between youroriginal audio and your time shifted audio.

Enhanced Amplitude Envelope Display

To help you visualize the affects of your edits,whenever time control is enabled the AmplitudeEnvelope Display will display both the originalaudio (in the lower portion of the display) andthe time-shifted audio (in the upper portion).Additionally, the display’s horizontal axis will turnred to indicate the ranges of audio that havebeen time-tracked, so you will always knowwhich ranges are currently available for time

editing.Non-destructive Editing

Since Auto-Tune 7 works on a copy of youraudio, time editing always leaves your originalaudio intact. At any point you can simply turnoff the Time Control Enable button to instantlyreturn to your track’s original timing.

NOTE: Due to the architecture of TDMsystems, time shifting is not availablein the TDM versions of Auto-Tune 7.

If you wish to use the time shifting function on aTDM system, be sure to select the RTAS version

of Auto-Tune 7.

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Chapter 3: Auto-Tune 7 Controls

Continuous ControlsAuto-Tune 7’s continuous controls arerepresented graphically as virtual knobs.Depending on your preference, you can controlknobs by vertical, horizontal or radial mousemovement. Set your preference in the Optionsdialog described below.

Double-clicking on a knob will return it toits default value. In some host applications,Command (Mac)/Control (PC) clicking on aknob will also reset it to default (see the Auto-Tune 7 Read Me and/or your host applicationmanual for details).

Common ControlsThe following controls and displays arevisible regardless of which operating mode isselected. Their settings affect both Automaticand Graphical Modes.

Input Type

As a result of Antaresresearch into theunique characteristicsof various types of

audio signals, Auto-Tune 7 offers a selection ofoptimized processing algorithms for the mostcommonly pitch-corrected inputs. Choices

include Soprano Voice, Alto/Tenor Voice, LowMale Voice, Instrument, and Bass Instrument.Matching the appropriate algorithm to the inputresults in even faster and more accurate pitchdetection and correction.

To select the desired Input Type, click on theInput Type pop-up and then select the desiredtype from the pop-up list.

This chapter is a reference for all of the controls used in the Auto-Tune 7 interface.How these controls are used together for pitch correction and time shifting isdemonstrated in Chapter 4, Auto-Tune 7 Tutorial.

If you are upgrading from Auto-Tune Evo, you can probably just skip ahead to Chapter 5, NewFeature Quick Start Guide

NOTE: Choosing the wrong InputType (or just forgetting to set itat all) can result in compromisedperformance. Pay attention.

ANOTHER NOTE: When any InputType other than Bass Instrumentis selected, Auto-Tune 7 is reliably

able to detect pitches down to A0 (55Hz).Selecting Bass Instrument lowers the lowestdetectable frequency by about one octave to25Hz. Since the lowest E string on a bass guitaris approximately 41Hz, Bass Instrument (as itsname so ably implies) allows you to apply pitchcorrection to those pesky fretless bass linesas well as other low bass range instruments.However, when Bass Instrument is selected,

pitches above A4 may be incorrectly tuned, sobe sure to select Bass Instrument only whencorrecting bass range tracks.

Tracking

In order toaccuratelyidentify thepitch ofthe input,Auto-Tune 7

requires a periodically repeating waveform,characteristic of a voice or solo instrument.

The Tracking control determines how muchvariation is allowed in the incoming waveformfor Auto-Tune 7 to still consider it periodic.

If you are working with a well-isolated solosignal (e.g., tracking in a studio or off of a multi-track master) you can typically set the Trackingcontrol to 50 and forget it.

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If, on the other hand, your signal is noisy or notwell-isolated (as might be more common in alive performance situation) or you are dealingwith a particularly breathy or guttural voice,it may be necessary to allow more signal

variation (higher Tracking numbers). However,under these circumstances tracking is notguaranteed and a too “relaxed” setting mayintroduce distortion and popping.

NOTE: The improved pitch detectiontechnology in Auto-Tune 7 (incombination with the Input Type

selection described above) results in noticeablymore reliable pitch detection compared toprevious versions of Auto-Tune. If you haveused older versions of Auto-Tune, you may findthat situations that previously required constant

modifications of the Tracking control now trackperfectly at the default setting.

Select PitchReference

Auto-Tune 7 providesthe ability to pitchcorrect stereo tracks

while maintaining the tracks’ phase coherence.(Refer to your host application’s manual forinstructions on assigning a plug-in to a stereotrack.) Click the appropriate button to selectwhich of the two stereo tracks (left or right)Auto-Tune 7 will use as a pitch reference.

NOTE: If there is a marked differencein the two tracks, pick the cleanest,most isolated track. For example, if

one track is a close mic’d vocal while the otheris mic’d from farther away for ambience, or isheavily processed, select the close mic’d track.

ANOTHER NOTE: Auto-Tune 7 willonly 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 (andpotentially unpleasant) sounds may result. Onthe other hand, something interesting mighthappen. You never know.

When Auto-Tune 7 is instantiated on a monotrack, this control is inactive (grayed out).

Key Selection

This control lets you select thekey of the track you plan toprocess.

To select the desired key, clickon the Key pop-up and then select the desirednote from the pop-up list. This determines thepitch of the first note of the scale according tothe standard A3 = 440 Hertz.

Scale Selection

This control is used incombination with the Keyselection above to definethe scale of the track youplan to process.

To select a scale, click on the Scale popup and

then select the desired scale from the pop-uplist.

NOTE: To avoid having to deal withscales containing those annoyingdouble flats, double sharps and

notes like Cb, E#, Fb and B#, Auto-Tune 7will automatically choose the simpler of twoenharmonically equivalent scales. For example,if you select Db Major, the Edit Scale Displaywill duly display the Db Major scale. However,if you then go to the Scale selection pop-upand select Minor, the Key will automatically be

changed to C# and the Edit Scale Display will, infact, display the much friendlier C# Minor scale.This will be reflected on both the Auto ModeScale Edit display and the Pitch Graph Display inthe Graphical Mode.

Auto-Tune 7 comes with 29 preprogrammedscales. The first three equal-tempered scales,chromatic, major, and minor, are the ubiquitousscales typically found in Western tonal music.The other scales are historical, ethnic, andmicro-tonal scales. An in-depth discussion ofthese scales and their history is beyond the

scope of this manual. The interested readerwill find more information in Tuning In —Micro-tonality In Electronic Music by Scott R.Wilkinson, published by Hal Leonard Books.

A brief description of each scale can be foundin Chapter 6, The Auto-Tune 7 Scales.

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ScaleDetune

The Detuneparameterallows you to

change thepitch standard of Auto-Tune 7 from the defaultA = 440Hz. The value is set in cents (100cents = 1 semitone). The range of adjustmentis from -100 to +100 cents. For convenience,the detune amount is also displayed in Hertzrelative to A440.

The Detune function can be used to tunea vocal performance to some irreparablyout-of-tune instrument (a piano or organ, forexample), or to allow correction to other thanthe conventional 440Hz standard.

It should be noted that this control functionsdifferently in Automatic and Graphical modes:

AUTOMATIC MODE In Automatic Mode, theScale Detune control shifts the pitch referenceby the set amount.

GRAPHICAL MODE In Graphical Mode, theScale Detune control shifts the position ofthe horizontal graph pitch reference lines (orlanes, if Show Lanes is selected), such that anycorrection objects created or adjusted relativeto those reference lines will reflect the Scale

Detune setting.

VERY IMPORTANT NOTE: If youcreate any pitch correction objectsand subsequently adjust the Scale

Detune setting, this will NOT change the outputpitches of the existing objects. If you will beworking in Graphical Mode on a track thatrequires scale detuning, set the proper detuneamount BEFORE beginning pitch correction.

A TIP: If you have a tone that youwant to use as the pitch standard,select that tone and play it in a loop.

Adjust Scale Detune until the Change meterreads zero. (You may be required to use the EditScale Display to remove adjacent notes so thatAuto-Tune 7 doesn’t 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 itto that value.

Transpose

In addition to any pitchcorrection applied byeither Automatic orGraphical Mode, the

Transpose control letsyou shift the overall pitch of your performanceover a two octave range (+/- one octave),selectable in precise semitone increments.

In Automatic Mode, this transposition isaccomplished in real time.

In Graphical Mode, this function does notaffect the Pitch Edit Display. It provides overalltransposition on top of any pitch shiftingaccomplished with the graphical editing tools.

As noted above, although you can also

accomplish overall transposition in GraphicalMode by selecting all the correction objectsin your track and manually moving them upor down, in most cases, using the Transposefunction will provide superior results.

NOTE: If you are transposingmore than a semitone or twoand your intent is to preserve

the performer’s vocal character, be sure toengage the Formant Correction functiondescribed below. Transposing large intervals(especially transposing higher) without formant

correction will result in the “munchkinization”effect familiar from tape speed changing andearly digital sampling. (Of course, if singingchipmunks are what you’re going for, leaveFormant Correction off.)

The default Transpose setting is 0 semitones(i.e., no transposition). Double-clicking orCommand (Mac)/Control (PC) clicking theTranspose knob will reset it to that value.

Throat Length

As mentioned above,

the shape of a singer’sthroat is a primecontributor to theirvocal character. Auto-

Tune 7 lets you modify the vocal quality of aperformance by actually varying the geometryof a physical model of the human vocal tractand processing the original performancethrough that model.

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The Throat Length control lets you modifythe length of the modeled throat. The rangeof the control is 50 to 180. Values above 100represent a lengthening of the throat whilevalues below 100 represent a shortening of the

throat.

The actual values represent the percentagechange in the throat length. For example, avalue of 120 represents a 20% increase inthroat length, while a value of 70 represents a30% decrease in throat length.

NOTE: This control is only active whenFormant Correction is engaged.When Formant Correction is not

engaged, this control is disabled (grayed out).Since Formant Correction is not available in theTDM versions of Auto-Tune 7, Throat Lengthis also not available in the TDM versions. Ifyou wish to use the Throat Length functionon a TDM system, be sure to select the RTASversion of Auto-Tune 7.

In addition to simply changing vocal timbre,increasing throat length is useful when theoriginal performance is female and you wantto transpose it down and have it sound moremale. Conversely, decreasing throat lengthis useful when the original input is male andyou want to transpose it up and have it soundfemale or childlike.

NOTE: While this control gives you theability to radically change the throatlength, keep in mind that the variation

in the length of human vocal tracts is rarelymore than about 20% in either direction. If youare looking for a “realistic” vocal characteristic,start with modest settings of this control. Moreextreme 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 100.IMPORTANT NOTE: This function isspecifically for changing the existingquality of a voice, not for manual

formant compensation for pitch shifting.Auto-Tune 7 automatically applies appropriateformant correction when it shifts pitch withFormant Correction Enabled.

ANOTHER NOTE: This control sets theoverall Throat Length for your entiretrack. Additionally, Throat Length can

be adjusted on a note-by-note basis in GraphicalMode using the Throat Length Adjust function

described in the Graphical Mode section below.

Formant Correction

Click the Formant button totoggle Auto-Tune 7’s formantcorrection function on and off.The button will turn blue when

formant correction is active and will be palegray when it is inactive.

Engaging Auto-Tune 7’s Formant Correctionprevents the shifting of a voice’s resonantfrequencies to ensure that its vocal

characteristics are preserved over the pitchshift range. (For a more complete explanationof formant correction, refer to the Pitch Shiftingand Formant Correction section in Chapter 2.)

AN IMPORTANT NOTE: Over the verysmall intervals usually associatedwith basic pitch correction, formant

shifting is essentially inaudible and Auto- Tune’s classic pitch adjustment technologystill provides the optimum results. FormantCorrection is designed to be used with overalltransposition or on tracks where notes are

shifted by large intervals.ANOTHER NOTE: Formant Correctionis not available in the TDM versionsof Auto-Tune 7. If you wish to use

the Formant Correction function on a TDMsystem, be sure to select the RTAS version ofAuto-Tune 7.

Correction Mode

Click the appropriatebutton to selecteither Automatic orGraphical Mode.

IMPORTANT NOTE: Switchingbetween Automatic and GraphicalModes while your DAW’s transport

is running will almost certainly result in audioartifacts or other unexpected weirdness. Don’tdo that.

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Options

Clicking the Options button willbring up a window containing a

number of settings that fall into

the “set and forget” category. They are:

BUFFER SIZE This controls the number ofseconds of memory buffer space that arepermanently reserved for pitch tracking andpitch correction data in Graphical Mode.(There is a separate buffer for each plug-inoccurrence.) To change the buffer allocation,click in the data field and enter the requirednumber of seconds.

The maximum buffer length is 14,400 seconds(i.e., 4 hours).

NOTE: For hosts that provide validtime information, Auto-Tune 7 will display alltracked pitch information at its correct timewithin the track. If your host supports this

capability, setting the buffer to the length ofthe entire song and tracking the pitch in onepass will allow you to quickly and easily moveto each section of audio to be corrected as

necessary.

NUMBER OF UNDOS Auto-Tune 7 providesmultiple Undo/Redo capability in GraphicalMode. Select the maximum allowable numberhere (up to 20). Choosing a higher numberallocates more memory for saving intermediate

states.

NOTE: The value selected hereapplies independently to both pitch

correction Undo/Redos and time control Undo/ Redos. For example, if you set this value to15, you will have 15 levels of undo for pitchcorrection actions and an additional 15 levels fortime control actions

KNOB CONTROL Lets you select how youwant to control the “knobs” in the Auto-Tune 7interface.

VERTICAL: Position the cursor over a knob,press and hold the left mouse button (or

the only mouse button, if you’re using aone-button mouse) and move the cursorup to turn the knob clockwise or down toturn the knob counterclockwise. The currentvalue of the knob’s parameter appears in itsassociated numeric display.

HORIZONTAL: Position the cursor over aknob, press and hold the left mouse buttonand move the cursor to the right to turn theknob clockwise or to the left to turn the knobcounterclockwise. The current value of theknob’s parameter appears in its associated

numeric display. RADIAL: Click anywhere around the

circumference of the knob, press and holdthe left mouse button and “rotate” theknob in the desired direction. The currentvalue of the knob’s parameter appears in itsassociated numeric display.

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USE CUSTOM CURSORS Click the check box

to use Custom Cursors in Graphical Mode.Normally, Auto-Tune 7 displays different cursorshapes in the Pitch Graph Display to help youselect ranges and grab and drag objects (e.g.,the object cursor, the anchor point cursor, etc.).However, some host applications mistakenlythink that they own the cursor when it is in aplug-in window. This may cause the cursor toflash as the host and Auto-Tune 7 alternatelytry 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 7’scustom cursors.

DISPLAY VERTICAL LINE AT CURSOR TIME

POSITION Click the check box to causea vertical line to be displayed at the cursorposition in Graphical Mode. This is most usefulwhen you are comparing the various pitchvalues (tracked pitch, correction object pitch,and output pitch) at one or more time locationsin your track.

A TIP: Since the line indicator can besomewhat annoying during normalediting tasks, you can, if you prefer,

uncheck this box in the Options dialog andthen assign Toggle Time Indicator to one ofthe number keys as described below. Thatway, you can turn it on only when you needit, without having to call up the Options dialogevery time.

DEFAULT RETUNE SPEEDS Since Auto-Tune7 allows independent Retune Speeds for eachcorrection object, we’ve provided the abilityto set custom default Retune Speeds for eachof the three object types: Lines, Curves andNotes. These are the initial Retune Speedvalues that are assigned to each newly createdobject. (You may, of course, modify eachindividual object’s setting as needed.)

To choose your own values, just pay attentionto what values you most commonly use forthe various objects and set those as defaults.Update as necessary.

A TIP: Your choice of default valueswill depend greatly on your particular

workflow and your typical use ofthe various correction objects. If, for example,you usually use Make Curve or Import Autoto tweak pitch while preserving all pitchgestures, usually use Lines for quick correctionof individual out-of-tune notes, and usuallyuse Note Objects for precise programming ofCher or T-Pain-style effects, you might set theCurves default to 0, the Lines default to 20 andthe Notes default to 0.

KEY BINDINGS The Key Bindings sectionallows you to assign your most commonly usedGraphical Mode tools and controls to the 10number keys that appear above the letter keyson the QWERTY portion of your keyboard.

NOTE: Since some hosts reserve thenumeric keypad for host keyboardshortcuts even when a plug-in

window is active, the Key Bindings apply onlyto the number keys on the QWERTY portion ofyour keyboard.

The following functions are available forassignment:

Graphic Tools

LineCurveNote

ArrowScissorsZoomI-BeamHand ScrollMove PointMove Region

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Edit Functions

Clear AllUndoRedoSelect All

CutCopyPaste

Time Control

Undo Time ChangeRedo Time ChangeClear All Time Changes

Control TogglesSnap To NoteAuto-ScrollShow Lanes

Track PitchCursor Time IndicatorShow Output CurveShow MIDITrack Pitch + TimeEnable Time Control

Correction ObjectsMake CurvesImport AutoMake NotesMake Notes from MIDI

Other Controls

Reset Internal CockNudge UpNudge DownZoom In HorizontalZoom Out HorizontalZoom In VerticalZoom Out VerticalAdjust Retune Speed FasterAdjust Retune Speed SlowerAdjust Vibrato Depth MoreAdjust Vibrato Depth LessAdjust Throat Length Longer

Adjust Throat Length Shorter

WINDOW SIZE (VST and Audio Units versionsonly) Since some hosts and/or plug-in formatsdo not support real-time plug-in windowresizing (i.e., dragging on the corner of thewindow), the Window Size controls allow youto select among three preset sizes or specify acustom size of your choice.

The preset sizes (measured in pixels) are:

Normal: 850 wide by 600 high

Wide: 1600 wide by 600 high

Large: 1600 wide by 1100 high

Clicking any of the Preset buttons will enterthose dimensions in the Width and Height dataentry fields. To enter a custom size, simply clickin the desired field and enter the value of yourchoice.

The new size will take affect when you click theSave button.

NOTE: Some hosts do not supportimmediate resizing of an open plug- in window. If yours in one of those,

after clicking Save, you will have to close the

Auto-Tune 7 window and reopen it to have thesize change take affect.

ANOTHER NOTE: Since real-time resizing is supported in all current versionsof Pro Tools LE and HD, neither the

RTAS nor TDM versions of Auto-Tune 7 include(or need) the Window Size controls.

SAVE AS DEFAULT When the “Save asdefault” box is checked, any changes you maketo the various Options settings are saved asdefaults for all future instances of Auto-Tune 7.

If you want to make a temporary change to anOption setting for a particular track, but want toretain the previous default for future instances,uncheck the “Save as default” box beforeclicking the Save button. Your modified valuewill take effect in the current instance of Auto-Tune 7, but future instances will revert to thepreviously saved value.

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BypassAuto-Tune 7 does not include a dedicatedBypass control as that function is typicallyprovided by the host application’s plug-ininterface.

Automatic Mode ControlsPitch Correction Functions

RetuneSpeed

Retune Speedcontrolshow rapidlythe pitchcorrectionis applied to

the incomingsound. The units are milliseconds. A valueof zero will cause instantaneous changesfrom one tone to another and will completelysuppress a vibrato (note that any relatedvolume changes will remain). Values from 10 to50 are typical for vocals (unless you’re going forthe now-infamous Cher or T-Pain-style effect,in which case use 0). Larger values let throughmore vibrato and other interpretative pitchgestures but also slow down how rapidly pitchcorrections are made.

Although the above suggestions can be usedas starting points, finding the correct RetuneSpeed setting for a particular performance islargely a matter of trial-and-error and dependson such attributes as song tempo, noteduration and vocal style, among others. Asalways, let your ears be your guide.

The default Retune Speed value is 20. Double-clicking or Command (Mac)/Control (PC)clicking the Retune Speed knob will reset it tothat value.

Humanize

One situation thatcan be problematicin Automatic Modeis a performance

that includesboth very shortnotes and longersustained notes.

