Antares AutoTune 5 user manual

							
5

Tutorial 5: Graphical Mode Basics 
This tutorial will introduce you to the basic Graphical Mode functions, again using the “A2-A3-A2 sweep” file from Tutorial 1. 
Begin the tutorial by doing the following: 
 1.  Load or import “A2-A3-A2 sweep” into a 
track of your host program. Play the track so that you are familiar with the original audio. 
  2.  Set up Auto-Tune 5 to be an insert effect 
on that track. 
  3.  Set Auto-Tune 5 to Automatic Mode. 
  4.  Set the Key to “A” and the Scale to “Major.” 
  5.  Set Auto-Tune 5 to Graphical Mode. 
  6.  Click the Track Pitch button. 
  7.  Play the sweep signal through Auto-Tune 5. 
A red curve representing the pitch contour of the signal will be drawn to the screen as the file plays. 
  8.  Stop playback and click the Track Pitch 
button again to stop the tracking function.
To continue: 
  1.  Select the Magnifying Glass tool and drag 
out a box on the Pitch Graph that encloses the red curve. The result will be something like the following: 
  2.  Select the Line tool and enter a line similar 
to that below. By clicking multiple anchor points on the Pitch Graph, line segments joining the points will be drawn. 
When done, double-click the last point or press  on the keyboard.
To erase the last point entered, press  on the keyboard (you can press  repeatedly to erase back to the first anchor point). 
  3.  Set the Retune Speed to 0 and play back 
the sound to hear the effect. 
  4.  Select the Curve tool and create a curve 
similar to the one shown below. Click and hold the mouse button and drag to draw the curve. When done, release the mouse button. 
  5.  Play back the sound to hear the effect. 
  6.  Vary the Retune Speed between 0 and 50 
and note the effect.  
						

							
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Now that we have some blue lines and curves on the Pitch Graph Display, this would be a good time to become familiar with the functions of the Arrow and Scissors Tools. (Refer back to Chapter 3 for detailed descriptions of the Arrow and Scissors Tools’ behaviors.) 
As you experiment in the following steps, play back the file to hear the effect of each action. 
 7.  Select the Arrow Tool. 
  8.  Drag the Arrow Tool across the Pitch 
Graph to select objects. 
  9.  Move the cursor over curves and anchor 
points. Practice selecting entire curves and individual anchor points. 
  10.  Use the 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 (not curve) segments to create a new anchor point. Use the Arrow Tool to drag the new point to a new position.   
12.  Still using the Arrow Tool, double-click on 
the new anchor point you created in Step 11 to delete it and return the line to its initial state. 
  13.  Select the Scissors Tool and click on an 
existing line or curve to break it in two at that point. A stacked pair of anchor points will be created at the point you click. Select the Arrow Tool again and use it to drag each of the new end points in turn to new positions. 
  14.  Select one or more objects and play with 
the Edit Buttons (Undo, Cut, Copy, Paste, Select All). 
This would also be a good time to see if the Edit Button keyboard equivalents work in your host application: 
Command/Control-Z  Undo
Command-Shift-Z/Control-Y  Redo
Command/Control-X  Cut
Command/Control-C  Copy
Command/Control-V  Paste
Command/Control-A  Select All
Tutorial 6: Precision
This tutorial is actually more of a demonstration to show the extraordinary precision with which Auto-Tune 5 can track and correct intonation problems. If this doesn’t sound interesting, feel free to proceed to Tutorial 7 below. 
(By this time, we’ll assume you’re comfortable loading files and calling up Auto-Tune 5.)
 1.  Arrange the files “C2 Ahhh v3” and “C2 
Ohhh v1” so that they are on separate tracks and can be played simultaneously. 
  2.  Assign a separate instance of Auto-Tune 
5 to each of the two tracks and select Automatic Mode for each of them. 
  3.  In each Auto-Tune 5, set the Retune slider 
to 0. 
  4.  In each Auto-Tune 5, set the Key pop-up to 
B-flat.   
5.  Do whatever your host application requires 
to bypass both instances of Auto-Tune 5. 
  6.  Play back the files so you can hear them 
together without processing. 
    Believe it or not, these vocal samples from 
a sample CD are supposed to be the same pitch. Yikes! 
  7.  Now enable Auto-Tune 5 on each of the 
tracks and play the files again. 
If you’ve done everything right, you will hear the samples so well in tune that they sound like one voice.  
						