The problem is that in order to get the shortnotes in tune, you’d have to set a fast RetuneSpeed, which would then make any sustainednotes sound unnaturally static. Luckily, theHumanize function easily solves this problem.

The Humanize function differentiates betweenshort and sustained notes and lets you applya slower Retune Speed just to the sustained

notes. Thus, the short notes are in tune and thesustained notes still allow the natural variationsof the original performance.

Here’s how it works:

Start by setting Humanize to 0 and adjustingthe Retune Speed until the shortest problemnotes in the performance are in tune. Atthis point, any sustained notes may soundunnaturally static. If so, start advancing theHumanize control. The higher the Humanizesetting, the more the Retune Speed is slowedfor sustained notes. The goal is to find thepoint where the sustained notes are also intune and just enough of the natural variationin the performance is present in the sustainednotes to sound natural and realistic. (If you setHumanize too high, any problem sustainednotes may not be fully corrected.)

This is another of those settings where youhave to let your ears be your guide. Theoptimum Humanize setting for any particularperformance will depend on the performancestyle, the other Automatic Mode settings andthe specific effect you desire.

The default Humanize setting is 0. Double-clicking or Command (Mac)/Control (PC)clicking the Humanize knob will reset it to thatvalue.

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NaturalVibrato

The NaturalVibratofunction

allowsreal-timemodification(either

increase or decrease) of the depth of anyvibrato present in the input audio whilepreserving the original shape and character ofthe vibrato.

This function uses the same Stochastic OptimalLinear Estimation Theory as the TargetingIgnores Vibrato function (described below) todifferentiate between vibrato and intended

pitch changes, adjusting the vibrato depth whileleaving intended pitch changes intact.

The Natural Vibrato function acts independentlyof the pitch correction functions. Of particularnote is the fact that setting a scale note ornotes to Bypass still allows vibrato adjustmentfor those notes. So, if you want to adjust aperformance’s vibrato while making no otherpitch changes, you can simply set all scalenotes to Bypass and still use the Natural Vibratofunction to adjust vibrato depth.

NOTE: This function acts only onvibrato present in the originalperformance. If the original

performance does not contain vibrato, thiscontrol will have no audible effect.

ANOTHER NOTE: Natural Vibratoadjustments function independentlyof the Create Vibrato functions

described below. However, since bothfunctions can operate simultaneously, they caninteract in ways that may or may not be useful,depending on your intent. In most cases, youshould 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 tothat value.

Targeting IgnoresVibrato

Target note identificationis the process by whichAuto-Tune decides

which note is the notethe performer intended

to sing or play, so that it may re-tune any pitcherrors closer to that note. Normally, the targetnote is the nearest active scale note to thecurrent input pitch.

The Targeting Ignores Vibrato feature isdesigned to help with target note identificationwhen the performance includes vibrato sowide that it approaches adjacent scale notes.The most common symptom of this problemis a pronounced “warbling” as the input is

alternately tuned to each of the upper andlower adjacent notes.

When this function is ”On,“ Auto-Tune 7uses the impressively named StochasticOptimal Linear Estimation Theory to attemptto recognize vibrato and differentiate betweenit and intended note changes. Our testing hasshown that it works a lot of the time — but notalways (it depends a great deal on the actualperformance). When it works, Auto-Tune 7ignores the wide vibrato as far as target noteselection is concerned. When it doesn’t, it

works pretty much the same way it wouldwork if the function were ”Off.”

The default state of this control is Off. Whenyou’ve got a vibrato problem, try turning it onand see if it helps.

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The Edit Scale DisplayThe Edit Scale Display is used to create customscales or to modify any of the preset scalesselected in the Scale popup. Edits made usingthis display are associated with each scale. Thatis, each scale retains its own edits independentof the other scales. For example, if you selectC Major in the Key and Scale popups andRemove or Bypass certain notes and thenchange to C Minor and make other edits,when you return to C Major your previous editsassociated with C Major will be restored.

The Edit Scale window displays each note ofthe currently selected scale in the currentlyselected key. If the selected scale includesmore than twelve notes, Up and Down arrowswill appear to allow scrolling through all of theavailable notes.

Beside each note name are two buttons: aBypass button and a Remove button. Click ona button to toggle its state. The button will light

to indicate that its mode is active.If neither of these buttons are lit, Auto-Tune7 treats this note as a normal scale note, i.e.,when the input pitch is close to this note, Auto-Tune 7 will correct the pitch to this note at therate set by the Retune Speed control.

If the scale selected in the Scale popupcontains exactly 12 notes (e.g., Chromatic,Pythagorean, Meantone Chromatic, Just, etc.),the Virtual Keyboard (see below) will be activeand any edits to the scale notes made in theEdit Scale Display will also be reflected on theVirtual Keyboard.

NOTE: Although Auto-Tune 7

allows setting scale note behaviorsin individual octaves, any edits

made via the Edit Scale Display will affectall octaves. To edit notes in individualoctaves, use the Virtual Keyboard.

Bypass

If the Bypass button is lit, when the input pitchis close to this note the input will be passedthrough 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 thatyou want to preserve with no modificationwhatsoever, you can set just those notes toBypass. This lets Auto-Tune 7 correct anypitch problems elsewhere in the scale butpasses everything near the bypassed notescompletely unprocessed.

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2. If a performance contains only a singleerror, you can set all notes to Bypassexcept the one “sour” note. Auto-Tune7 will then pass the entire performancethrough unprocessed except for the sour

note, which will be corrected.

Remove

If the Remove button is lit, then the note issimply removed from the current scale. Forexample, selecting the Chromatic scale andthen setting C#, D#, F#, G#, A# to Removewould cause a C Major scale to remain. In thatcase Auto-Tune 7 would always retune theinput 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,“let’s look again at the example from Chapter 2.

This phrase is in D Major and, if all the pitcherrors 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 pitcherror of three semitones at the end of the lastnote is so large that with B and C# present inthe Scale, as the pitch fell, Auto-Tune 7 wouldsee first C# and then B as the target pitch andtherefore allow the error to remain. With C#

and B removed from the Scale, Auto-Tune 7continues to see D as the target pitch for theentire duration of the note and therefore pullsthe phrase up to the correct pitch.

CentsThe number in the Cents column is theassociated note’s interval, in cents, fromthe root note of the scale. It’s provided forreference purposes and to help you choose

which notes of a micro-tonal scale to include orremove.

Set Major/Set Minor

When any scale that includes more than sevennotes (i.e., any non-diatonic scale) is selected,the Set Major and Set Minor buttons willappear. Clicking on either of these buttons will“Remove” all notes from the scale except forthose notes closest to the notes of a traditionaldiatonic major or minor scale (depending, ofcourse, on which button you clicked).

Set AllClicking this button sets all notes in the currentscale to Scale Notes in all octaves. This functionis useful as a Reset button to instantly erase allprevious Remove and/or Bypass settings andreset an edited scale to its default state.

Remove All

Clicking this button sets all notes in the currentscale to Remove in all octaves.

Bypass All

Clicking this button sets all notes in the current

scale to Bypass in all octaves.

10.0 10.5 11.0

D3

B2

ORIGINALPERFORMANCE

CORRECTED BYAUTO-TUNE 7

C#3

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The Virtual KeyboardThe Virtual Keyboard displays Auto-Tune 7’spitch detection range and acts as a real-timedisplay of the currently detected pitch, a displayof the current Scale settings, and as a toolfor setting target note behaviors in specificoctaves.

IMPORTANT NOTE: The keyboard isonly active for scales with exactlytwelve notes. It will be grayed

out (hence inactive) when any other scale isselected.

“But wait!” you might be thinking, “I wantto edit Major and Minor scales in individualoctaves and the keyboard is grayed out when Iselect either one.” No problem. Simply selectChromatic, then use the Set Major or Set Minorbutton to set up the scale of your choice andedit away.

ANOTHER NOTE: New in Auto-Tune 7,when either the Major or Minor scaleis selected, the virtual keyboard will

display the currently detected pitch (althoughthe keyboard will still not be active for editing).

KEY COLORS The color of the keys of theVirtual Keyboard indicate their current state asfollows:

COLOR STATE

Blue The currently detectedinput pitch

White or Black Scale Note

Gray Removed Note

Light Brown Bypassed Note

KEYBOARD EDIT These buttons are used toselect which state (Remove or Bypass) will betoggled when you click on a key.

When Remove is selected, clicking on anykey that is not currently set to Remove will setthat key to Remove. Clicking on any key that iscurrently set to Remove will set that key to a

Scale Note.When Bypass is selected, clicking on anykey that is not currently set to Bypass will setthat key to Bypass. Clicking on any key that iscurrently set to Bypass will set that key to a

Scale Note.

NOTE: In the descriptions above,“clicking” on a key refers to pressing

the mouse button down and then releasing it.The edit action is executed when the mousebutton is released. Therefore, if the KeyboardMode is set to Latch (see below), dragging

across the keyboard highlights each key inturn, but it is only when you release the mousebutton that the resulting key will change state.

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Sample Rate Display

This display indicates thesample rate of the currentaudio file as reported toAuto-Tune 7 by the host

application.

NOTE: Auto-Tune 7 is high samplerate compatible. If your hostapplication and audio hardware are

capable of dealing with up to 192 kHz files(96kHz files for HD Accel systems), Auto- Tune 7 will process them correctly. However,it’s important to remember that high samplerate files require substantially more DSPpower than 44.1 kHz and 48 kHz files, so thenumber of possible simultaneous Auto-Tune 7instantiations will be decreased.

YET ANOTHER NOTE: If you areusing external A/D converterswith independently selectable

sample rates, it can be possible to establisha mismatch between the actual conversionsample rate and what the host applicationthinks is the sample rate. If this happens,Auto-Tune 7 will appear to be correcting pitchto the “wrong” key. If this appears to behappening, check to be sure that your convertersample rate and your host application samplerate (as displayed by Auto-Tune 7) match.

Pitch Shifting, Formant Correction andThroat Modeling

To use the Pitch Shifting, Formant Correctionand/or Throat Modeling functions in AutomaticMode, refer to the descriptions of theTranspose, Throat Length, and Formantcontrols in the Common Controls section earlierin this chapter.

KEYBOARD MODE When the Latch mode isactive (i.e., the Latch button is blue), any editsmade to the keyboard will latch -i.e., clicking akey will change its state and the key will retainthat state until some other action causes it tochange.

When the Momentary mode is active (i.e., theMomentary button is blue), keyboard edits areonly active for as long as the mouse is helddown on a key.

NOTE: Pressing and holding the Shiftkey on your keyboard will temporarily

toggle the Keyboard Mode.

A TIP: The main purpose of theMomentary mode is to allow you todeal easily with specific individual

events in a performance. However, you canalso use it to “play” the target melody notes inreal time. To do this:

• Set the Scale to Chromatic and use the ScaleEdit window Remove All button to remove allnotes from the scale

• Set Keyboard Edit to Remove and Keyboard

Mode to Momentary • Now use your mouse to play the target

melody on the keyboard.

It’s not as easy as Target Notes via MIDI, but ifyou don’t have a MIDI controller handy, it’ll doin a pinch.

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Automatic Mode MIDI Functions

Auto-Tune 7 provides two functions thatrequire it to receive MIDI data from the hostapplication. Depending on your intent, this datacould come in real time from a MIDI controller(typically a keyboard) or from a prerecorded

MIDI sequencer track. Refer to your hostapplication’s manual for details on how to routeMIDI to Auto-Tune 7.

NOTE: Although these days virtuallyall major hosts allow the routing ofMIDI to plug-ins, there may still be a

few hosts lurking out there that do not supportit. If you happen to be using one of those, theseMIDI functions will not be selectable.

Instance ID

Some host applications assign numerical

instance IDs to multiple instances of the sameplug-in. If your host does this, the ID will appearin an orange display in the lower left-handcorner of the MIDI control area. Instance IDsare useful when you are using any of Auto-Tune7’s MIDI functions, as they allow you to be surethat you are routing the MIDI stream to thecorrect instance of Auto-Tune on the desiredtrack.

Learn Scale From MIDI

In most cases, you will probably tell Auto-Tune7 which notes are valid scale notes using the

Key and Scale popups, the Edit Scale Display,and/or the Virtual Keyboard. However, theremay be occasions when it is not clear exactlywhat key a melody line is in, or where themelody line has too many accidentals to fitcomfortably into a conventional scale. For thoseoccasions, the Learn Scale From MIDI functionallows you to simply play the melody into

Auto-Tune 7 from a MIDI keyboard orsequencer track and let Auto-Tune 7 constructa custom scale containing only those notes thatappear in the melody.

To use the Learn Scale From MIDI function,ensure that the desired MIDI source is routedto Auto-Tune 7 and then click the Learn ScaleFrom MIDI button. Its color will change to blueand the Edit Scale display will automatically beset to a chromatic scale with all of the notes setto Remove.

Now simply play the melody to be correctedfrom your keyboard or sequencer. Tempo andrhythm don’t matter, so take your time andmake sure you don’t play any wrong notes.

As each note is played, the corresponding

Remove button in the Edit Scale Display isturned off (adding that note to the scale as aScale Note). Assume, for example, that yourmelody starts with D, B, and then A. Afterplaying those notes the display would look likethis:

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When you have played the entire melody, pressthe Learn Scale From MIDI button again to endthe process. The Edit Scale Display will nowcontain a scale containing only those notes thatappeared in your melody.

If you happen to have made an error duringnote entry, or want to try again for any otherreason, simply click the Learn Scale From MIDIbutton and start the process again.

NOTE: When you start the process bypressing the Learn Scale From MIDIbutton, all notes are first Removed

from the chromatic scale in preparation foradding just the notes you play. If you thenpress the Learn Scale From MIDI button againwithout playing any notes, you will be left with achromatic scale with all notes removed. In thatstate, Auto-Tune 7 will pass all notes with nocorrection applied. So don’t do that.

Target Notes Via MIDI

To use the Target Notes Via MIDI function,ensure that the desired MIDI source is routedto Auto-Tune 7, then click the Target Notes ViaMIDI button. Its color will change to blue andthe Edit Scale display will automatically be setto a chromatic scale with all of the notes setto Remove. While in this mode, Auto-Tune 7continuously monitors its MIDI input for Note

On messages. At any instant, the scale usedfor correction is defined by all MIDI notes thatare on. For example, if MIDI notes A, C and Eare held, Auto-Tune 7’s input will be retuned toan A, C or E, whichever is closest to the inputpitch.

The source of the MIDI input would typically bea MIDI keyboard or sequencer track, and couldconsist of chords, scales, or, most powerfully,the exact melody that the input should becorrected to.

IMPORTANT NOTE: If you will not

be defining Auto-Tune 7’s targetpitches via MIDI, be sure that the

Target Notes Via MIDI button is off. If it is lefton and no MIDI note data is present, Auto-Tune7 will pass through all audio unprocessed —giving the impression that Auto-Tune 7 is notfunctioning.

ANOTHER NOTE: We realize that thereis some possibility of confusionbetween the Target Notes Via

MIDI function and the Learn Scale From MIDIfunction described above. To clarify: Target

Notes Via MIDI is used to specify target pitchesin real time while pitch correction is occurring,while Learn Scale From MIDI is used inadvance of correction to create a custom scale.

Octave As Played/All Octaves

For both of the MIDI functions (Learn Scalefrom MIDI and Target Notes via MIDI), youcan choose whether you want incoming MIDInotes to affect all octaves or just the notes inthe specific octaves in which they are played.

Simply click the desired button. The button will

change color to blue to indicate your choice.

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Create Vibrato Functions

The controls in this section are designed to adda synthesized vibrato to the input.

While vibrato is typically perceived to bea variation solely in pitch, careful analysisshows that, depending on the voice orinstrument and the style of the individualperformer, variations in amplitude (loudness)and formant resonances are also involved.

Reflecting this, Auto-Tune 7 includes a plethoraof vibrato functions to allow the creation ofmuch more convincing vibratos. (And for theadventuresome, they can be abused to createsome “interesting” effects.)

The controls are:

Shape

Selects theshape of thevibrato.Thechoices are:

NO VIBRATO Pretty self-explanatory.

SINE WAVE Changes smoothly from minimumto maximum and back again. The mostcommon choice for a conventional vibrato.

SQUARE Jumps to maximum where it spends50% of the cycle and then jumps to minimumfor the remaining 50% of the cycle.

SAWTOOTH Gradually rises fromminimum to maximum and then dropsinstantaneously to minimum to start thecycle again.

Rate

Sets the rate of the vibrato over a rangeof 0.1 Hz to 10 Hz. The default Ratesetting is 5.5 Hz. Double-clicking orCommand (Mac)/Control (PC) clickingthe Rate knob will reset it to that value.

Variation

Sets the amount of random variationthat will be applied to the Rate andAmount parameters on a note to note

basis. Useful for humanizing the vibratoby adding random “errors.”

The range is from 0 (no variation) to100 (maximum variation). The default Variationsetting is 20. Double-clicking or Command(Mac)/Control (PC) clicking the Variation knobwill reset it to that value.

Onset Delay

Sets the amount of time (in msec) between thebeginning of a note and the beginning of theonset 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 itto that value.

Onset Rate

Sets the amount of time (in msec) between theend of the Onset Delay (set above) and the pointat which the vibrato reaches the full Amountsset in the Pitch, Amplitude and Formant Amountsettings. The range is from 0 to 1500ms (1.5seconds). 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 aboveparameters, assume an Onset Delay of1000ms and an Onset Rate of 750ms. In thatcase, each time a new note starts there will beno vibrato at all for the first second (1000ms)followed by a 3/4 second (750ms) period duringwhich the vibrato depths will increase from

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none to the full amounts set in the variousAmount parameters - for a total of 1.75 secondsfrom the beginning of the note to the time fullvibrato depth was reached.

Pitch AmountSets the amount that the pitch changes. Therange is from 0 (no change) to 100 (maximumchange). The default setting is 18. Command(Mac)/Control (PC) clicking the slider will reset itto that value.

Amplitude Amount

Sets the amount that the loudness changes.For the most realistic vibrato, the amount ofamplitude change should be substantially lessthan 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 sliderwill reset it to that value.

Formant Amount

Sets the amount that the resonant timbrechanges. The range is from 0 (no change) to100 (maximum change). The default setting is70. Command (Mac)/Control (PC) clicking theslider will reset it to that value.

NOTE: The vibrato is re-startedevery time Auto-Tune 7 matchesthe incoming pitch to a different

scale tone. Also, the vibrato is applied after theeffects of the Retune Speed control. Hence,

even with a slow retune value of 50, a squarewave vibrato will make instantaneous changesin pitch.

ANOTHER NOTE: As mentionedabove, although we perceive vibratoprimarily as a variation in pitch, in

most cases there is also matching (thoughmore subtle) variations in amplitude and timbre.Setting Auto-Tune 7’s Retune Speed to 0 willremove an existing vibrato’s pitch variation, butthe amplitude and timbral variation will remain.If you then apply a new vibrato using Auto-Tune

7’s Create Vibrato section, the results may beless than convincing. Auto-Tune 7’s Vibratosection is more often useful for adding a vibratoto an input that originally had none, or forvarious special effects.

YET ANOTHER NOTE: The CreateVibrato controls function completelyindependently of the Natural Vibrato

function. Changes in that function have nodirect effect on the depth of any vibratoresulting from the Create Vibrato controls.However, since both functions can operate

simultaneously, they can interact in ways thatmay or may not be useful, depending on yourintent. In most cases, you should probably useone or the other.

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The Pitch Change Meter

The Pitch Change Amount Indicator

The Pitch Change Indicator shows you howmuch the pitch is being changed, measured incents (100 cents = one semitone). For example,if the indicator bar has moved to the left to -50,it indicates that the input pitch is 50 cents toosharp and Auto-Tune 7 is lowering the pitch by50 cents to bring the input back to the desired

pitch.

Hold Button

Clicking and holding the word “Hold” whileAuto-Tune 7 is processing audio will freezeboth the Pitch Change Amount Indicator andthe blue Detected Pitch indication on the virtualkeyboard for as long as you hold down themouse button. This is useful for figuring outexactly what’s going on with a particular note in

a performance that would otherwise pass tooquickly to see.

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Graphical Mode ControlsThe Clock Controls

Sync to host transport (host dependent)

If your host provides valid time information,once you have tracked audio and createdcorrection objects (see below), Auto-Tune 7 willmaintain sync with the host, allowing you tomove around in your track at will.

NOTE: In some cases, thisfunctionality may require updatingto the latest version of your hostprogram.

However, if your host does not provide validtime information or does not strictly adhere toits plug-in format specification, sync problemscould ensue. In that case, see the SelectableClock Source section below.

Selectable Clock Source

For hosts that do not provide valid timeinformation, Auto-Tune 7’s clock display andselection functions let you use an internaltime reference, in which case you will have toalways start tracking and correction from thesame point in your file (see below for details).

Determining if your host providesvalid clock information

To determine if your host supplies valid clockinformation, on the Source selector, click theHost button to select the host-supplied clockand put your host into Play. If Auto-Tune 7 isreceiving valid timing information from your host,

the Clock Position display should constantlyupdate to reflect your current position in thetrack. Moving forward or backward in the trackshould result in corresponding display updates.If this is in fact happening, you have confirmedyour host’s timing info. Simply leave the Sourcesetting on Host and enjoy all of Auto-Tune 7’shost sync features.

On the other hand, if the display does notupdate or if it does not accurately reflect yourhost’s transport, Auto-Tune 7 may be gettingbad (or no) clock information. In that case, youwill need to use the Internal clock option.

Using Internal Clock Mode

To select Auto-Tune 7’s Internal clock, click theInternal button.

To track and correct pitch in Internal Clock mode:

1. Use your host transport to move to thebeginning of the section you want to correctand note that position, as you will need toreturn to that precise place for correction.

2. Click the Reset button to set the clockposition to 00:00:0.

3. Click the Track Pitch button, play the desiredaudio and then stop the transport.

4. Use the various tools described below tocreate your pitch correction curves.

5. Use your host transport to return to theprecise start location defined in step 1.

6. Click the Reset button to reset the clockposition to 00:00:0.

7. Play your audio. Auto-Tune 7 will apply yourcorrections.

NOTE: Some hosts that require InternalClock nonetheless have the capabilityto automatically reset the clock to

00:00:0. (Versions of Pro Tools 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 featuresare unavailable:

Sync to Host Transport (obviously)

Multiple simultaneous Graphical Modeinstances with windows not open

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NOTE: As the various host developersare constantly updating theirapplications’ functionality, it may be

necessary to update to the latest version ofyour host to use Host Clock Mode.

Time Display Mode

Use this control to display the timeline labels inthe Pitch Graph Display in either bars and beats(as defined by your host’s tempo), or absolutetime in hours, minutes, seconds, and fractionsof seconds.

NOTE: If you select Bars + Beats, youwill only see the timeline labels forregions where you have tracked pitchor pitch and time.

ANOTHER NOTE: If after tracking pitch

or pitch and time, you change thetime signature in your host anywhere

in the range of tracked audio, you will need tore-track the audio in order for the changed timesignature to be reflected by the Bars + Beatsdisplay. For that reason, you should, wheneverpossible, set your time signatures beforetracking pitch or pitch and time.

This control also sets the format for the CursorTime Position display.

Sample Rate Display

This display indicates the sample rate of thecurrent audio file as reported to Auto-Tune 7 bythe host application.

NOTE: Auto-Tune 7 is high samplerate compatible. If your hostapplication and audio hardware are

capable of dealing with up to 192 kHz files (96KHz files in Pro Tools HD Accel systems), Auto- Tune 7 will process them correctly. However,it’s important to remember that high samplerate files require substantially more DSPpower than 44.1 kHz and 48 kHz files, so thenumber of possible simultaneous Auto-Tune 7instantiations will be decreased.

ANOTHER NOTE: If you are using

external A/D converters withindependently selectable samplerates, it can be possible to establish a mismatchbetween the actual conversion sample rate andwhat the host application thinks is the samplerate. If this happens, Auto-Tune 7 will appearto be correcting pitch to the “wrong” key. Ifthis appears to be happening, check to be surethat your converter sample rate and your hostapplication sample rate (as displayed by Auto- Tune 7) match.

Pitch Tracking and Correction Objects

Track Pitch

The Track Pitch function is usedto detect the pitch of the audio

to be processed so that it canbe displayed on the Pitch GraphDisplay.

NOTE: If you will only be correctingthe pitch of your vocal and will not beediting the time, you need only use

the Track Pitch function as described below.However, if you will also be editing the time,you should instead use the Track Pitch + Timefunction as described in the Graphical ModeTime Controls section later in this chapter.

IMPORTANT NOTE: You should alwaysstart tracking pitch in an area ofsilence before the audio you want

to correct, or from the very start of the track.Starting tracking in the middle of audio willtypically result in an artifact.

To track pitch, locate the desired audio andpress the Track Pitch button. (If you are usingAuto-Tune 7’s Internal clock (see below) youmay (depending on your host) need to clickthe Reset button to reset the clock position to00:00:0.) The Track Pitch button will flash blueand red to indicate that Auto-Tune is in TrackPitch mode.

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Next, start playback of the audio. A graphicrepresentation of the pitch and its amplitudeenvelope will be drawn to the display as theaudio plays. When all of the audio you wantto correct has played, stop playback. You will

exit Track Pitch mode and, if you have Auto-Scroll enabled (as described in the Pitch GraphDisplay section below), the Pitch Graph willautomatically scale in such a way as to includeall of the tracked audio. If you have not enabledAuto-Scroll, no scaling will occur.

NOTE: If you are using Auto-Tune’sInternal Clock, after stoppingplayback in your host, you must click

the clock Reset button to stop Auto-Tune’stransport and return you to the beginning ofyour tracked region.

ANOTHER NOTE: If the length of theaudio to be processed exceeds thecurrently set size of the buffer as set in

the Options dialog (or your start point lies beyondthe current buffer area), tracking will stop whenthe buffer is full and a warning message willappear notifying you of that fact. If this happens,increase the buffer size as necessary.

YET ANOTHER NOTE: Be cautiousabout changing the Tracking value (inthe Options dialog) after performing

the Track Pitch function. Auto-Tune 7 uses theTracking setting during both the Track Pitchfunction and while correcting pitch. Changingthe Tracking setting after Tracking Pitch, butbefore correcting, may result in unpredictablepitch modifications or strange (though possiblyinteresting) artifacts.

Correct Pitch

In versions of Auto-Tune prior to Auto-Tune 5,after creating correction objects, you wouldhave to press the Correct Pitch button in orderto put Auto-Tune into correction mode. As aresult, the Auto-Tune window always had to beopen in order to use Graphical Mode. Well, nolonger. Now, simply create your corrections andplay. Essentially, anytime you are not trackingpitch, Auto-Tune 7 will be correcting. It is thisbasic change that allows you to use multipleinstances of Auto-Tune 7 simultaneously inGraphical Mode without having to have theirwindows visible.

NOTE: The ability to use multipleinstances of Auto-Tune 7simultaneously in Graphical Mode

without having to have their windows visible isonly available for hosts that provide valid time

information. See the Clock Source sectionabove for details.

Make Curve

The Make Curve button is enabled wheneverthere is any red input pitch contour data presentin the Pitch Graph (whether it is displayed in thecurrent Pitch Graph view or not). Pressing theMake Curve button causes blue target pitchcontour objects (curves for short) to be createdfrom the input pitch contour data. These curveobjects can then be dragged and stretchedfor very precise pitch correction. This is one

of the central techniques of Auto-Tune 7’sGraphical Mode and is described in more detailin Chapter 4.

Additionally, green output pitch curves arecreated that represent the exact pitches outputat the currently selected Retune Speed. If youselect the correction curve, move it, and adjustthe Retune Speed, you will see the greenoutput curve change in real time to reflect thechanging Retune Speed.

NOTE: If a range of time has been

selected by using the I-BeamTool (see below), the Make Curvebutton works only in the selected time range.Otherwise it works on all red pitch data.

ANOTHER NOTE: Whenever youcreate Correction curves with theMake Curve function, those curves

will initially be assigned the default CurvesRetune Speed set in the Options dialog. If thatdefault value is “0” (as it may well be), thegreen output curve will be positioned exactlyon top of the blue correction curve, effectivelyhiding it. Even though you can’t see it, it maystill be selected and edited in all the waysdescribed in the Editing Tools section.

YET ANOTHER NOTE: Remember thatwhile all new curves are created withthe default Curves Retune Speed,

you can then select individual curves (or cutup single curves to create multiple curves)

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and assigned a custom Retune Speed to eachone. This is an incredibly powerful capability forinsuring that your corrections are as natural andseamless as possible.

Import AutoThe Import Auto button is enabled wheneverthere is any red input pitch contour datapresent in the Pitch Graph (whether it isdisplayed in the current Pitch Graph view ornot).

Pressing the Import Auto button causes bluetarget pitch contour objects (curves for short)to be created from the red input pitch contourdata. The blue curve(s) created by the ImportAuto function is a precise representation ofthe pitch correction that would result from

processing the tracked input pitch through thecurrent settings of Auto-Tune 7’s AutomaticMode. In addition to the Key and Scaleselections, the Retune Speed, and any ScaleDetune, it reflects the Automatic Mode’s EditScale settings, Targeting Ignores Vibrato mode(if selected), and Humanize, Natural Vibrato andCreate Vibrato settings.

As described above for Make Curve, greenoutput pitch curves are also created thatrepresent the exact pitches output at thecurrently selected Retune Speed.

NOTE: If a range of time has beenselected by using the I-Beam Tool,the Import Auto button works only in

the selected time range. Otherwise it works onall red pitch data.

ANOTHER NOTE: The curves createdby Import Auto will initially beassigned the same default Curves

Retune Speed as those created with MakeCurve. In fact, pretty much everything we saidabout the Make Curve function above is equallyapplicable to the Import Auto function.

Once you have used the Import Auto functionto create a blue target pitch curve, setting theGraphical Mode Retune Speed to 0 (or havingset the default Curves Retune Speed to 0) willresult in exactly the same output as you wouldhave gotten by processing the audio throughAutomatic Mode. Alternatively, you can adjust

the Retune Speed for all or selected correctioncurve segments, or further edit the blue curveusing any of the Graphical Mode tools to getprecisely the effect you want.

If you aren’t satisfied with the results ofthe Import Auto function, simply switch toAutomatic Mode, modify any of the settings asdesired, and then return to Graphical Mode andclick Import Auto again.

NOTE: In addition to its use as aGraphical Mode correction tool,the Import Auto function can also

be used to provide an informative visualrepresentation of the results of Automatic Modesettings. If there are times when you’d preferto use Automatic Mode, but can’t quite zero in

on the ideal settings, examining the results ofvarious settings with the Import Auto functioncan give you a visual picture of exactly what’sgoing on. This will often make it readily apparentwhich Automatic Mode settings need to bechanged to give your desired results.

STILL ANOTHER NOTE: One potentiallyconfusing aspect of the Import Autofunction is the relationship between

the Automatic Mode Retune Speed setting andthe Graphical Mode Retune Speed setting. Tosummarize:

The Automatic Mode Retune Speed controlshow the input audio would be processed inAutomatic Mode. Changing this setting willchange the shape of the blue curve that will becreated by the Import Auto function.

The Graphical Mode Retune Speed controlshow quickly the pitch of the input audio will bechanged to that of the blue target pitch curve.As mentioned above, to precisely duplicate theresults of Automatic Mode, set the GraphicalMode Retune Speed to 0.

Make Notes

The Make Notes function provides an entirelynew range of ways to use Auto-Tune 7.

For pitch correction, it combines the ease ofAutomatic Mode with the control of GraphicalMode to allow you to get optimum results witha minimum of tedious tweaking.

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Combined with Auto-Tune 7’s formantcorrection and throat modeling capabilities, itprovides an easy, intuitive method of modifyingthe pitch of individual notes or phrases.

And when programming Cher or T-Pain stylevocal effects, it gives you absolute control overexactly which notes will be quantized to.

Here’s how it works:

The Make Notes button is enabled wheneverthere is any red input pitch contour data presentin the Pitch Graph (whether it is displayed inthe current Pitch Graph view or not). Pressingthe Make Notes button causes Auto-Tune 7to analyze the input pitch and create TargetNote objects (Notes for short), each of which iscentered on a horizontal Pitch Graph line. These

Notes represent the pitches that Auto-Tune 7sees as the performer’s target notes.

IMPORTANT NOTE: In selecting targetpitches, the Make Notes functionconsiders only the notes in the

currently selected Key and Scale. If the melodyincludes many accidentals, it may be moreconvenient to select the chromatic scale..

Since it is likely that the first thing you willwant to do after Making Notes is to adjust theNumber of Note Objects setting (as describedin the next section), when you click the MakeNotes button, the entire range of tracked audiowill be selected, enabling the Number of NoteObjects control (this is equivalent to havingselected the I-Beam and double-clicked in thepitch graph — except you don’t actually have todo that).

NOTE: If prior to clicking the MakeNotes button, a range of time hasbeen already selected by using the

I-Beam Tool, the Make Notes function will applyonly in the selected time range.

Notes also display the audio’s envelope contourover the Note’s duration and a green outputpitch curve based on the currently selectedRetune Speed.

NOTE: The Retune Speed behaviorfor Notes is a bit different from thatof the other correction objects. Unlike

the other correction objects, Notes do notprovide a blue correction curve. The implied

correction curve is the horizontal Pitch Graphline upon which the Note is centered (unlessthe Note has been moved off of that line - seethe Snap To Note function for details). Settingthe Retune Speed to “0” will cause the outputto be locked to that note, suppressing any ofthe original performance’s expressive gestures.As you select slower Retune Speeds, theoutput progressively reflects the shape andposition of the original tracked input pitch.

This is much easier to understand visually thanto describe. Simply zoom in on a Note and

adjust its Retune Speed over its entire range.You will see the green output curve change inreal time and all will be clear.

ANOTHER NOTE: Remember thatwhile all new Notes are created withthe default Notes Retune Speed

set in the Options dialog, you can then selectindividual Notes (or cut up single Notes tocreate multiple Notes) and assigned a customRetune Speed to each one.

Once created, Note objects can be dragged upor down to change their pitch, can have theirbeginning and/or end positions moved forwardor backward, or can be cut into multiple shorterNotes for individual processing. Check out thetutorial in Chapter 4 for an example of workingwith Notes.

Number ofNote Objects

WhenAuto-Tune7 analyzesthe inputpitch for the

purpose of creating Note objects, it must makedecisions about what constitutes notes andwhat constitutes transitions between notes aswell as differentiating between a single notewith wide vibrato and a series of separatenotes of alternating pitch. Often, the “right”choice depends on the style and technique of

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a specific performance. The Number of NoteObjects control lets you give Auto-Tune 7 someguidance in making these decisions.

NOTE: This function is only available

when some tracked audio has beenselected with the I-Beam tool. If noaudio is selected, the knob will not becomeactive. Once some audio is selected, the knobwill become active. To set the Number of NoteObjects value for all tracked audio, double-clickthe I-Beam tool in the Pitch or Envelope Displayto highlight the range of all tracked audio.

ANOTHER NOTE: As mentionedabove, whenever the Make Notesfunction is used without previously

highlighting a time range with the I-Beam(i.e., is used for the entire track), Auto-Tune 7will automatically highlight the entire range oftracked audio, allowing you to immediatelyadjust the Number of Note Objects settingwithout having to manually select the I-Beam tohighlight the audio range.

AN IMPORTANT NOTE: Adjusting theNumber of Note Objects in a rangewhere you have already performed

some pitch correction will regenerate newNote objects and replace any correction objectsthat were previously in that range. As a result,adjusting the Number of Note Objects valueshould be the first action you take beforeproceeding with any pitch correction or Note orCurve-based pitch shifting. If not, frustration isalmost guaranteed to ensue.

When Number of Note Objects is set to the“Less” end of its range:

• Small variations in pitch are treated as asingle Note.

• Large cyclical variations in pitch are seen asvibrato and treated as a single Note.

•

A gradual pitch change is seen as a transitionbetween notes and no Note objects arecreated for it.

When Number of Note Objects is set to the“More” end of its range:

• Small variations in pitch are treated asseparate Notes.

• Large cyclical variations in pitch are seenas individual notes that alternate betweenthe central pitch and the upper and loweradjacent pitches and separate Notes arecreated for each pitch.

• A gradual pitch change is seen as a glissandoand multiple successive Notes are createdfor it.

As you might imagine, when Number of NoteObjects is set to intermediate values, theresults fall somewhere between these twoextremes.

A TIP: As good as Auto-Tune 7’sanalysis capabilities are, there maynonetheless be occasional situations

in which its creation of Notes is not exactlywhat you want. In those cases, you can use theediting tools described later in this chapter toquickly and easily modify any errant Notes.

Again, what may seem slightly bewilderingin verbal description, is immediately obviouswhen you see it in action. So track some pitchand experiment with the Number of NoteObjects control. You’ll see.

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Retune Speed

The Retune Speedsetting is usedonly during thepitch correction

process. It’s similarin function but

separate from the Retune Speed control inAutomatic Mode.

In Graphical Mode, the target pitch is not thescale tone nearest to the input, but rather theblue target pitch object (for Curves and Lines)or the exact note represented by a Note object.

The Retune Speed control allows you tospecify how quickly Auto-Tune 7 will changethe pitch of the input to that of the target pitch

curve or Note Object pitch. A value of zero willcause the output pitch to precisely track thetarget pitch of a curve line or be locked to thepitch of a Note object. Slower values will havethe effect of “smoothing out” the target pitchcurve. As ever, you should let your ears be yourguide to selecting the proper value for eachnote in a particular performance.

Since each correction object (Curve, Line orNote) can have its own independent RetuneSpeed, the Retune Speed control is only activewhen at least one correction object is selected.

Whenever you select a single correction object,the Retune Speed Control will become activeand its data display will show the object’scurrent Retune Speed.

If you select multiple objects with differentRetune Speeds, the Retune Speed controlwill move to a value that is an average of theRetune Speeds of all of the selected objects.However, the Retune Speeds of those objectswill not be modified until you actually move theRetune Speed control, at which time all of theobjects’ Retune Speeds will snap to the new

value and continue to follow any changes youmake to the Retune Speed control.

VERY IMPORTANT NOTE: Althoughit’s been mentioned before (and willprobably be mentioned again), we

can’t stress too strongly the extent to which theability to assign independent Retune Speeds to

individual correction objects streamlines Auto- Tune 7’s Graphical Mode workflow and makesit easier than ever to get natural soundingcorrection results.

In the past, your choice was typically pickinga Retune Speed that was a “good enough”compromise for an entire track, or painstakinglyautomating the Retune Speed from phrase tophrase or even note to note (with the attendantcost in time and effort). With independentobject Retune Speeds, getting exactly thedesired effect for every note of a performanceis a quick, simple, and intuitive process.

Adjust Vibrato

The purpose ofthis function is

to let you quicklyand easily change(either increasing or

decreasing) the depth of an existing vibrato,while preserving the original shape andcharacter of the vibrato.

NOTE: Since each correction object(Curve, Line or Note) can have itsown independent Vibrato Depth

adjustment, the Adjust Vibrato control is onlyactive when at least one correction object isselected.

To use this function, select one or morecorrection objects whose vibrato you’d liketo adjust. Set the desired amount of change(either more or less) using the Adjust Vibratoknob. The green output pitch curve will changeto reflect your setting.