							


Tutorial 7: The Make Curve Function 
This tutorial will introduce you to the Make Curve function. The Make Curve function gives you by far the most precise control over pitch accuracy and inflection. 
 1.  Setup to process the file “Crowd All” 
through Auto-Tune 5. 
  2.  Select Graphical Mode. 
  3.  Press the Track Pitch button. 
  4.  Play the “Crowd All” file. 
  5.  Select the Magnifying Glass Tool and drag 
out a box on the Pitch Graph that encloses the red curve for the “-gether” part of the 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 the following:   
7.  Click the Make Curve button. Auto-Tune 5 
will compute a new blue curve object from the existing pitch data. (The new curve may be difficult to see at first because it will exactly overlay the red curve.) Click the I-Beam Tool on the background of the Pitch Graph to cancel the area selection. 
  8.  Both anchor points of the new curve 
will be selected. Select the Arrow Tool and click precisely on the left end of the curve to select only the left anchor point (you’ll know you’re over the anchor point when the cursor changes to the four-pointed arrow cursor). Drag this straight up, stretching the curve so it is centered around the D3 graph line. (If you press Option/Alt on your keyboard before clicking the anchor point, your movement will be constrained to the vertical, assuring that you maintain the time relationship of the curve.) 
  9.  Move the Arrow Tool over the body of 
the blue curve so that the cursor changes to the horizontal bar. Press and hold Option/Alt on your keyboard (to constrain movement to the vertical) and click and drag the curve straight down so it is centered on the C3 graph line. The Pitch Graph should now appear as follows: 
  10.  Set the Retune Speed to 0 and play back 
the sound. Note that the errant note is now in tune. 
To continue, here is an alternative approach to the same pitch problem using the Line Tool.  
						

							


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

							


Tutorial 8: The Import Auto Function
The Import Auto function allows you to display and edit the pitch corrections that would result from specific Automatic Mode settings. 
 1.  Setup to process the file “Crowd All” 
through Auto-Tune 5. 
  2.  Select Automatic Mode and set the Key 
and Scale to C Major and the Retune Speed to the default of 20.
  3.  Select Graphical Mode. 
  4.  Press the Track Pitch button. 
  5.  Play the “Crowd All” file. 
  6.  Select the Magnifying Glass Tool and drag 
out a box on the Pitch Graph that encloses the red curve for the words “crowd all rushed.” You will see something like the following: 
  7.  Use the I-Beam Tool to drag a selection in 
the Pitch or Envelope Graph as shown:   
8.  Click the Import Auto button. Auto-Tune 5 
will compute a new blue curve object from the existing pitch data: 
PITCH DRAWN TO NEIGHBORING TONE 
Assuming that this entire phrase should be centered around E3, there are several problem spots, indicated above, where the pitch is being incorrectly adjusted towards neighboring tones. 
  9.  To hear the pitch corrections that would 
be produced in Automatic Mode, set the Graphical Mode Retune Slider to 0, (fast) and play back the file. 
  10.  Switch to the Automatic Mode and click 
the Remove buttons next to C, D and F. 
  11.  Return to the Graphical Mode and use the 
I-Beam tool to drag out a selection in the Envelope Graph, as in Step 7. 
  12.  Press the Import Auto button. Auto-Tune 
5 will compute a new blue curve from the existing pitch data: 
RAISED PITCH 
						

							
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Note how the pitch errors from the previous curve have been removed. Also, note the “raised pitch” indicated above. This occurs because the Automatic Mode Retune slider value of 20 is slow compared to the rapidly increasing pitch that is occurring at that point in time. But even with the raised pitch, the average output pitch is centered on E3 and the phrase sounds in tune.  
						