NOTE: An correction object’s greenoutput pitch curve is defined both bythe object’s Retune Speed and the

setting of the Adjust Vibrato function. A varietyof results can be had by experimenting withiterative adjustments to both functions.

ANOTHER NOTE: This function usesthe same Stochastic Optimal LinearEstimation Theory as the Auto

Mode’s Targeting Ignores Vibrato functionto attempt to differentiate between vibratoand intended pitch changes. Therefore, youcan typically select a portion of your audio

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containing both vibrato and intended pitchchange and the Adjust Vibrato function willscale the vibrato while leaving the intendedpitch changes alone. But again, dependingon the actual performance, sometimes

this will work better than others. If AdjustVibrato seems to be making changes toparts of the audio you’d like to leave alone,simply Undo the adjustment and use theScissors tool (described below) to cut thecorrection object into two or more objectsand select only the objects you wish to edit.

The default Adjust Vibrato setting is 0.Command (Mac)/Control (PC) clicking the sliderwill reset it to that value.

Throat Length

AdjustTo give youmaximum controlover the timbreof your vocal

tracks, the Throat Length Adjust control letsyou independently set the throat length ofeach individual correction object (Curve, Line orNote). While the overall Throat Length for yourtrack is still set by the master Throat Lengthcontrol in the Common Controls section, eachcorrection object can have its own independentadjustment (either longer or shorter) as desired.

NOTE: Since each correction objectcan have its own independent ThroatLength adjustment, the Throat Length

Adjust control is only active when FormantCorrection is enabled and at least one correctionobject is selected.

The default Throat Length Adjust setting is 0(in which case the object(s) will have the ThroatLength as set by the master Throat Lengthcontrol). Command (Mac)/Control (PC) clickingthe slider will reset it to that value.

Graphical Mode MIDI FunctionsNew in Auto-Tune 7 is the ability to record aMIDI input in Graphical Mode and use therecorded MIDI notes to create Note Correction

Objects. This makes it extremely quick andeasy to set the target notes of a known melodyline or create harmony parts from the originalvocal (although, if you’re often generatingharmony parts, we highly recommend ourHarmony Engine Evo Vocal Modeling HarmonyGenerator as the most efficient solution).

Depending on your intent, the MIDI data couldcome from a prerecorded MIDI sequencertrack or in real time from a MIDI controller(typically a keyboard) played during the pitch orpitch + time tracking process.

Recording MIDI InformationThe only thing you need to do to record MIDIdata is to route your MIDI source to Auto-Tune 7.

NOTE: Although virtually all majorhosts these days allow the routing ofMIDI to plug-ins, there may still be a

few hosts lurking out there that do not supportit. If you happen to be using one of those, thisMIDI function will not be available.

Once a MIDI source is routed to Auto-Tune 7,any MIDI Note On and Note Off events from

that source will automatically be recordedwhenever you track pitch or pitch + time.

ANOTHER NOTE: Since only one NoteCorrection Object can exist at anytime point on the Pitch Graph, the

incoming MIDI data is recorded with “last noteplayed” priority. What this means is that if twoMIDI notes overlap at all, the later note’s NoteOn will also generate a Note Off for the earliernote.

In practice, if your MIDI file is a singlemelody line that has been carefully played or

programmed such that no two notes overlap,everything will be as you expect. If notesoverlap, you may or may not get exactly theresult you want. If not, simply edit the MIDIdata (or play more precisely). If your MIDI fileis polyphonic, you’re likely to get pretty wackyresults. If wacky isn’t what you’re looking for,it’s probably better not to do that.

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Show MIDI

When the ShowMIDI button isblue, any MIDI datathat has previously

been recorded willbe displayed as red

boxes on the Pitch Graph. Clicking the ShowMIDI button will toggle its state.

NOTE: The red MIDI notes display isfor reference only. Unless you chooseto make Note Objects from the MIDI

notes as described below, the MIDI notes willhave no effect on Auto-Tune 7’s pitch correction.

Make Notes From MIDI

Clicking the Make Notes From MIDI button will

convert any currently recorded MIDI notes intoNote Correction Objects.

NOTE: If a range of time has beenselected using the I-Beam Tool, theMake Notes From MIDI button works

only in the selected time range. Otherwise itworks on all red MIDI data.

Since the assumption is that you will createyour MIDI track with your desired timing, therecorded MIDI notes are not affected by thetime manipulation tools. As a result, if you willbe performing time correction on your audio

in a range where you will be using the MakeNotes From MIDI function, you should use thefollowing workflow:

1. Create a MIDI track with the desired timingand route it to Auto-Tune 7.

2. Track Pitch + Time (which also records theMIDI data).

3. If necessary, click the Show MIDI button todisplay the recorded MIDI notes.

4. Use the time tools described later in thischapter to adjust the timing of your audio

to match the timing of the displayed MIDInotes.

5. Click the Make Notes From MIDI button toconvert the MIDI notes in Note CorrectionObjects that will now be in perfect syncwith your audio.

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The Pitch and Envelope Graph Displays

The Pitch Graph Display

The Pitch Graph displays the pitch contourof the audio to be processed as well as thepitch correction objects that you create and aplot of the exact output pitch based on eachobject’s current Retune Speed. Additionally, theamplitude envelope of the displayed audio isdisplayed as a background element of the graph.

On the display, the vertical axis represents pitch(with higher notes towards the top) while thehorizontal axis represents time.

The horizontal grid lines or lanes (depending onthe current display mode) represent scale pitches.

The grid lines provide a reference to guide youin drawing and editing correction objects. Thepositions of the graph lines correspond to thepitches of the notes in the currently selectedscale. Changing the Scale Detune setting will

result in the scale pitch graph lines moving upor down relative to the tracked pitch.

You can resize the Graphical Mode window totake advantage of those nice big high-resolutionmonitors that have become so affordable. Inmost hosts, Auto-Tune 7’s Graphical Modewindow can be resized in real-time, limited onlyby the size of your monitor.

In hosts that don’t support real-time resizing,the window size can be set in the OptionsDialog as described above. In VST hosts,resizing is limited to a maximum size of 1600 x1200 pixels — still not too shabby.

Show Lanes

The Pitch Graph Display’s defaultmode displays horizontal lines thatrepresent each pitch. This is probablythe most useful mode with Curve

and Line correction objects.

However, with the introduction of Note objects,we added an additional Lanes display modethat, as the name implies, displays horizontallanes that extend from the left-hand “keys”and are tinted to differentiate the sharps and/ or flats. Note objects snap neatly into theselanes. They are particularly useful when you

will be using Note objects to shift the pitch ofindividual notes.

NOTE: The Show Lanes option is onlyavailable when the Major, Minor orChromatic scales are selected. In all

other cases, the Show Lanes button will bedisabled.

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Click the Show Lanes button to toggle its state.The button will turn blue when Show Lanesmode is on (but of course when Show Lanesmode is on, the Pitch Graph is full of Lanes, soit’s pretty hard to get confused about whichmode you’re in).

NOTE: You can switch back and forth

between display modes at any time.Switching modes has no effect on

any previous correction objects. So you could,for example, use the default graph mode forcreating and tweaking some curves in onesection of your track, and then switch to Lanesmode to create and edit some Notes objects ina different section of the track. Your previouslycreated and edited curves would remainunaffected.

Pitch Graph Scale

The Pitch Graph Scale

Buttons control thehorizontal (time) and vertical (pitch)scaling of the graph. Clicking theappropriate “+” button causes the viewto zoom in, while clicking a “-” buttoncauses it to zoom out.

NOTE: The horizontal scale buttonsalways control the Pitch Graph. Theyalso control the Envelope Graph

when it is set to “Tie” (see below).

Object PitchDisplay

The Object PitchDisplay will always

show the exact target pitch of the correctionobject at the current cursor position.

For Lines and Curves, this will correspond to thepitch indicated by the blue target pitch curve.

For Notes, this will correspond either to thepitch of the graph line or lane on which the

Note is situated, or, if Snap to Note has beenturned off and the Note has been offset fromthe graph line or lane, it will display the note andthe amount of offset (in cents).

Output PitchDisplay

The OutputPitch Display will

always show the exact output pitch (the greencurve) at the current cursor position.

Detected PitchDisplay

The DetectedPitch Display will

always show the exact pitch of the trackedinput data (the red curve) at the current cursorposition.

Cursor TimePosition Display

The CursorTime PositionDisplay (as you’ve

probably already guessed) will show the timeat the current cursor position. The format of

this display (either absolute time or bars andbeats) will be the same as that set by the TimeDisplay Format selector described in the ClockControls section.

The Envelope Graph Display

The Envelope Graph displays the amplitude(loudness) envelope of the sound whose pitchis shown in the Pitch Graph. Additionally, itscentral horizontal axis will display red in anyrange in which time has been tracked.

When Time Control is enabled, the EnvelopeGraph will display two envelopes, one above theother; the original envelope on the bottom andthe (potentially) time-shifted envelope on thetop. See the Time Controls section for details.

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All/Tie Buttons

The Envelope Graph’shorizontal (time) scale iscontrolled by the “All” and“Tie” buttons.

Clicking the All button causes the envelopegraph to display all of the currently trackedaudio. This is useful for quickly locating andselecting various portions of audio spread overthe duration of a song.

Clicking the Tie button slaves the position ofthe Envelope Graph to that of the Pitch Graph.When this setting is selected, the horizontalscale of the Envelope Graph is controlled by thePitch Graph horizontal scale buttons.

Auto Scroll

When Auto-Scroll is on (the button isblue), Auto-Tune 7 will automaticallyscroll the Pitch Graph Display toensure that the current play positionis always visible in the display.

When Auto-Scroll is off (the button is palegray), the display will not scroll to follow theplay position.

NOTE: In addition to the above, ifAuto-Scroll is off while tracking pitchor pitch and time, when the transport

is stopped, Auto-Tune 7 will not automaticallyscale the display to encompass all of thetracked audio, as it normally would.

This is useful when you have zoomed in toa problematic bit of audio and want to trackit a number of times with different Trackingsettings and observe the effects of the differentsettings. If Auto-Scroll were on, Auto-Tune 7would rescale the display after each trackingpass, annoyingly requiring you to zoom back into the bit you were interested in each time. WithAuto-Scroll (and therefore automatic rescaling)

off, that wouldn’t be necessary.

Editing ToolsEditing Modality

Unlike versions of Auto-Tune prior to Auto-Tune5, with Auto-Tune 7, you are free to use any

of the graphical editing functions while eithertracking or correcting pitch.

You can, for example:

• Draw new correction objects while you areeither tracking or correcting pitch.

• Edit existing correction objects whilecorrecting pitch — even when the positionindicator is passing over the object you’reediting (in which case the edit takes effect assoon as you release your mouse button).

• Click Make Curve, Import Auto or Make

Notes while tracking or correcting pitch. (Ifyou do this while tracking pitch, the resultingobjects will apply only to the audio that hasalready been tracked at the instant you clickthe respective button).

• Cut, copy or paste correction objects whiletracking or correcting pitch.

Now, just because you can do something,doesn’t necessarily mean you would want to(or that it even makes sense to), but with thisfunctionality, you have a lot of flexibility in devel-oping whatever workflow works best for you.

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The Graphical Tools

The graphical tools are used in conjunction withthe edit buttons to create or modify the desiredcorrection objects.

NOTE: The two tools dedicated totime correction and manipulation willbe described in the Time Controlssection later in this chapter.

ANOTHER NOTE: In addition to clickingon the various tools, if your hostpasses key presses to plug-ins, you

can assign selected tools to QWERTY numberkeys using the Key Binding function in theOptions dialog.

The Line Tool

The Line Tool is used to drawmulti-segment straight lines on thePitch Graph. Start the process by

selecting the Line Tool and clicking anywhereon the Pitch Graph to set an anchor point. Asyou move the cursor, a line will extend from theanchor point to the cursor position. Click againto set a second anchor point and define the

first segment of your pitch contour. Continueclicking and defining lines until your contour iscomplete. End the process by double-clickingon the final anchor point or pressing esc onyour keyboard.

Pressing Option/Alt on your keyboard duringline entry will force the current segment to beperfectly horizontal.

NOTE: Due to issues in Pro Toolsfor PC that are beyond our control,using the Alt key to constrain a

line segment to horizontal does not functionin those versions. However, you can get anequivalent effect by using the Snap To Notefunction (see below) to constrain a line segmentto a semitone, and then using the Arrow Toolto move that horizontal line segment to anyintermediate pitch.

If you have enabled Snap To Note mode (seebelow), each segment will automatically snapto the nearest semitone. Pressing the Shiftkey on your keyboard while drawing a linetemporarily toggles the state of the Snap ToLine button. I.e., if Snap To Note mode is notenabled, pressing Shift will enable it for as longas Shift is pressed. Conversely, if Snap To Notemode is enabled, pressing Shift will disable itfor as long as Shift is pressed.

If you move the cursor outside the Pitch Graphduring point entry, the graph will automaticallyscroll.

To delete the last anchor point entered, pressdelete on your keyboard (you can do thisrepeatedly back to the very first anchor point).

Only one pitch correction object (Line, Curve,or Note) can exist at any time point on the PitchGraph. When you complete the entry of a lineobject, any object(s) that previously existed atthe same time will be deleted.

NOTE: If, while the Line Tool isselected, you move the cursor ontothe Envelope Graph Display, it will

temporarily change to the Magnifying Glass Tool,allowing you to quickly and easily move to anyother point in your audio and then resume editingwithout needing to manually change tools.

The Curve Tool

The Curve Tool is used to drawarbitrary 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 yourmouse button and move the cursor to draw thedesired pitch contour curve. End the process byreleasing your mouse button.

Unlike the Line Tool, the Pitch Graph will notscroll if you attempt to move the Curve Toolcursor outside the current display area.

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The Snap To Note mode does not affect theCurve Tool.

Only one pitch contour object (Line, Curve,or Note) can exist at any time point on the

Pitch Graph. When you complete the entry ofa Curve object, any object(s) that previouslyexisted at the same time will be deleted.

NOTE: If, while the Curve Tool isselected, you move the cursor ontothe Envelope Graph Display, it will

temporarily change to the Magnifying Glass Tool,allowing you to quickly and easily move to anyother point in your audio and then resume editingwithout needing to manually change tools.

The Note Tool

The Note Tool is used to draw new

Notes (duh!). Simply click and dragnear the desired horizontal graph

line or lane (depending on the current displaymode) to create a new Note.

Only one pitch contour object (Line, Curve, orNote) can exist at any time point on the PitchGraph. When you complete the entry of a newNote, any object(s) that previously existed atthe same time will be deleted.

NOTE: New Notes will always bedrawn precisely on semitone or scale

note graph lines or lanes (dependingon the display mode), regardless of the settingof the Snap To Note button. If you wish tocreate 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 anduse either the Arrow tool or the Nudge buttonsto move the Note to the desired pitch.

ANOTHER NOTE: If, while the NoteTool is selected, you move the cursoronto the Envelope Graph Display, it

will temporarily change to the Magnifying GlassTool, allowing you to quickly and easily move toany other point in your audio and then resumeediting without needing to manually changetools (is this beginning to sound familiar?).

The Arrow Tool

The Arrow Tool is used to selectand drag or edit existing correctionobjects (Lines, Curves, or Notes)

as well as to add or delete anchor points to

existing lines.

The Arrow Tool behaves as follows:

MANIPULATING LINES AND CURVES: Clickingon the background of the Pitch Graph anddragging horizontally selects objects’ anchorpoints. Shift-clicking extends the selection.

Dragging beyond the Pitch Graph boundariesautomatically scrolls the graph.

Moving the Arrow Tool over a Line or Curvecauses the cursor to change to the object

cursor (a horizontal bar). Clicking on anunselected curve or line segment with theobject cursor causes the curve or segmentand its anchor points to become selected andallows that object to be dragged. Clicking on analready selected curve or line segment with theobject cursor allows that object, along with allother selected objects, to be dragged.

By default, when you click to drag an object,you will be restricted to vertical movementsonly (the cursor will indicate this state). Theeffect of this is to allow you to modify the pitchcontour while preserving the object’s locationin time. This is particularly handy after using theMake Curve or Import Auto buttons.

In some host applications, holding down theOption/Alt key and then clicking to drag willallow movement in both vertical and horizontaldirections.

Moving the Arrow Tool over a Line or Curveanchor point (whether that point is currentlyselected or not) causes the cursor to changeinto the anchor point cursor (four diagonalarrows). Clicking on an anchor point with the

anchor point cursor deselects all other objectsand anchor points and selects that anchor pointso that it can be dragged. Dragging an anchorpoint stretches or compresses the correctionobject relative to the nearest unselected anchorpoint(s).

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The extent to which you can drag selectedobjects is constrained by the position ofneighboring unselected objects.

Clicking on the background of the Pitch Graph

deselects all selected objects.ADDING AND DELETING ANCHOR POINTS: Moving the Arrow Tool over an existing linesegment and double-clicking will add anintermediate anchor point at that point. Thecursor will change to the anchor point cursorand the new anchor point can then be dragged.

Moving the Arrow Tool over an existing anchorpoint (except for end points) and double-clickingwill remove that anchor point and cause astraight line to be drawn between the nowadjacent anchor points.

The Arrow Tool will not add or delete anchorpoints on curves, only on lines created with theLine Tool.

MANIPULATING NOTE OBJECTS: The Arrowtool is used to modify the pitch of a Note object(i.e., move it up or down on the Pitch Graph) orto modify the start and/or end points of a Note(i.e., adjust those points forward or backwardin time).

When you move the Arrow tool over a Noteobject, the cursor will change to one of two

states, depending on where over the Note it ispositioned.

When the cursor is over the central area of anote, the pitch shift cursor (vertical up and downarrows) will be displayed. Clicking on the Notewhen the pitch shift cursor is displayed will allowyou to drag the note up or down to a new pitch.If the Snap To Note function is active, the Note’smovement will be constrained to the grid linesor lanes of the Pitch Graph. If the Snap To Notefunction is not active, you can move the note toany arbitrary pitch.

A TIP: When moving a Note withSnap To Note off, you can refer to theObject Pitch Display to determine theNote’s exact pitch at any position.

When the cursor is near either end of a note,the length adjustment cursor (horizontal leftand right arrows) will be displayed. Clicking

on either end of a Note when the lengthadjustment cursor is displayed will allow youto drag the selected end point left or rightto a new position, effectively lengthening orshortening the Note.

Unlike Lines and Curves, whose movement isconstrained by adjacent objects, extending aNote’s start or end point will replace any othercorrection objects that currently exist in theextended time range.

NOTE: When extending a Note,as long as you are dragging theend point (i.e., as long as you hold

your mouse button down), moving the endpoint over an existing object will cause it tobe overwritten, but then moving it back to itsoriginal position will cause the overwrittenobject to reappear. However, once yourelease the mouse button and finalize themove, the overwritten object is gone forever.Subsequently dragging the Note’s end pointback to its original position will not cause theoverwritten object to reappear.

ANOTHER NOTE: When extendinga Note, any new pitch material thatbecomes part of the lengthened

Note will inherit the original Note’s RetuneSpeed (as displayed by its green output curve).As a result, it may (or may not) be necessary toadjust the Retune Speed to achieve the bestresult with the additional material.

AN IMPORTANT NOTE: When wetalk about moving a Note Object’send points in time, it’s important to

understand that what we’re doing is adjustingthe time range during which that Note definesthe target correction pitch of the audio. We arenot shifting the time of the audio itself. To shiftthe time of the audio, use the Time Controltools described later in this chapter.

A TIP: If you are working on aperformance with such wide vibratothat even with Number of Note

Objects set to its lowest setting you still endup with a series of notes rapidly alternatingbetween the desired pitch and the upper andlower adjacent pitches, instead of manuallymoving each upper and lower note back to the

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desired central pitch, just grab the appropriateend of the first or last central pitch Note anddrag it over all of the other Notes. You’ll endup with a single Note on the desired frequencywhose vibrato you can tame with a single

adjustment of the Note’s Retune Speed.

While all of the above may seem a bit mind-boggling on first reading, in practice it’s quiteintuitive. Spend a minute or two playing withthe Arrow Tool and all will become clear.

NOTE: If, while the Arrow Tool isselected, you move the cursor ontothe Envelope Graph Display, it will

temporarily change to the Magnifying GlassTool, yadda, yadda, yadda…

Scissors Tool

Moving the Scissors Tool over anexisting Curve, Line, or Note objectand clicking will break the object

in two at the point clicked. Both of the newobjects will be unselected.

For Curves and Lines, although it will look likethere is only one anchor point created at thebreak point, there are actually two (one foreach of the two newly created line or curvesegments). Simply use the Arrow Tool to movethe top anchor point to reveal the other one.

NOTE: Scissors Tool, Envelope GraphDisplay, temporarily Magnifying GlassTool. Yup.

Magnifying Glass

In the Pitch Graph, use theMagnifying Glass to click and draga box around an area of interest.

Dragging off the Pitch Graph automaticallyscrolls the graph. When you release themouse button, the scale and position of thePitch Graph will be changed to display the areaenclosed by the box.

When the Magnifying Glass cursor is displayingthe default “+”, clicking the Magnifying Glassanywhere in the pitch display will increase thedisplay’s horizontal and vertical zoom factorsone step (if possible).

Pressing Option(Mac)/Alt(PC) will cause thecursor to change to “-”. In this state, clicking

anywhere in the pitch display will decrease thedisplay’s horizontal and vertical zoom factorsone step (if possible).

Dragging the Magnifying Glass in the Envelope

Display will cause the selected time rangeto appear in the Pitch Display (most usefulfor navigating when the Envelope Display isin “All” mode). The pitch range of the PitchDisplay will be automatically scaled such that allof pitch information in that time range is visibleon the screen.

I-Beam Tool

Drag the I-Beam Tool in either thePitch or Envelope Display to selectan area to apply Make Curve,

Import Auto, Make Notes, or Number of Note

Objects. The selection area will be reflected inboth displays.

Double-clicking with the I-Beam tool in eitherthe Pitch or Envelope Display will highlight therange of all currently tracked audio.

If the Envelope Display is set to All, using theI-Beam Tool to make a selection anywhere inthe Envelope Display will cause the selectedaudio to appear in the Pitch Display. This ishandy for quickly moving around your track tomake various edits.

NOTE: This I-Beam Tool is applicableto pitch editing only. Selections forthe purpose of time shifting are made

by the dedicated time control tools describedlater in this chapter.

Hand Tool

Drag the Hand Tool in any directionin the Pitch Display to move thearea displayed.

If you move any selected cursor into the left-hand “key” area, it will temporarily change tothe Hand tool, allowing you to quickly scroll the

Pitch Display up or down as desired.

POP QUIZ!: If, while the Hand Toolis selected, you move the cursoronto the Envelope Graph Display,

what happens? (Send your answer to info@ antarestech.com with the words “Pop Quiz” inthe subject line.)

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The Edit ButtonsOnce some audio has been tracked and/orcorrection objects created, they can be affectedor edited in various ways with the Edit Buttons.

The Edit Buttons are context sensitive, i.e., onlythe buttons that are applicable to the currentstate of the pitch display are active. If a particularbutton does not have a valid function relative tothe current pitch display state, it will be “grayedout” (i.e., colored dark gray). If it does have avalid function, it will appear pale gray.

NOTE: Other than the Clear All button,which really does clear everything,these edit buttons are applicable

specifically to correction objects and pitch edits.Time shifting has its own set of edit functions,

described below.

The Clear All Button

Clicking the Clear All buttonerases all tracking (both pitchand time) and correctioninformation, whether or not it

is currently visible on the Pitch Display. Sinceyou can not undo this function (and accidentallyexecuting it could be catastrophic), you mustconfirm your intent in a warning dialog.

NOTE: If you’re absolutely certain

you want to clear everything anddon’t want to be bothered by the

confirmation dialog, Option-click the Clear Allbutton to bypass the warning.

The Undo Button

The Undo button becomesactive whenever you move ormodify a target pitch contourobject. Clicking the Undo

button once will undo the most recent change.If you have made multiple changes, you cancontinue to click Undo to undo additional

changes up to the limit that you set in theOptions dialog.

The Redo Button

The Redo button becomesactive whenever you haveexecuted at least one Undo.Clicking the Redo button once

will redo the most recent undone change.If you have executed multiple undos, youcan continue to click Redo to redo additionalchanges up to the limit that you set in theOptions dialog.

The Snap To Note Button

Press this button to enableSnap To Note mode whenusing the Line Tool ormoving Note objects. In

Snap To Note mode, each line segment willautomatically snap to the nearest semitone andNotes can only be moved to exact semitones(or exact scale notes for microtonal scales).

Pressing the Shift key on your keyboardwhile drawing a line or moving a Note object

temporarily toggles the state of the Snap ToNote button. I.e., if Snap To Note mode is notenabled, pressing Shift will enable it for as longas Shift is pressed. Conversely, if Snap To Notemode is enabled, pressing Shift will disable itfor as long as Shift is pressed.

The Select All Button

The Select All button causesall correction objects, whethercurrently visible on the PitchGraph view or not, to becomeselected.

The Cut And Copy Buttons

The Cut and Copy buttonsbecome active whenever oneor more correction objects areselected. Cut removes selectedobjects. Both Cut and Copycopy selected objects to theAuto-Tune 7 clipboard. Youcan then paste the objectselsewhere in the Pitch Graphdisplay.

The Paste Button

The Paste button becomesactive whenever one or moreobjects have been Cut orCopied to the clipboard.

To paste object(s) from the clipboard:• Navigate to the general area where you want

to paste the object(s.)

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• Click the Paste button (the cursor will turninto the Paste cursor).

• Press and hold your left (or only) mousebutton. A graphic representation of theobject(s) to be pasted will appear.

• While holding down the mouse button, dragthe objects to the exact location where youwish to paste them.

• Once they are at the proper location, releasethe mouse button to complete the paste.

NOTE: Since only one correctionobject (Line, Curve, or Note) can existat any time point on the Pitch Graph,

any object(s) that previously existed at thetime where an object is pasted will be deleted.Hence, before you complete the paste, be

sure that the area you’re pasting into does notcontain any correction object(s) that you wantto keep.

A TIP: When pasting an object, theobject retains the Retune Speed(s)of the originally copied object. That

speed may or may not be appropriate for thepitch data at the object’s new location. Observethe resulting green output pitch curve andadjust the Retune Speed as necessary.

The Nudge Buttons

The Nudge buttons allow youto move all currently selectedcorrection objects up or down inprecise one-pixel increments.

NOTE: If Snap To Note mode isenabled, Note objects can not benudged. If you want to nudge a Note

object, first turn off Snap To Note. After nudgingthe Note to its new pitch, you can re-engageSnap To Note. The nudged note will remain atits offset pitch (unless you subsequently use

the Arrow tool to move it, in which case it willonce again be constrained to scale notes).

The actual pitch interval for each Nudge stepdepends on the current vertical zoom setting ofthe Pitch Graph. When the display is zoomedfar out, the interval is larger than when zoomedin. The extremes of the nudge intervals are asfollows:

When zoomed all the way out: 20 cents pernudge

When zoomed all the way in: 1 cent per nudge

For maximum control, zoom in as close as

possible to your object(s) of interest beforeusing the Nudge buttons.

Keyboard Equivalents

Some host applications support the followingkeyboard command equivalents for theabove Edit Buttons. Others reserve thesecommands for their own use. Consult your hostapplication’s manual for details (or just try themand see if they work).

Command/Control-Z Undo

Command-Shift-Z/Control-Y Redo

Command/Control-X CutCommand/Control-C Copy

Command/Control-V Paste

Command/Control-A Select All

Pitch Shifting, Formant Correctionand Throat ModelingTo use the Pitch Shifting, Formant Correctionand/or Throat Modeling functions in GraphicalMode, refer to the descriptions of theTranspose, Throat Length, and Formant

controls in the Common Controls section earlierin this chapter.

Pen Tablet InputIf you do a lot of your pitch correction usingGraphical Mode, you may want to considerusing a USB pen tablet like the WacomBamboo or Intuos.

A pen tablet lets you control Auto-Tune 7’sgraphical tools (as well as all the other controls)using a familiar pen-style input device. Onceyou become comfortable with one (whichusually only takes a few minutes), a pen tablettypically offers increased drawing accuracywith less wrist stress in long sessions. Sometablets also include programmable functionkeys for often-used keyboard commands.

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Time Shifting Overview

As mentioned back in Chapter 2, in order to doits time shifting magic, Auto-Tune 7 must firstcreate a copy of any audio you wish to edit.As you might imagine, these audio files canbe quite large. Unlike the pitch data generatedby the traditional Track Pitch function, which isalways stored with the instances of Auto-Tunein your session, the audio recorded for timeshifting by the Track Pitch + Time function issaved as one or more separate files elsewhereon your computer.

You will find detailed information about thesefiles in the Tracked Data Management sectionbelow, but here are some basic guidelines tokeep in mind:

• If you always work on one computerand never transfer your projects to othercomputers, you don’t really have to worryabout this. Everything will typically take careof itself.

The one exception is that’s it’s wise to deleteany tracked audio files once you no longerneed them (after bouncing or freezing aprocessed track, for example), as they willotherwise end up sitting on your computerforever, just taking up space. See below fordetails.

• If you do transfer your sessions to othercomputers, any tracked audio files mustbe transferred with them. Again, see theTracked Data Management section below forinstructions.

• If you know from the beginning that youwon’t be doing time shifting on a track, usethe Track Pitch function. There’s no point inrecording large files you’ll never need.

• If you will be doing time shifting in only asmall region of your track, use Track Pitch+ Time only in that region. You can do a

separate Track Pitch pass for any otherregions that only require pitch correction.

• Auto-Tune 7’s time shifting is completelynondestructive. Since Auto-Tune 7 workson a copy of your audio, time editing alwaysleaves your original audio intact. At any pointyou can simply switch off the Time ControlEnable button to instantly return to your

track’s original timing.

Time Shifting Limits

For both of the time editing tools describedbelow, the total amount of time compressionor expansion that can be applied to a range ofaudio is limited to a 10:1 ratio. That is, a rangecan be expanded up to 10 times its originallength or compressed down to 1/10th of itsoriginal length. Once that limit is reached,further compression or expansion (depending,of course on which limit we’re talking about) isnot possible.

NOTE: The compression andexpansion limits are cumulative.So, if you find yourself unable to

make a small time shift, it will almost certainlybe because the region you are editing haspreviously been shifted to (or near) its limit.

Computer Power and theData Error Indicator

In addition to the limitsdescribed above, there are

a two other related issues that can affect the

useful range of time compression: computerspeed and session complexity.

When performing time compression, Auto-Tune 7 needs to process the audio at fasterthan real time. At the limit of 10:1, audio mustbe processed at ten times its normal rate.Our tests have shown that computers thatmeet our published system requirements

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can accomplish this in most cases, but it’simportant to keep in mind that if your session isparticularly complex, with many tracks and lotsof other potentially processor-hungry plug-insall running at once, even the fastest computer

may have trouble keeping up.

To alert you to any data access problems, theData Error indicator will light red anytime Auto-Tune 7 is unable to read data from its disk file inthe time available. If this happens, you shouldconsider the following options:

• Listen carefully to the point in your audiowhere the Data Error indicator lights. Verymuch like a VU meter’s clip light, not everyinstance will result in an audible problem.If you can’t hear anything wrong, you cansafely ignore it.

• Decrease the amount of time compressionby a tiny bit. If you’re right on the edge ofyour computer’s capability, an extremelysmall change can eliminate the problem.

• Temporarily simplify your session (mute othertracks, bypass other plug-ins) and render orbounce or your time edits to a new track.

• Since data access depends on everythinggoing on at any particular time in your session,for cases that are on the edge of yourcomputer’s capability, it’s possible that the

Data Error indicator might light on one pass,but not on another. It’s always worthwhilejust playing the track again to see if Data Errorindication was a one-time anomaly.

• Buy a faster computer. If you’ve been lookingfor an excuse to upgrade, the Data Errorindicator may be your ticket to that hot newMac or PC you lust after.

Track Pitch + TimeThe process of trackingpitch and time is very muchlike that of simply trackingpitch alone. The onlydifference is that in additionto normal pitch tracking,

Auto-Tune 7 also makes a recording of theactual audio to be processed.

IMPORTANT NOTE: As was noted inthe Track Pitch section, you shouldalways start tracking pitch and time

in an area of silence before the audio you wantto correct, or from the very start of the track.

Starting tracking in the middle of audio willtypically result in an artifact.

To track pitch and time, locate the desired audioand press the Track Pitch + Time button. (If you

are using Auto-Tune 7’s Internal clock, you may(depending on your host) need to click the Resetbutton to reset the clock position to 00:00:0.)The Track Pitch + Time button will flash blueand red to indicate that Auto-Tune is in TrackPitch + Time mode.

Next, start playback of the audio. A graphicrepresentation of the pitch and its amplitudeenvelope will be drawn to the display as theaudio plays. When all of the audio you want tocorrect has played, stop playback. You will exitTrack Pitch + Time mode and, if you have Auto-Scroll enabled, the Pitch Graph will automaticallyscale in such a way as to include all of thetracked audio. If you have not enabled Auto-Scroll, no scaling will occur.

In addition, the central horizontal axis of theEnvelope Display will turn red to indicate therange of audio that has been recorded and isavailable for time shifting.

NOTE: If you are using Auto-Tune 7’sInternal Clock, after stopping playbackin your host, you must click the clock

Reset button to stop Auto-Tune 7’s transport and

return you to the beginning of your tracked region.ANOTHER NOTE: Although trackingtime does not involve the Buffer Sizesetting in the Options dialog, tracking

pitch (which happens simultaneously) does.Consequently, if the length of the audio to beprocessed exceeds the currently set Buffer Size(or your start point lies beyond the current bufferarea), tracking of both pitch and time will stopwhen the buffer is full and a warning messagewill appear notifying you of that fact. If thishappens, increase the buffer size as necessary.

YET ANOTHER NOTE: Be cautiousabout changing the Tracking value (inthe Options dialog) after performing

the Track Pitch + Time function. Auto-Tune 7uses the Tracking setting during both the TrackPitch + Time function and while correcting pitch.Changing the Tracking setting after TrackingPitch + TIme, but before correcting, may resultin unpredictable pitch modifications or strange(though possibly interesting) artifacts.

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The Pitch Graph Display

In the process of time shifting, the articulationand transient profile of your audio is typicallymore relevant than its pitch contour. For thatreason, the amplitude envelope of the trackedaudio is now displayed as a background

element of the Pitch Graph Display. This makesit much easier to accurately select the desiredregions for time shifting and to select theindividual points in time to shift.

The Envelope Graph Display

In addition to its traditional functions, in Auto-Tune 7 the Envelope Graph Display provideskey visual feedback on the time shiftingprocess. Here’s how:

Tracked Time Indication

The display’s horizontal axis will turn red toindicate the ranges of audio that have beentime-tracked, so you will always know whichranges are available for time editing. Thisindication is always visible, whether timecontrol is currently enabled or not.

Time Control Enabled Indication

When Time Control is active (via the TimeControl Enable button described below), thedisplay is divided horizontally into two envelope

graphs, the original and edited. When Timecontrol is not active, only a single envelope (theoriginal audio’s envelope) is displayed

Real-Time Time Shift Display

To help you visualize the affects of your edits,whenever time control is enabled the displaywill show both the original audio (in the lower

portion of the graph) and the time-shifted audio(in the upper portion). As you make time shiftedits in the main Pitch Graph Display, you willsee the upper envelope update in real time.This makes it extremely easy to visualize your

time edits in the context of the original audio.

Time Control Functions

The Time Control section provides time editcontrol functions that are independent of thepitch edit controls described earlier.

The Enable ButtonThe Enable function is an easy way to quicklycompare the effect of all of your current timeedits to your original audio.

When this button is blue, time shifting is active.You will hear all of your current edits and arefree to make new edits. When it is gray, timeshifting is inactive. You will hear only youroriginal audio and no time editing is possible.Click the button to toggle its state.

IMPORTANT NOTE: Using this buttonto disable time control does notdelete any of your previous edits, it

simply disables them. If you subsequently re- enable time control, all of your edits will onceagain become active.

The Undo Button

The Undo button becomes active wheneveryou make any time edit. Clicking the Undobutton once will undo the most recent edit. Ifyou have made multiple edits, you can continueto click Undo to undo additional edits up to thelimit that you set in the Options dialog.

The Redo ButtonThe Redo button becomes active wheneveryou have executed at least one time edit Undo.Clicking the Redo button once will redo themost recent undone edit. If you have executedmultiple undos, you can continue to click Redoto redo additional edits up to the limit that youset in the Options dialog.

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The Clear All Button

Clicking the Clear All button clears all time editsfrom the track, essentially restoring the timingof the original audio.

NOTE: Unlike the Clear All functiondescribed in the Pitch Editing Toolssection, the Time Control Clear All

function does not delete any tracked data, onlytime edits.

ANOTHER NOTE: Also unlike theClear All function described in thePitch Editing Tools section, the Time

Control Clear All function is undoable, so there’sno dire warning message when you click it.If you inadvertently clear all your edits, don’tpanic. Just click the Time Control Undo button

and all will be well again.Time Edit ToolsAuto-Tune 7’s time manipulation functionsprovide an enormous amount of power overthe timing of your audio. But, along with powerand flexibility, one of our key design objectiveswas to make the time shifting processextremely easy to use.

To that end, we’ve designed all of that powerinto two context-sensitive editing tools thatsimply do what you need them to do whenyou need them to do it. As a result, Auto-Tune7’s time manipulation process is smooth andintuitive, never breaking your creative flow withthe need to switch tools or remember somecommand key to temporarily change function.

Here are the details:

The Move Point Tool

The Move Point Tool allows youto select a range of audio and thenmove a point within that range

forward or backward in time, compressing andexpanding the audio around it.

The Move Point Tool is context sensitive.That is, it changes function (from selection tomoving) depending on what lies beneath it onthe screen. As you move the tool around thescreen, its cursor icon will change to indicate itscurrent function.

The Move Point Tool is typically used to edita note, word, or phrase in which you want tocorrect the timing of one point while leaving otherkey points unchanged. Examples might include:

•

A note, word, or phrase that begins at thecorrect time, but ends either early or late.

• Conversely, a note, word, or phrase thatbegins early or late, but ends at the correcttime.

• A note, word, or phrase that both begins andends at the correct times, but whose internalarticulation you would like to edit.

Using the Move Point Tool is a two step process:

1. Select the audio range you wish to operateon.

2. Select the point within that range thatyou want to shift and move it forward orbackward as desired.

The Move Point Tool operates as a combinationI-beam selection tool and time shifting tool asfollows:

• Whenever the cursor is over an area thatis not located in an existing range selection(either because there is no current rangeselection or because it is outside the area ofan existing range), it appears as an I-beam

and clicking and dragging the mouse willselect a new range.

• Whenever the cursor is over an area thatIS located in an existing range selection,it changes to the Move Point cursor andclicking on a point and dragging performsa time shift, moving the selected point andcompressing and expanding the audio withinthe selected range.

• Whenever the cursor is over an area whereaudio has not been tracked by the TrackPitch + Time function, the cursor changes to

the universal “No” icon to indicate that timeshifting is not possible at that point.

NOTE: When in selection mode (i.e.,when the cursor icon is the I-Beam),the resulting selection is applicable

to time shifting only. Selections for the purposeof pitch correction are made by the dedicatedI-Beam tool described earlier in this chapter.