							
5

Chapter	5: 	New 	Feature 	Quick 	Start 	Guide
This chapter brings all of the new Auto-Tune 5 features together in one place to help experienced Auto-Tune 4 users learn the new features without having to slog through all of the stuff they already know. (The items below also appear in their appropriate places elsewhere in the manual.)
With a few exceptions, the new features in Auto-Tune 5 are additions to the current Auto-Tune 4 functionality. In other words, pretty much everything that isn’t a new feature works pretty much the same as it did in Auto-Tune 4. The exceptions are noted below. 
General Features
•  Improved pitch detection algorithm: While Auto Tune’s patented pitch detection technology has always provided unmatched speed and accuracy, Auto-Tune 5 introduces improvements in performance with marginal quality (noisy, poorly isolated, etc.) audio.
•  
A sleek new interface: As Auto-Tune’s features have proliferated from version to version, we have continually focused on maintaining its ease of use. With Auto-Tune 5, we have undertaken a complete graphic redesign. The result is both easy on the eyes and logically groups related controls for intuitive functionality.
Options Dialog
• Consolidated Pitch Tracking control: The Automatic and Graphical Mode Tracking controls have been consolidated into a single control and relocated to the Options dialog for set-it-and-forget-it simplicity.
•  
Graphical Mode color schemes: Auto-Tune 4 introduced an optional color scheme designed for readability by people with the most common forms of color blindness. For Auto-Tune 5, we have designed the standard Graphical Mode color scheme to be equally readable. Consequently, the optional color schemes are no longer necessary and have been removed from the Options dialog.
Automatic Mode Features 
Highlights
•  Humanize function
•   Realtime natural vibrato adjustment
•   Improved Targeting function renamed
Details
HumanizeOne of the criticisms occasionally (if, we feel, unfairly) leveled at pitch correction is that it results in performances that are “too perfect.” Frankly, it’s been our experience that for the skillful engineer, Auto-Tune has always offered the means to perform its magic in a way that makes it virtually impossible for the listener to hear that it has been used (without, of course, comparing the result to the original performance).
Nonetheless, one situation that could previously send you to Graphical Mode was a performance that included both very fast notes and longer sustained notes. The problem was that in order to get the fast notes in tune, you’d have to set a fast Retune Speed, which would then make any sustained notes sound unnaturally static. The solution was adjusting in Graphical Mode.
Now, with the new Humanize function, you can get the same results quickly and easily in Automatic Mode. The Humanize function differentiates between short and sustained  
						

							
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notes and lets you apply a slower Retune Speed just to the sustained notes. Thus, the short notes are in tune and the sustained notes still allow the natural variations of the original performance. 
Here’s how it works:
Start by setting Humanize to 0 and adjusting the Retune Speed until the shortest problem notes in the performance are in tune. At this point, any sustained notes may sound static. If so, start advancing the Humanize control. The higher the Humanize setting, the more the Retune Speed is slowed for sustained notes. The goal is to find the point where the sustained notes are also in tune and just enough of the natural variation in the performance is present in the sustained notes to sound natural and realistic. (If you set Humanize too high, any problem sustained notes may not be fully corrected.)
This is one of those settings where you have to let your ears be your guide. The optimum Humanize setting for any particular performance will depend on the performance style, the other Automatic Mode settings and the specific effect you desire.
The default Humanize setting is 0. Double-clicking or Command (Mac)/Control (PC) clicking the Humanize knob will reset it to that 
value.
Natural VibratoThe Natural Vibrato function allows real-time modification (either increase or decrease)of the depth of any vibrato present in the input audio while preserving the original shape and character of the vibrato.
This function uses the same Stochastic Optimal Linear Estimation Theory as the Targeting Ignores Vibrato function to differentiate between vibrato and intended pitch changes, adjusting the vibrato depth while leaving intended pitch changes intact.
The Natural Vibrato function acts independently of the pitch correction functions. Of particular note is the fact that setting a scale note or notes to Bypass still allows vibrato 
adjustment for those notes. So, if you want to adjust a performance’s vibrato while making no other pitch changes, you can simply set all scale notes to Bypass and still use the Natural Vibrato function to adjust vibrato depth. 
NOTE: This function acts only on vibrato present in the original performance. If the original performance does not contain vibrato, this control will have no audible effect.
ANOTHER NOTE: Natural Vibrato adjustments function independently of the Create Vibrato functions described below. However, since both functions can operate simultaneously, they can interact in ways that may or may not be useful, depending on your intent. In most cases, you should probably use one or the other.
The default Natural Vibrato setting is 0. Double-clicking or Command (Mac)/Control (PC) clicking the Natural Vibrato knob will reset it to that value. 
Targeting Ignores VibratoFor (what we hope is) clarity, what was previously called the “Improved Targeting” function has been renamed “Targeting Ignores Vibrato”. The functionality remains the same.
Graphical Mode Features 
Highlights
•  Larger Pitch Edit Display
•   Sync to host transport
•   Selectable clock source
•   Realtime pitch tracking display
•   Full-time correction mode
•   Multiple simultaneous Graphical Mode 
instances
•   Editing functions are no longer modal
•   Make Auto renamed
•   Enhanced Envelope Display functionality
•   Realtime graphical vibrato depth adjustment
•   Dedicated Clear All Data function
•   Dedicated Snap To Note button 
						