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ANOTHER NOTE: You will find thatthe envelope display in the Pitch EditGraph provides a useful reference for

selecting the initial range and exactly the rightpoint to move.

YET ANOTHER NOTE: When selectingand moving a point, the verticalposition of the cursor has no effect.

Only the horizontal position counts.

Examples of Using the Move Point Tool

The quickest way to become familiar with thetime edit tools is to run through the tutorials inChapter 4. But if you’re not currently near yourcomputer, the following examples should giveyou a good idea of how you’ll typically use theMove Point Tool in your projects.

For a note, word, or phrase that begins at thecorrect time, but ends either early or late:

1. Use the Move Point Tool to select a rangethat extends from the exact beginning ofthe note, word, or phrase past its end.

NOTE: How far past the end youselect depends a lot on what followsthe note, word, or phrase to be

edited. If there is silence, select as much ofthe silence as you need to be able to move theendpoint to its desired location. If there is moreaudio, keep in mind that in order to move yourendpoint, you will also end up stretching orcompressing some of the following audio. Theexact selection amount will vary depending onthe nature of your audio. Undo is your friend.

2. Within the range selected in Step 1, placethe cursor exactly on the end of the note,word, or phrase and move it to the desiredlocation.

For a note, word, or phrase that begins early orlate, but ends at the correct time, simply useSteps 1 and 2 as described above, but select

a range that extends from the end of the note,word, or phrase to before its beginning. Thenselect the exact beginning and move it to thedesired location

For a note, word, or phrase that both beginsand ends at the correct times, but whoseinternal articulation you would like to edit:

1. Use the Move Point Tool to select a rangethat extends exactly from the beginning ofthe note, word, or phrase to its end.

2. Select the point within the range that youwould like to edit and move it to the desiredlocation.

The Move Region Tool

The Move Region tool is designedfor moving notes, words, or phrasesin their entirety while preserving the

timing of the moved element.

NOTE: For clarity, in the followingdescriptions, a “range” is defined asthe overall range of audio that you

will be working with, while a “region” refersto the audio within that range that you wish to

move.

As with the Move Point Tool, you first selecta range of audio. Then, instead of moving asingle point, you select the region within yourinitial selection that you want to move. Youthen move that region, again compressing andexpanding the audio around it.

The Move Region Tool is also context sensitive.It changes function (from initial range selectionto region selection to moving) depending onwhat lies beneath it on the screen. As you

move the tool around the screen, its cursor iconwill change to indicate its current function.

Using the Move Point Tool is a three stepprocess:

1. Select the audio range you wish to operateon.

2. Select the region within that range that youwish to move.

3. Click anywhere within that region andmove it forward or backward as desired.

The Move Region Tool operates as acombination I-beam selection tool and timeshifting tool as follows:

• Whenever the cursor is over an area that isnot located within an existing range selection(either because there is no current rangeselection or because it is outside the area ofan existing range), it appears as a standard

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(single) I-beam and clicking and dragging themouse will select a new range.

• Whenever the cursor is over an area that ISlocated within an existing range selection,but NOT located within a previously definedregion, the cursor appears as a doubleI-beam and clicking and dragging the mousewill create a new region within the existingrange.

• Whenever the cursor is over an area thatis located in a previously defined region, itchanges to the Move Region cursor andclicking and dragging anywhere within theregion will move the region in the desireddirection, while compressing and expandingthe areas between the ends of the regionand the boundaries of the enclosing range.

• Whenever the cursor is over an area whereaudio has not been tracked by the TrackPitch + Time function, the cursor changes tothe universal “No” icon to indicate that timeshifting is not possible at that point.

NOTE: When selecting and movinga region, the vertical position ofthe cursor has no effect. Only thehorizontal position counts.

An Example of Using the Move Region Tool

As mentioned above, your best bet is the

tutorial in Chapter 4, but here’s a quick exampleof using the Move Region Tool:

1. Use the Move Region Tool to select arange that extends far enough beyondeither end of the note, word, or phrase (i.e.,the region) you want to edit to allow you tomove it to its desired location.

NOTE: How far past the ends of theregion you select depends a lot onwhat comes before and after it. If

there is silence, select as much of the silenceas you need to be able to move the region toits desired location. If there is more audio ateither end, keep in mind that in order to moveyour region, you will also end up stretching orcompressing some of the adjacent audio. Theexact selection amount will vary depending onthe nature of your audio. Once again, Undo isyour friend.

2. When you place the Move Region Toolcursor within the range selected in step 1,it will turn into the double I-Beam SelectRegion cursor. Use the Move Region Toolto select the region that you wish to move.

3. When you place the Move Region Toolcursor within the region selected in step2, it will turn into the Move Region cursor.Click and hold anywhere within theselected region and move it forward orbackward in time as desired.

Tracked Data ManagementTo help manage the recorded audio datarequired for time shifting, Auto-Tune 7 providesa convenient Data File Management dialog thatallows you to establish or move the location of

the data files, rename the folder where they’restored, as well as delete them if they are nolonger necessary.


Before getting to the details, here are somebasic principles for managing your trackedaudio data files:

• Most important: Unless you have a clear

reason for doing so, do not move or renameany of Auto-Tune 7’s data files or the foldersthey are stored in without using the Data FileManagement Dialog described below. Thatis, don’t just find the files on your computerand manually change their names or movethem to another location. This will causeAuto-Tune 7 to lose track of them. You willstill be able to use the Data File ManagementDialog to find them again, but it will be anunnecessary annoyance.

• If you will be moving your project to adifferent computer, you must copy all of thedata files used by all instances of Auto-Tune7 in the project and move them as well.

• If you will be making an archival copy of yourproject, copy all of the project’s Auto-Tune 7data files and save them with the archive.

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• Each instance of Auto-Tune 7 that is used fortime shifting will have its own data folder. Soif, for example, you have instances of Auto-Tune 7 on five separate tracks in your project,you will have five data folders associated

with that project which must be copied if theproject is moved or archived.

• Be sure to use the Data File ManagementDialog’s ability to rename data file folders tomake it easy to identify the project and trackthe data is associated with. This will savemuch time and hassle when you need tocopy them for moving or archival purposes.

• Practice good data housekeeping. Onceyou no longer need particular data (becauseyou’ve bounced or frozen a track or havefinished and archived a project), use the Data

File Management Dialog to delete it. This willprevent the messy build-up of large, uselessfiles on your computer.

The Data FileManagement Button

Click this button to displaythe Data File Managementdialog.

If Auto-Tune 7 is unableto find previously recorded audio data at thelocation it expects, the Data File Management

button will flash red to alert you to this problem.If this happens, click the button and the DataFile Management dialog will appear withinformation that should help you locate the data(assuming it’s still around to be located).

The Data File Management Dialog

The various data management options availablein the Data File Management Dialog aredependent on whether or not you have alreadytracked any audio using the Track Pitch + Timefunction and on whether or not Auto-Tune 7has encountered any problem accessing data

at an expected location. We’ll look at each ofthese situations in turn.

Before Tracking Any Audio

If you instantiate Auto-Tune 7 on a track anduse the Track Pitch + Time function to tracksome audio, a data folder for that instance willbe automatically created at the default location

for your computer and all data files created bythat instance will be written to that folder. If thatworks for you (as it usually will), you needn’ttake any other action. Just track and edit.

If, however, you specifically want to select adifferent folder location (if, for example, youknow you will be moving your project and wantto have the data folder in the same locationas your project file), call up the Data FileManagement Dialog before tracking any audio.You will see the following:

At the top of the dialog window you will see the

default data folder location for your computer.To select a different location:

• Click the “Setup Folder Location…” button(initially, all other buttons are disabled). Anavigation window will appear.

• Navigate to your desired location and clickChoose. An alert message will confirm thatyou have changed the folder location.

• Your new location will now be displayed atthe top of the dialog window and the otherdialog buttons will become active.

• Optionally, rename the data folder asdescribed in the next section.

• Click “Close” to dismiss the Data FileManagement Dialog.

• Save your session. (If you close your sessionwithout saving, your new folder location willnot be retained the next time you open thesession.)

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NOTE: While the “Setup FolderLocation…” function is only availablebefore tracking any audio, if you

initially track audio to the default folder locationand later decide that you’d like to have it at a

different location, you can, at any time, simplyuse the “Move Data Files…” function describedin the next section.

After Tracking Audio

Once you have tracked some audio using theTrack Pitch + Time function, calling up theData File Management Dialog will result insomething like this:

Here’s what you can do:

Find Data Folder…

This function is typically used in a situationwhere Auto-Tune 7, for some reason, is unableto find data files where it expects to find them.That situation is covered below in the “IfThere’s a Problem” section.

There is, however, an extremely unlikely but notentirely impossible situation where Auto-Tune7 thinks it is pointing at the correct data folder,

but actually isn’t. This would most likely be theresult of manually copying and/or renamingdata files and/or folders (yet another reason fornot doing that).

The symptoms of this situation are pretty unmis-takable. When you play your track, you will hearaudio from another place in the track, from an-other track, or from an entirely different session.

To correct the problem, click the “Find DataFolder…” button, dismiss the resulting alert,and navigate to the correct data folder.

Move Data Files…

To move the folder containing the data files to anew location:

• Click the “Move Data Files…” button. Analert message will appear (more about thatin a bit). Assuming that you click “OK,” anavigation window will appear.

• Navigate to your desired location and clickChoose. An alert message will confirm thatyou have changed the folder location.

• Your new location will now be displayed atthe top of the dialog window.

About that alert message: Assume for amoment that you have created “Session 1” andtracked some audio in Auto-Tune 7. You saveSession 1 and then do a “Save As…” to save acopy of Session 1 as “Session 1A.”

At this point, both sessions are pointing atthe same data folder. If, while in Session 1A,you move the data files, the next time youopen Session 1, it will not find its data whereit expects at the original location and willgenerate an error. In this case, you can simplyuse the “Find Data Folder…” function to point

Session 1 at the new folder location.Rename Folder

When Auto-Tune 7 creates a data folder, itgives it an initially incomprehensible-looking14-digit default name that actually defines thedate and time of its creation. The format is:

YYYYMMDDHHMMSS

So, getting out your secret decoder ring, afile named 20100910163309 will have beencreated at 4:33:09 PM on September 10, 2010.

For ease of data housekeeping, werecommend that you rename your data foldersin such a way as it will always be clear whichsessions and which tracks they belong to.Examples might include:

MyProject Track 3

MyProject Lead Vocal

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To rename a data folder, simply type the newname in the folder name field and click theRename Folder button.

Delete All Data Files

It is important to note that deleting an instanceof Auto-Tune 7 (after bouncing or freezing aprocessed track) will not automatically deleteany associated data files. Similarly, deleting anentire session (after archiving it, for example)will not delete any data files associated withinstances of Auto-Tune 7 in the session.

As a result, if you take no action, data files thatare no longer necessary will build up on yourcomputer, needlessly taking up disk space.

You can, of course, delete such files manually,but doing so always carries the risk of

accidentally deleting the wrong files (especiallyif you haven’t clearly renamed them asrecommended above).

A better practice is to get into the habit of usingthe Delete All Data Files function as the lastthing you do before deleting an instance ofAuto-Tune 7 or deleting an entire session (inwhich case you should use it in each instanceof Auto-Tune 7 in the session).

Simply click the Delete All Data Files button,confirm that you’re sure, and you’re done.

When you have finished all your DataManagement tasks, click “Close” to dismissthe dialog and immediately save your session.(If you close your session without saving, yourchanges will not be retained the next time youopen the session.)

If There’s a Problem

As mentioned above, if Auto-Tune 7 is unableto find previously recorded audio data at thelocation it expects, the Data File Managementbutton will flash red to alert you to this problem.If this happens, click the button and you will

see something like this:

As you will note, the dialog includes the

location at which it expected to find the datafolder, along with the name of the folder itexpected to find there.

Find Data Folder…

Assuming that the folder hasn’t been deleted(presumably accidentally), you will be dealingwith one of the following situations:

• The folder was moved to a new location,either manually or by the “Move DataFiles...” function used from another copy ofthe session that pointed to the same folder.

• The folder was renamed, again eithermanually or by the “Rename Data Folder”function used from a copy of the session thatpointed to the same folder.

• A combination of the above two, i.e., thefolder was both moved and renamed.

In any of these cases, the solution is to pointAuto-Tune 7 at the correct folder, wherever it isand whatever it’s currently named. To do that:

• Click the Find Data Folder… button. Anavigation window will appear.

• Navigate to the correct data folder and clickChoose. An alert message will confirm thatyou have selected the correct folder (or tellyou if the selected folder is not the correctfolder).

• The correct folder location and folder namewill now be displayed in the Data FileManagement dialog and all should be well.

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Setup Folder Location…

If the worst has happened and the correct datafolder has actually been permanently deleted,you will have to re-track your audio and remakeany previous edits. To do that:

• Click the “Setup Folder Location…” button.Dismiss the resulting alert. A navigationwindow will appear.

• Navigate to your desired location and clickChoose. An alert message will confirm thatyou have set the new folder location.

• Optionally, rename the data folder.

After either finding the existing data folder orcreating a new one, click “Close” to dismissthe dialog and immediately save your session.(If you close your session without saving, your

changes will not be retained the next time youopen the session you will once again encounterthe dreaded flashing red Data Managementbutton.)

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Chapter 4 : Auto-Tune 7 Tutorials

This chapter introduces you to how Auto-Tune 7 works by guiding you through anumber of brief tutorials.

These tutorials make use of a number of audio and MIDI files. (We will assume thatyou are familiar with loading audio and MIDI files into your host application.)

If you purchased a packaged version of Auto-Tune 7, your will find the required files in the “TutorialAudio” folder on the installation DVD ROM.

If you purchased your copy of Auto-Tune 7 via download, you will have to separately download theTutorial Audio files from the same web page from which you downloaded Auto-Tune 7.

Tutorial 1: Automatic Mode BasicsThis tutorial will guide you through the basicAutomatic Mode functions using the file “A2-A3-A2 sweep.” This is a simple synthesizedwaveform sweeping slowly from A2 up to A3and back to A2. While it is unlikely that you’dever need to process such an input with Auto-Tune 7, it provides a very clear example of whateach of the main Auto-Tune 7 controls do.

Begin the tutorial by doing the following:

1. Load or import “A2-A3-A2 sweep” into atrack of your host program. Play the trackso that you are familiar with the originalaudio.

2. Set up Auto-Tune 7 to be an insert effect onthat track.

3. Set Auto-Tune 7 to Automatic Mode.

4. Set the Key to “A” and the Scale to“Major.”

5. Set the Retune Speed to zero.

6. Set “A2-A3-A2 sweep” to loopcontinuously and put your host programinto Play mode.

What you will hear is an A major scale. Thisis because Auto-Tune 7 is continuouslycomparing the input pitch to the notes of the Amajor scale and instantaneously correcting theoutput pitch to the nearest of the scale tones.

Now do the following:

1. In the Edit Scale Display, click the Removebuttons next to the notes B, D, F# and G#.

2. Play “A2-A3-A2 sweep” again.

You will now hear an arpeggiated A Major triadbecause you have removed all the other notesfrom the scale.

To continue:1. In the Edit Scale Display, click the Bypass

button next to E.


You will now hear the effect of not correctingthe E. During the time that Auto-Tune 7 wouldnormally be tuning the input to E, Auto-Tune 7instead enters bypass mode and passes theinput through uncorrected.

To continue:

1. Set the Retune Speed to about 30.2. Play “A2-A3-A2 sweep” again. Compare

the 30 setting to the 0 setting.

3. Try various other Speed settings.

The setting of 0 is fast: Auto-Tune 7 makesinstantaneous pitch changes. The settingof 30 is slower. Auto-Tune 7 makes gradual

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pitch changes. This parameter controls howrapidly the pitch correction is applied to theincoming pitch. The units are milliseconds.A value of zero will cause instantaneouschanges from one tone to another and

will completely suppress a vibrato (notethat related volume changes will remain).Retune values from 10 to 50 are typical forvocals.

To continue:

1. Set the Retune Speed to 0

2. In the Edit Scale Display, click the Removebuttons next to all the notes except F#.

3. Play “A2-A3-A2 sweep” again. As thesound is playing, move Scale Detune knob.

The output pitch will be locked to F#, however,you will hear the output pitch change with theDetune slider movement. This is because theDetune knob is changing the pitch standard ofthe scale.

Finally:

1. Select “sine wave” from the Vibrato Typepop-up.


3. Experiment with the various vibratocontrols to hear their effects.

Tutorial 2: Targeting IgnoresVibrato FunctionThis tutorial will demonstrate the purpose anduse of the Automatic Mode’s Targeting IgnoresVibrato function.


1. Load or import “wide_vibrato” into a track

of your host program. This is a recording ofa male voice singing a sustained “G” witha pronounced vibrato. Play the track sothat you are familiar with the original audio.Despite the wide vibrato, you will noticethat the singer’s pitch drifts alternatelysharp and flat.



4. Set the Key to “C” and the Scale to

“Chromatic.”5. Set the Input Type to Low Male Voice

6. Set Retune Speed to a value of 24.

7. Use your host program’s controls to BypassAuto-Tune 7. Set “wide_vibrato” to loopcontinuously and put your host programinto Play mode. Watch the blue DetectedPitch indication on Auto-Tune 7’s VirtualKeyboard. As you will see, the singer’svibrato is so wide that it consistently getscloser to G# and F# than G, causing Auto-Tune to intermittently select those notes astarget pitches.

8. Check that Targeting Ignores Vibrato isnot selected and remove Auto-Tune 7from Bypass. Watch the Detected Pitchindication and listen to the result. As youwill hear, whenever Auto-Tune 7 thinksG# or F# is the target pitch, it will movethe input closer to those notes, in effectmaking the situation worse.

9. Now, leaving all other settings the same,click Targeting Ignores Vibrato. With

Targeting Ignores Vibrato engaged, Auto-Tune 7’s vibrato identification algorithmrecognizes the pitch excursions as vibratoand continues to use “G” as the targetpitch.

Next, we’ll use Graphical Mode for a dramaticgraphic demonstration of the effect of TargetingIgnores Vibrato:

1. Still using “wide_vibrato,” set up Auto-Tune7 as described in Steps 1-5 above.

2. Set Retune Speed to 0.

3. Make sure Targeting Ignores Vibrato is Off.4. Set Auto-Tune 7 to Graphical Mode.

5. Click the Track Pitch button and playwide_vibrato through Auto-Tune 7. A redcurve representing the pitch contour ofwide_vibrato will be drawn to the screen asthe file plays.

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6. Stop playback and click the Track Pitchbutton again to stop the tracking function.

7. Click the Import Auto button. A blue curvewill appear. This curve represents thepitch correction that would result fromprocessing the audio with the currentAutomatic Mode settings. Note all theinstances in which Auto-Tune 7 identifiesG# or F# as the target pitch.

8. Set Auto-Tune 7 back to Automatic Mode.

9. Set Targeting Ignores Vibrato to On.

10. Return once again to Graphical Mode.

11. Click Import Auto (there is no need to trackpitch again, as the red pitch curve is stillpresent in the Pitch Graph).

12. Notice that the blue curve is now a straightline on “G,” indicating that the ImprovedTargeting algorithm has accuratelyidentified the pitch excursions as vibratoand has therefore ignored it as far as targetpitch selection is concerned.

Tutorial 3: Natural Vibrato FunctionThis tutorial will demonstrate the use of theNatural Vibrato function using the same audio

file we used in the previous tutorial.


1. Load or import “wide_vibrato” into a trackof your host program. This is a recording ofa male voice singing a sustained “G” witha pronounced vibrato. Play the track so thatyou are familiar with the original audio.



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 continuouslyand put your host program into Play mode.

8. Set Natural Vibrato to 12 and note theeffect on the vibrato. Set Natural Vibrato to-12 and note the effect on the vibrato.

9. Set all Scale notes to Bypass to disableany pitch correction. Again, adjust NaturalVibrato as in Step 8 and note that its effectis still active.

Tutorial 4: Using the AutomaticMode MIDI FunctionsThis tutorial will introduce you to Auto-Tune 7’stwo Automatic Mode MIDI functions: LearnScale From MIDI and Target Notes Via MIDI.

With Learn Scale From MIDI, you can createthe correct scale for a particular melody withoutknowing a G-sharp from a B-flat. Simplyplay the melody on a MIDI keyboard whichis patched through your host application toAuto-Tune 7 or play an existing MIDI file withcontains the MIDI notes of the melody to beprocessed.


1. Load or import the audio file “somewhere”into a track of your host program. This is a

recording of Somewhere Over the Rainbowsung with fairly extreme pitch errors. (Ourvery talented singer made us promise totell you that she did this on purpose at ourrequest.)


3. Import the MIDI file “somewhere.mid” intoyour host program’s MIDI sequencer.

4. Select Auto-Tune 7 as the target for theMIDI track.

5. Select Automatic Mode and click the“Learn Scale from MIDI” button so thatit turns blue and its indicator changes to“On.”

6. Click the All Octaves button so that it turnsblue (if it is not already).

7. Play the MIDI file through once and watch

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as the scale develops on Auto-Tune 7’svirtual keyboard and in the Scale Editwindow. As each note is sung, it is addedto the scale until the scale includes everynote that appears in the melody.

8. Set the Retune control to 20 and play theaudio track using this scale.

NOTE: You can also instantaneouslydefine a scale by playing all of thenotes of the scale as a chord (i.e.,

all scale notes played on the same beat) andrecording that into a MIDI track. This is an idealway to use Auto-Tune 7 in music with many key(scale) changes.

With Target Notes Via MIDI, Auto-Tune 7 looksat its MIDI input in real time to determine its

current target note(s). Try the following with theprovided audio and MIDI files:

1. Set up your host program and load orimport the “somewhere” audio and MIDIfiles as described in steps 1–4 above.

2. Select Automatic Mode and click the“Target Note Via MIDI” button so thatit turns blue and its indicator changes to“On.”

3. Click the Octaves as Played button so thatit turns blue (if it is not already).

4. Play the audio and MIDI track together andwatch the current target note change in realtime on the Virtual Keyboard — and listento the results.

The most interesting part of the Target NotesVia MIDI feature is that it only operates for theduration of the MIDI note — that is, when thereis no current MIDI Note On value, Auto-Tune7 is effectively in Bypass mode. This meansthat if you delay the MIDI notes, then the audioperforms its attacks as performed and thencorrects to pitch when the MIDI note occurs

(at whatever Retune Speed is set). In the caseof the ‘Somewhere’ vocal performance, mostof the intonation problems happen duringthe notes’ sustain portions. Try moving thenotes in the MIDI file around and listen to theresults. This gives far more subtle control thanAutomatic Mode alone, while not being quiteas tweaky as operating in Graphical Mode.

NOTE: The MIDI functions look onlyat MIDI note values. Controller datasuch as Pitch Bend or Mod Wheel do

not affect Auto-Tune 7’s performance.

Tutorial 5: Transpose andFormant ControlThis tutorial will demonstrate Auto-Tune 7’spitch shifting, formant correction and throatmodeling capabilities. It will make use of thesame audio file used in the previous tutorial.


1. Load or import the audio file “somewhere”

into a track of your host program.

2. Set up Auto-Tune 7 to be an insert effect onthat track. (If you are using a Pro Tools HDsystem, 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 settingsdo a pretty good job of correcting the mostobvious problems in the performance.

5. Set the Transpose control to 6 (a perfect

fifth up). Check to be sure that Formant isoff.

6. Play the audio file and listen to the qualityof the voice. Since the formants are beingshifted with the pitch, you will hear thefamiliar “chipmunk” effect.

7. Click the Format button to turn on formantcorrection. Set the Throat Length to 120.

8. Play the audio file again and note thedifference.

9. Play the audio file again while adjusting the

Throat Length control to hear the effect ofchanging the modeled vocal tract.

10. Repeat steps 5 through 9 with differentsettings of the Transpose control.

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Tutorial 6: Graphical Mode BasicsThis tutorial will introduce you to the basicGraphical Mode functions, again using the “A2-

A3-A2 sweep” file from Tutorial 1.


1. Load or import “A2-A3-A2 sweep” into atrack of your host program. Play the trackso that you are familiar with the originalaudio.


3. Set Auto-Tune 7 to Graphical Mode.

4. Set the Key to “A” and the Scale to

“Major.”5. Click the Track Pitch button.

6. Play the sweep signal through Auto-Tune 7.A red curve representing the pitch contourof the signal will be drawn to the screen asthe file plays.

7. Stop playback and click the Track Pitchbutton again to stop the tracking function.

To continue:

1. Select the Magnifying Glass tool and dragout a box on the Pitch Graph that encloses

the red curve. The result will be somethinglike the following:

2. Select the Line tool and enter a line similarto that below. By clicking multiple anchorpoints on the Pitch Graph, line segmentsjoining the points will be drawn.

To erase the last point entered, press <delete>on the keyboard (you can press <delete>repeatedly to erase back to the first anchorpoint).

When done, double-click the last point or press<esc> on the keyboard. A green output curvewill appear reflecting the current default LineRetune Speed.

3. Set the Retune Speed to 0 and observe thegreen output curve. Play back the sound tohear the effect.

4. Select the Curve tool and create a curvesimilar to the one shown below. Click andhold the mouse button and drag to drawthe curve. When done, release the mouse

button.

5. Play back the sound to hear the effect.

6. Vary the Retune Speed between 0 and400 and note the effect on both the greenoutput curve and the audio.

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Now that we have some correction objects onthe Pitch Graph Display, this would be a goodtime to become familiar with the functions ofthe Arrow and Scissors Tools. (Refer back toChapter 3 for detailed descriptions of the Arrow

and Scissors Tools’ behaviors.)

As you experiment in the following steps, playback the file to hear the effect of each action.

7. Select the Arrow Tool.

8. Drag the Arrow Tool across the Pitch Graphto select objects.

9. Move the cursor over curves and anchorpoints. Practice selecting entire curves andindividual anchor points.

10. Use the Arrow Tool to drag selected curves

and individual anchor points. 11. Use the Arrow Tool to double-click

anywhere on one of the existing line (notcurve) segments to create a new anchorpoint. Use the Arrow Tool to drag the newpoint to a new position.

12. Still using the Arrow Tool, double-click onthe new anchor point you created in Step11 to delete it and return the line to its initialstate.

13. Select the Scissors Tool and click on anexisting line or curve to break it in two at

that point. A stacked pair of anchor pointswill be created at the point you click. Selectthe Arrow Tool again and use it to drageach of the new end points in turn to newpositions.

14. Select one or more objects and play withthe Edit Buttons (Undo, Cut, Copy, Paste,Select All).

This would also be a good time to see if theEdit Button keyboard equivalents work in yourhost application:

Command/Control-Z UndoCommand-Shift-Z/Control-Y Redo

Command/Control-X Cut

Command/Control-C Copy

Command/Control-V Paste

Command/Control-A Select All

Tutorial 7: PrecisionThis tutorial is actually more of a demonstrationto show the extraordinary precision with which

Auto-Tune 7 can track and correct intonationproblems. If this doesn’t sound interesting, feelfree to proceed to Tutorial 8 below.

(By this time, we’ll assume you’re comfortableloading files and calling up Auto-Tune 7.)

1. Arrange the files “C2 Ahhh v3” and “C2Ohhh v1” so that they are on separatetracks and can be played simultaneously.

2. Assign a separate instance of Auto-Tune7 to each of the two tracks and selectAutomatic Mode for each of them.

3. In each Auto-Tune 7, set the Retune sliderto 0.

4. In each Auto-Tune 7, set the Key pop-up toB-flat.

5. Do whatever your host application requiresto bypass both instances of Auto-Tune 7.

6. Play back the files so you can hear themtogether without processing.

Believe it or not, these vocal samples from asample CD are supposed to be the same pitch.Yikes!

7. Now enable Auto-Tune 7 on each of thetracks and play the files again.

If you’ve done everything right, you will hearthe samples so well in tune that they sound likeone voice

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Tutorial 8: Make Curve FunctionThis tutorial will introduce you to the MakeCurve function. The Make Curve function gives

you precise control over pitch accuracy andinflection.

1. Setup to process the file “Crowd All”through Auto-Tune 7.

2. Select Graphical Mode.

3. Press the Track Pitch button.

4. Play the “Crowd All” file.

5. Select the Magnifying Glass Tool and dragout a box on the Pitch Graph that enclosesthe red curve for the “-gether” part ofthe last word, “together.” You will see

something like the following:

6. Use the I-Beam Tool to drag a selection of“-gether” in the Pitch or Envelope Display.The result will be something like thefollowing:

7. Click the Make Curve button. Auto-Tune 7will compute a new blue curve object fromthe existing pitch data as well as a greenoutput curve that reflects the default CurveRetune Speed. (The new curves may be

difficult to see at first because they mayexactly overlay the red curve.) Click theI-Beam Tool on the background of the PitchGraph to cancel the area selection.

8. Select the Arrow Tool and click precisely onthe left end of the curve to select only theleft anchor point (you’ll know you’re overthe anchor point when the cursor changesto the up-and-down arrow cursor). Dragthis straight up, stretching the curve so it iscentered around the D3 graph line.

9. Drag the Arrow tool across all of the visible

curves to select them. Then move theArrow Tool over the body of a correctioncurve so that the cursor changes to thehorizontal bar. Click and drag the curvesstraight down so they centered on the C3graph line. The Pitch Graph should nowappear as follows:

10. Set the Retune Speed to 0 and play backthe sound. Note that the errant note is nowin tune.

To continue, here is an alternative approach tothe same pitch problem using the Line Tool.

1. Click “Select All” and then click “Cut” todelete the curves you created in the stepsabove.

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2. Make sure Snap To Note is engaged anduse the Line Tool to draw a horizontal line atC3 as shown below:

3. Set the Retune Speed to 20 and play backthe sound. Experiment with other RetuneSpeeds to see their effect on the greencorrection curve and to hear their effects.

Some notes:Vibratos and other pitch gestures typically occurwith related loudness gestures. Specifically,with vibratos, some vocalists produce mostlypitch variations and little loudness variationswhile others produce small pitch variationsand a lot of loudness variations (the latter is

often called tremolo). Nonetheless, almostall voices seem to produce a combination ofboth pitch and related loudness variations.Therefore, trying to take an existing vibratoand change it (say speed it up) often soundsunnatural because the new pitch variation doesnot correspond to the original (and still present)loudness variation.

These considerations are also important whencorrecting pitch. It’s rarely effective to draw ina new pitch gesture at the desired pitch, eventhough that gesture may have worked well in

another performance.As this tutorial has demonstrated, the followingtwo techniques provide successful approachesto Graphical Mode pitch correction:

• The first technique uses the Make Curvebutton to create a curve of the existing pitch,allowing you to drag that curve up or down,

or stretch it by dragging one end vertically.The Retune Speed can then be set very fast(0 to 5). This will force a precise re-tuning, butwill sound extremely natural since the targetpitch curve will precisely synchronize with

the original loudness gestures of the voice.• The second technique is to draw a flat line

segment across the duration of a tone at thedesired pitch and then set the Retune Speedin the range of 20 to 40. This has the effectof gently moving the input pitch towardsthe desired pitch. The slower values of 20to 40 will let through a vibrato but still drawthe overall pitch closer to being in tune. Theaverage pitch will eventually settle to thegiven line and the pitch gestures will occurboth sharper and flatter relative to that line.

The settling time is about twice the RetuneSpeed setting (in milliseconds). 20 to 40 willlet through about one-half of a typical vibrato.Slower settings will let through more vibratobut will cause the new pitch to be reachedmore slowly.

Tutorial 9: Import Auto FunctionThe Import Auto function allows you to displayand edit the pitch corrections that would result

from specific Automatic Mode settings.

1. Setup to process the file “Crowd All”through Auto-Tune 7.

2. Set the Key and Scale to C Major. SelectAutomatic Mode and set the Retune Speedto the default of 20.

3. Select Graphical Mode.


5. Play the “Crowd All” file.

6. Select the Magnifying Glass Tool and drag

out a box on the Pitch Graph that enclosesthe red curve for the words “crowd allrushed.” You will see something like thefollowing:

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7. Use the I-Beam Tool to drag a selection inthe Pitch or Envelope Graph as shown:

8. Click the Import Auto button. Auto-Tune 7will compute a new blue curve object fromthe existing pitch data as well as a greenoutput curve:

PITCH DRAWN TO NEIGHBORING NOTES

Assuming that this entire phrase should becentered around E3, there are several problemspots, indicated above, where the pitch is beingincorrectly adjusted towards neighboring tones.

9. To hear the pitch corrections that wouldbe produced in Automatic Mode, set theGraphical Mode Retune Speed to 0 (whichwill cause the green output curve to exactlymatch the blue object curve). Play back thefile.

10. Switch to the Automatic Mode and clickthe Remove buttons next to C, D, F, A, andB.

11. Return to the Graphical Mode and use theI-Beam tool to drag out a selection in theEnvelope Graph, as in Step 7.

12. Press the Import Auto button. Auto-Tune7 will compute new blue and green curvesfrom the existing pitch data:

RAISED PITCHES

Note how the pitch errors from the previouscurve have been removed. Also, note theraised pitches indicated above. This occursbecause the Automatic Mode Retune slider

value of 20 is slow compared to the rapidlyincreasing pitch that is occurring at that pointin time. But even with the raised pitches, theaverage output pitch is centered on E3 and thephrase sounds in tune.

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Tutorial 10: Make Notes FunctionThis tutorial will help you become familiar withAuto-Tune 7’s new Notes correction objects

and how they are used for pitch correction andselective pitch shifting.

For this tutorial, we will once again use the“somewhere” audio file.

1. Load or import the audio file “somewhere”into a track of your host program.


3. Select Graphical Mode and select G Majoras the Key and Scale.


5. Play the “somewhere” file and track theinitial phrase, “Somewhere, over therainbow, skies are blue…” (approximatelythe first 17 seconds of the file). Stop thetransport and click Track Pitch again to exitthe tracking function. Assuming Auto-Scrollis enabled, the display will scale to includeall of the tracked audio.

There are two obvious problem areas in thisphrase, the words “rainbow” and “blue.” We’llstart with “rainbow.”

6. Select the Zoom tool and drag it across thetracked pitch from about 7 seconds to 10seconds to zoom in to the area of interest.If Auto-Scroll is currently enabled, turn itoff.

7. Select the I-Beam tool and highlight therange of the word “rainbow” (again, fromabout 7 seconds to 10 seconds).

8. Click the Make Notes button and adjust theNumber of Note Objects control to get twonotes, the first on F#3 and the second onG3. (Note that if you set Number of NoteObjects too high - above 80 in this case -unwanted notes will be created on F3 as aresult of the drop in pitch at the beginningand end of “rain…”) Your display shouldlook something like this:

You will notice that the two syllables of“rainbow” have different problems. “Rain…”is slightly flat, while “…bow” is quite sharp.Luckily, thanks to Auto-Tune 7’s independent

object Retune Speeds, we can quicklycustomize each note’s correction.

9. Select the Arrow tool. Click the graphbackground to deselect both notes andthen click on the F#3 note to select it.Adjust the Retune Speed control. Observethe green output pitch curve and auditionthe resulting range of correction.

10. With the Arrow tool still selected, clickon the G3 note. Again, adjust the RetuneSpeed for the desired correction. Note thatwith a long held note like this, too fast a

Retune Speed can sound unnatural. Thetrick is to select a speed that pulls theoverall note in tune, while still allowingenough of the singer’s original naturalvariation.

A NOTE: An indication of Auto-Tune7’s seriously enhanced pitch-trackingcapabilities is the wildly oscillating

curve at the end of “rainbow.” That is actuallythe result of Auto-Tune 7 tracking the faintreverb tail at the end of the word.

We’ll continue with an example of selectivepitch shifting.

11. Ensure that Formant Correction is engaged.With the Arrow tool still selected, move thecursor over the middle of the G3 note andnotice that it turns into the pitch shift cursor(little vertical up-and-down arrows).

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Click on the note and drag it up twosemitones to A3. Play the file and listen tothe melodic change.

12. Select the Scissors tool and click on the A3note at about the 8.3 second point (at thepronounced pitch peak) to cut it into twonotes.

13. Select the Arrow tool again and drag thefirst of these two notes back down to G3.Play the file and listen to the result.

14. To create a smoother transition betweenthe G3 and A3 notes, move the Arrowtool cursor over the left end of the A3 noteso that the cursor turns into the lengthadjustment cursor (little horizontal left-and-right arrows). Drag the left end of the

note about a 1/10 of a second to the rightto open a transition between it and theprevious note. It should look somethinglike this:

Note the shape of the green output curve andplay the file.

You can continue to adjust the left A3 note’send point and/or its Retune Speed until you getexactly the transition you desire.

NOTE: You can also use the Curve

tool to draw an arbitrary transitionbetween any two notes.

Finally, we’ll look at why using the chromaticscale can be a problem for particularlytroublesome performances, along with anotherway to deal with the problem.

15. Use the Zoom tool focus on the words“are blue.”

16. Set the Key and Scale to G Chromatic.

17. Select the I-Beam tool and highlight the

range of the words “are blue” (from about12.5 seconds to 17 seconds). For maximumeffect, set Number of Note Objects to aleast 50.

18. Click Make Notes:

Yikes! Since much of the word “blue”is so sharp that it’s closer to D#3 than tothe intended D3, A lot of the Note objectsend up on D#3. Changing the Number ofNote Objects setting to see its effect canbe quite educational here, but no settingwill give us what we really want, which is

“blue” as one note on D3.

19. One way to fix this would be to manuallydrag each note segment from D#3 toD3, but that would be annoyingly fiddlyand time-consuming. Instead, use theArrow tool to drag the right end of any ofthe note segments already on D3 to theend of “blue” (just shy of 17 seconds).Then drag the left end of that same noteto the beginning of “blue” (at about 13.3seconds). All of the unwanted D#3s areoverwritten and you end up with onecorrect note on D3:

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20. The easiest solution, of course, is to selectthe right scale. Change the Key and Scalefrom G Chromatic to G Major. Click MakeNotes again. Set the Number of NoteObjects to 20. Voilà.

Tutorial 11: Time: Error CorrectionIn this tutorial we’ll use Auto-Tune 7’s MovePoint and Move Region functions to correcttiming errors in a lead vocal track. While youcan use Auto-Tune 7’s bars and beats scale asa reference for correction, we’ve also includeda harmony track with proper timing that will letyou try correcting by ear.

The Move Region Tool 1. Load or import the audio files “Time_

vocal” and “Time_accomp” into twoseparate tracks in your host and set yourhost’s tempo to 110 BPM. Listen to thetracks to become familiar with them.

2. Set up Auto-Tune 7 as an insert effect onthe “Time_vocal” track and select “Alto/ Tenor” as the Input Type.

3. Select Graphical Mode and select Bars +Beats as the Time Display mode.

4. Press the Track Pitch + Time button.

5. Start playback and track “Time_vocal.”Stop the transport to exit the trackingfunction. Adjust the zoom and scrollcontrols to focus on the first two bars(there is one bar of silence at the beginningof the tracks).

6. Note that the vocalist comes in early withthe first word, “Time.” SInce this word isisolated (i.e., there’s silence after it), we’lluse the Move Region tool to move it into itsproper place.

7. Select the Move Region Tool and select theinitial range from the beginning of the thirdbeat of the first measure to the end of thesecond measure. The precise boundariesof this selection are not critical, as long asthere are a few beats of silence before andafter the note to be moved. (You can checkout the graphic below for reference.)

8. Use the Move Region tool to select theregion to be moved. Using the envelopedisplay as reference, select the region fromthe beginning of the breath before the note(at time position 1:3.9) to the end of the

note’s decay (at time position 2:3.62).

At this point, your display should look like this:

9. Still using the Move Region tool, click andhold anywhere in the region selected inStep 8 and move the region to the right untilthe beginning of the note’s main envelope(the part after the initial breath) is lined upexactly on the first beat of measure 2.

Your display should now look like this:

Play back your track and note that the twovocal parts are now perfectly in sync. (You canclick the Time Control Enable button to A/B theoriginal and time shifted versions.)

The Move Point Tool:Adjusting an EndingMoving on in the track, we’ll use the MovePoint Tool to correct a phrase that starts at theright point but ends late.

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1. Adjust the zoom and scroll controls to focuson bars 3 through 5. Play the track and notethat the end of the second phrase (the endof the word “illusion), is sustained too long.

2. Select the Move Point Tool and select therange from the beginning of the last syllableof “illusion” (at time position 4:1.80) to thebeginning of the breath before the followingnote (at time position 5:2.23).

3. Use the Move Point Tool to select the pointto be moved. In this case we want to movethe very end of the phrase while leavingthe beginning in place. Using the envelopedisplay as reference, place the cursor overthe very end of the note (at time position5:2.10). Click and drag to move the endpoint back to the beginning of measure 5.


Play back your track and note that once againthe two vocal parts are now perfectly in sync.

The Move Point Tool:Adjusting an Internal SyllableFor our final example, we’ll use the Move PointTool to correct a syllable in the middle of aword.

1. Adjust the zoom and scroll controls to focuson bars 7 through 9. Play the track andnote that the start of the last syllable in thefinal word of the track (“delusion”), startsslightly too early.

2. Select the Move Point Tool and selectthe range from the beginning of the word“delusion” (at time position 7:4.63) to abeat past the end of the track (at timeposition 9:2.0).

3. In this case we want to move the start ofthe syllable while leaving the beginning andend of the selected word in place. Usingthe envelope display as reference, placethe cursor over the beginning of the lastsyllable (at time position 8:1.73). Click anddrag to move the end point to the right totime position 8:2.0.


Play back your track and note that once againthe two vocal parts are now in sync.

You’ve now completely corrected the timingof the track. If you like, click the Time ControlEnable button to A/B the original and timeshifted versions to remind yourself how faryou’ve come.

Tutorial 12: Time: Creative EditingIn this tutorial we’ll use Auto-Tune 7’s MoveRegion function for a creative, rather thancorrective, purpose.

1. Load or import the audio file “Bass_riff” (atwo-bar bass line) into a track of your hostand set your host’s tempo to 110 BPM.

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Listen to the track to become familiar withit. We’re going to use the Move Region toolto move the second note of the pattern andchange the feel of the bass line.

2. Set up Auto-Tune 7 as an insert effect onthe track and select “Bass Inst” as theInput Type.

3. Select Graphical Mode and select Bars +Beats as the Time Display mode.

4. Press the Track Pitch + Time button.

5. Play the “Bass_riff” file and track thetwo-bar line. Stop the transport to exit thetracking function. Adjust the zoom andscroll controls to focus on the first measureof the bass line.

6. Click the Make Notes button. Althoughwe’re only interested in the timing of thisexample, the Note objects provide a usefulvisual reference of the bass line.

Our goal here is move the second note, an A#,so that instead of being a pickup note to thethird beat, it falls squarely on the second beat,creating a distinctly different feel to the line.

7. Select the Move Region tool and, usingthe main edit window’s envelope displayas reference, select the initial range fromthe end of the first note’s decay (at time

position 1:1.58) to the end of the A#’sdecay (at time position 1:2.93). You cancheck out the graphic below for reference.

8. Now, we’ll use the Move Region tool toselect the region to be moved. Again usingthe envelope display as reference, selectthe region from the beginning of the A# (attime position 1:2.38) to a bit before end ofthe A#’s decay (at time position 1:2.86).

NOTE: The reason that we don’tselect the entire A# is that when wemove the note forward in the next

step, we want to leave a bit of it for Auto-Tune7 to stretch into a natural decay leading into thenote on the third beat.

At this point, your display should look like this:

9. Still using the Move Region tool, click andhold anywhere in the region selected inStep 8 and move the region to the left untilthe beginning of the note’s main envelopeis lined up exactly on beat 2.


Play back your track and note the new feel. Youcan click the Time Control Enable button to A/Bthe original and time shifted versions.

Also note how Auto-Tune 7’s time shiftingalgorithm has turned the small bit of audioat the end of the moved A# into a natural-sounding decay leading into the following C.

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Chapter 5: The Auto-Tune Vocal Effect

(i.e., the Cher/T-Pain-Style Effect)In addition to its adoption asthe worldwide standard inprofessional pitch correction,Auto-Tune has also gained

renown as the tool of choice for what hasbecome one of the signature vocal sounds ofour time.

First heard on Cher’s 1998 mega-hit “Believe,”variations of the effect have gone on to appearon songs from a huge variety of artists. Most

recently, its use by T-Pain and many of hiscollaborators has rekindled intense interest init. Since there seems to be a lot of mythologyabout how it’s accomplished, we thought we’dprovide the official Antares version here.

What is it?Quite simply, the Auto-Tune Vocal Effectis what is technically known as “pitchquantization.” That is, instead of allowing allof the small variations in pitch and the gradualtransitions between notes that are a normalpart of singing (and speaking, for that matter),the Auto-Tune Vocal Effect limits each note toits exact target pitch, stripping out any variation,as well as forcing instantaneous transitionsbetween notes.

How to do it.There are basically two key elements toproducing the Auto-Tune Vocal Effect:

1. Retune Speed = 0

2. Pick the right scale

That’s pretty much it. Really.

There are, however, some possible variationsin approach, depending mainly on whetheryou want to use Automatic Mode or GraphicalMode. Here are the details:

Automatic Mode

1. As we already mentioned, start by settingRetune Speed to 0.

2. Set the Key and Scale to the key and scaleof your track.

3. Play your track. If you like the result, you’redone.

4. If you’re not happy with the result, try oneor more of the following:

• Edit the scale notes. Depending on thespecific vocal line, adding or removingscale notes can give you distinctly differenteffects.

• Try a different key and/or scale.

• Try the chromatic scale (although ourexperience is that if you’re going for theclassic effect, chromatic rarely provides it).

• Try a Retune Speed of 1 or 2 or a bit slower.This will allow slight pitch variations andslightly less instant note transitions, but

may result in the right effect for a particularperformance.

5. Don’t forget your host’s Bypass function.Limiting the Auto-Tune Vocal Effect just tospecific phrases can provide sonic contrastin your song.

Graphical Mode

Using Auto-Tune 7’s graphical Note objectswill give you the ultimate control over the Auto-Tune Vocal Effect.

1. Since you want all of your notes quantized,

start by opening the Options dialog andsetting the default Notes Retune Speed to0.

2. Unless you will using something other thana standard diatonic scale, turn on ShowLanes mode.

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3. Track your audio.

4. Click the Make Notes button. If necessary,adjust the Number of Note Objects controlto get as accurate a representation of thedesired target notes as possible.

5. Make sure that all of the Note objects inthe range where you want the effect tohappen butt up against each other (thiswill ensure that all of the note transitionsare instantaneous). If they don’t, eitheruse the Arrow tool to extend existing Noteboundaries so that they do, or use the Notetool to draw new notes to fill in any gaps.

6. Play your track. If you like the result, you’redone.

7. If you’re not happy with the result, simply

experiment with changing the pitch orlength of individual Notes. The beauty ofNote objects is that you can literally sculptany melodic contour to get exactly theeffect you desire.

8. Once you get the effect exactly as you likeit, Auto-Tune 7’s graphical Paste functionwill allow you to copy all of the Note objectsand paste them in subsequent verses orchoruses or wherever else in your trackyou’d like the same effect.

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Chapter 6: The Auto-Tune 7 Scales

The following are brief descriptions of thescales available in Auto-Tune 7:

Modern Equal TemperamentThese first three equal-tempered scales are theubiquitous scales typically found in Westerntonal music:

• Major: A seven-tone equal tempered majorscale.

• Minor: A seven-tone equal tempered minorscale.

• Equal Tempered chromatic: A twelve-toneequal tempered chromatic scale.

Historical Tunings• Ling Lun: A twelve-tone scale dating from2700 B.C. China.

• Scholar’s Lute: A seven-tone scale datingfrom 300 B.C. China.

• Greek diatonic genus: A seven-tone scalefrom ancient Greece.

• Greek chromatic genus: A seven-tone scalefrom ancient Greece.

• Greek enharmonic genus: A seven-tonescale from ancient Greece.

• Pythagorean: A twelve-tone scale datingfrom 600 B.C. Greece. This scale is derived bytuning twelve pure perfect fifths upward andadjusting the octaves downward. This leadsto some pure intervals and some very impure

intervals.

• Just (major chromatic): A twelve-tonescale. Just intonation tunes the most frequentlyused intervals to be pure (integer ratios infrequency). These tunings depend on the mode(major or minor) and the key. This scale is tunedfor major mode.

• Just (minor chromatic): A twelve-tonescale. Just intonation tunes the most frequentlyused intervals to be pure (integer ratios infrequency). These tunings depend on the mode(major or minor) and the key. This scale is tunedfor minor mode.

• Meantone chromatic: A twelve-tone scale.This tuning is a combination of Pythagoreanand just tunings so that music in a wider varietyof keys could be playable.

• Werckmeister III: A twelve-tone scale. Thisscale was a first attempt (about Bach’s time) toallow an instrument to be played in any scale. Itwas in response to this scale that Bach wroteWell-Tempered Clavier.

• Vallotti & Young chromatic: A twelve-tonescale. Another derivative of the Pythagoreanscale designed to allow arbitrary keys.

• Barnes-Bach (chromatic): A twelve-tonescale. A variation of the Vallotti & Young scaledesigned to optimize the performance of

Bach’s Well-Tempered Clavier.

Ethnic Tunings• Indian: This 22 tone scale is used in India toperform ragas.

• Slendro: This five-tone Indonesian scale isplayed by ensembles called gamelans.

• Pelog: This seven-tone Indonesian scale ismore interesting than Slendro and is now theprimary scale in Balinese music.

• Arabic 1: This 17 tone scale is the originalArabic scale adopted from the Pythagoreanscale.

• Arabic 2 (chromatic): This twelve-tonescale is the modern version of the Arabic scalepopular in Arabic music today.

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Contemporary TuningsEqual tempered scales with a large numberof tones are typically used to play commontonal harmony with greater purity of intervals

and chords. The typical approach is to analyzea passage (or less) of music and select tonesfrom a scale that will best approximate thedesired pure intervals.

• 19 Tone: This scale has greater purity ofminor thirds and major thirds (and conversely,minor and major sixths) than twelve-tone equaltemperament. A disadvantage is that perfectfifths are narrower than those found in twelve-tone equal temperament.

• 24 Tone: Also know as the quarter tonescale, this scale is used for variety but has

no advantage in terms of ratios that betterapproximate pure intervals.

• 31 Tone: In addition to intervals that betterapproximate pure intervals, this scale alsocontains good approximations to Indonesianpelog and slendro scales.

• 53 Tone: Related mathematically to the cycleof fifths, the 53-tone scale has very pure majorand minor thirds, and fifths and fourths.

• Partch: Harry Partch is considered thefather of modern microtonality. This scale was

devised by him and used in instrument buildingand performances.

• Carlos Alpha: Wendy Carlos performedextensive computer analysis to devise anumber of equal tempered scales with goodapproximations for the primary harmonicintervals and their inversions. This scale is good

at approximating the primary intervals including7/4. This scale divides the octave into 15.385steps forming intervals of 78.0 cents.

• Carlos Beta: This scale divides the octaveinto 18.809 steps forming intervals of 63.8cents.

• Carlos Gamma: This scale achieves perfectpurity of the primary intervals 3/2, 4/3 and 5/4.This scale divides the octave into 34.188 stepsforming intervals of 35.1 cents.

• Harmonic (chromatic): This twelve-tone

scale is created in the partials in the fifth octaveof the harmonic series. The scale degrees thatcorrespond to the classic just intervals are themajor second, major third, perfect fifth andmajor seventh.

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Index

AAdjust Vibrato 41

All/Tie Buttons 46

Amplitude Amount 33

Antares Audio Technologies ii, 1

Antares Online Community 6

Arrow Tool 48

Authorizing Auto-Tune 7 6

Automatic Mode 10

Correction example 11Retune Speed 11

Scales 10

Vibrato 11

Automatic Mode Controls 24

Create Vibrato 32

MIDI Functions 30

Pitch Change Meter 34

Pitch Correction Functions 24

The Edit Scale Display 26

Virtual Keyboard 28

Auto Scroll 46

Auto-Tune 5 3Auto-Tune Evo 3

Auto-Tune Vocal Effect 77

Bbackground information 7

BIG IMPORTANT NOTE 3

Bypass 24, 26

Bypass All 27

CCents 27

Cher 77

Cher/T-Pain-Style Effect 77

Clear All Button 51, 56

Clock Controls 35

Determining if your host providesvalid clock information 35

Sample Rate Display 36

Selectable Clock Source 35

Sync to host transport (host dependent) 35

Time Display Mode 36

Using Internal Clock Mode 35

Common Controls 17

Bypass 24

Correction Mode 20

Formant Correction 20

Input Type 17

Key Selection 18Options 21

Scale Detune 19

Scale Selection 18

Select Pitch Reference 18

Throat Length 19

Tracking 17

Transpose 19

Contemporary Tunings 80

Continuous Controls 17

Correction Mode 20

Correct Pitch 37

Create Vibrato 32Amplitude Amount 33

Formant Amount 33

Onset Delay 32

Onset Rate 32

Pitch Amount 33

Rate 32

Shape 32

Variation 32

Cursor Time Position Display 45

Curve Tool 47

Cut And Copy Buttons 51

DData Error Indicator 53

Data File Management Button 59

Data File Management Dialog 59

Delete All Data Files 61

Detected Pitch Display 45

Determining if your host providesvalid clock information 35

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EEdit Buttons 51

Clear All Button 51

Cut And Copy Buttons 51

Nudge Buttons 52Paste Button 51

Redo Button 51

Select All Button 51

Snap To Note Button 51

Undo Button 51

Edit Functions 23

Editing Modality 46

Editing Tools 46

Edit Scale Display

Bypass 26

Bypass All 27

Cents 27Remove 27

Remove All 27

Set All 27

Set Major/Set Minor 27

Enable Button 55

Envelope Graph Display 45, 55

Equal Tempered Scale 8

Ethnic Tunings 79

Evo™ Voice Processing Technology 4

FFacebook 6

Find Data Folder… 60, 61

Formant Amount 33


GGraphical Mode 12

Pitch Shifting, Formant Correction and ThroatModeling 13


Graphical Mode Controls 35Clock Controls 35

Edit Buttons 51

Editing Tools 46

MIDI Functions 42

Pen Tablet Input 52

Pitch and Envelope Graph Displays 44

Pitch Shifting, Formant Correction and ThroatModeling 52

Pitch Tracking and Correction Objects 36

Graphical Tools

Arrow Tool 48

Curve Tool 47Hand Tool 50

I-Beam Tool 50

Line Tool 47

Magnifying Glass 50

Note Tool 48

Scissors Tool 50

Graphic Tools 22

HHand Tool 50

Historical Tunings 79Hold Button 34

Humanize 24

II-Beam Tool 50

Import Auto 38

Input Type 17

Installing Auto-Tune 7 6

Instance ID 30

KKeyboard Equivalents 52

Key Selection 18

knowledgebase 6

LLearn Scale From MIDI 30

License Agreement iii

Line Tool 47

MMagnifying Glass 50

Make Curve 37

Make Notes 38

Make Notes From MIDI 43

MIDI 4

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MIDI Functions 30, 42

Instance ID 30

Learn Scale From MIDI 30

Make Notes From MIDI 43

Octave As Played/All Octaves 31

Recording MIDI Information 42Show MIDI 43

Target Notes Via MIDI 31

Modern Equal Temperament 79

Move Data Files… 60

Move Point Tool 56

Move Region Tool 57

NNatural Vibrato 25

Note Tool 48

Nudge Buttons 52Number of Note Objects 39

OObject Pitch Display 45

Octave As Played/All Octaves 31

Onset Delay 32

Onset Rate 32

Options 21

Output Pitch Display 45

PPaste Button 51

Pen Tablet Input 52

Pitch 7, 8, 9

Equal Tempered Scale 8

Pitch Amount 33

Pitch and Envelope Graph Displays 44

All/Tie Buttons 46

Auto Scroll 46

Cursor Time Position Display 45

Detected Pitch Display 45

Envelope Graph Display 45Object Pitch Display 45

Output Pitch Display 45

Pitch Graph Display 44

Pitch Graph Scale 45

Show Lanes 44

Pitch Change Amount Indicator 34

Pitch Change Meter 34

Hold Button 34

Pitch Change Amount Indicator 34

Pitch Correction Functions 24

Humanize 24

Natural Vibrato 25Retune Speed 24

Targeting Ignores Vibrato 25

Pitch Graph Display 44, 55

Pitch Graph Scale 45

Pitch Shifting, Formant Correction and ThroatModeling 13, 52


Pitch Shifting 13

Throat Modeling 14

Pitch Tracking and Correction Objects 36

Adjust Vibrato 41

Correct Pitch 37Import Auto 38

Make Curve 37

Make Notes 38

Number of Note Objects 39

Retune Speed 41

Throat Length Adjust 42

Track Pitch 36

Qquantization 77

RRate 32

Recording MIDI Information 42

Redo Button 51, 55

Remove 27

Remove All 27

Rename Folder 60

Retune Speed 11, 41

SSample Rate Display 29, 36

Scale Detune 19

Scales 10, 79

Contemporary Tunings 80

Ethnic Tunings 79

Historical Tunings 79

Modern Equal Temperament 79

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Scale Selection 18

Scissors Tool 50

Selectable Clock Source 35

Select All Button 51

Select Pitch Reference 18

serial number 1Set All 27

Set Major/Set Minor 27

Setup Folder Location… 62

Shape 32

Show Lanes 44

Show MIDI 43

Snap To Note Button 51

Sync to host transport (host dependent) 35

TTargeting Ignores Vibrato 25Target Notes Via MIDI 31

Technical Support 6

The Edit Scale Display 26

Throat Length 19

Throat Length Adjust 42

Time Control Functions 55

Clear All Button 56

Enable Button 55

Redo Button 55

Undo Button 55

Time Display Mode 36

Time Edit Tools 56Move Point Tool 56

Move Region Tool 57


Enhanced Amplitude Envelope Display 15

Non-destructive Editing 15

Time Tools 14

Time Tracking 14

Tracked Data Management 58

Time Tools

Move Data Files… 60

Rename Folder 60

Setup Folder Location… 62

Tracking 17

Track Pitch 36

Track Pitch + Time 54Transpose 19

Tutorials 63

1: Automatic Mode Basics 63

2: Targeting IgnoresVibrato Function 64

3: Natural Vibrato Function 65

4: Using the Automatic Mode MIDI Functions65

5: Transpose andFormant Control 66

6: Graphical Mode Basics 67

7: Precision 688: Make Curve Function 69

9: Import Auto Function 70

10: Make Notes Function 72

11: Time: Error Correction 74

12: Time: Creative Editing 75

Twitter 6

UUndo Button 51, 55

upgrading 3

Using Internal Clock Mode 35

VVariation 32

Vibrato 11

Virtual Keyboard 28

Keyboard Edit 28

Keyboard Mode 29

Sample Rate Display 29

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