							
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Details
Larger Pitch Edit DisplayAs you’ve no doubt noticed, the Pitch Edit Display is now bigger. Lots bigger.
Track PitchThe Track Pitch function is used to detect the pitch of the audio to be processed so that it can be displayed on the Pitch Graph Display.
Locate the desired audio and press the Track Pitch button. (If you are using Auto-Tune 5’s Internal clock (see below) you may (depending on your host) need to click the Reset button to reset the clock position to 00:00:0.) The Track Pitch button will flash red to indicate that Auto-Tune is in Track Pitch mode.
Next, start playback of the audio. A graphic representation of the pitch will be drawn to the display as the audio plays. When all of the audio you want to correct has played, stop playback. Note that Auto-Tune will remain in Track Pitch mode (the button will continue to flash red). If you are using the Host Clock and want to track the pitch of audio elsewhere in your track, simply use your host’s transport controls to move to that audio and start playback again. Auto-Tune will continue tracking pitch at that point. When you have tracked all of the audio you want to correct, click the Track Pitch button again. You will exit Track Pitch mode and the pitch display will automatically scale in such a way as to include all of the tracked audio.
NOTE: If you are using Auto-Tune 5’s Internal Clock (because your host does not provide valid clock information), you will not be able to navigate around your audio while tracking as described above. In that case you should either track all of the audio at once, or track an individual section, then correct it and bounce the changes (or use a destructive editor if available) and then move on to the next section.
ANOTHER NOTE: If the length of the audio to be processed exceeds the currently set size of the buffer as set in the Options dialog, playback will stop when the buffer is full. If this happens, increase the buffer size as necessary. 
YET ANOTHER NOTE: Be cautious about changing the Tracking value (in the Options dialog) after performing the Track Pitch function. Auto-Tune 5 uses the Tracking setting during both the Track Pitch function and while correcting pitch. Changing the Tracking setting after Tracking Pitch, but before correcting, may result in unpredictable pitch modifications or strange (though possibly interesting) artifacts. 
Correct Pitch (host dependent)If you’re an experienced Auto-Tune user, you’re probably wondering where the Correct Pitch button is. Well, you can stop looking. It’s not there.
In all previous versions of Auto-Tune, after creating correction curves, you would have to press the Correct Pitch button in order to put Auto-Tune into correction mode. As a result, the Auto-Tune window always had to be open in order to use Graphical Mode. Well, no longer. Now, simply create your corrections and play. Essentially, anytime you are not tracking pitch, Auto-Tune 5 will be correcting. It is this basic change that allows you to use multiple instances of Auto-Tune 5 simultaneously in Graphical Mode. 
NOTE: This functionality is only available for hosts that provide valid time information. See the Selectable 
Clock Source section below for details.
Sync to host transportFor hosts that provide valid time information, Auto-Tune 5 will now maintain sync with the host program. Once you have tracked audio and created correction curves, you can move around in your track at will. No more having to always start playback at exactly the same location.
NOTE: In some cases, this functionality may require updating to the latest version of your host program. Check the Read Me file for details. 
Additionally, if your host does not provide valid time information or does not strictly adhere to its plug-in format specification, sync problems could ensue. In that case, see the Selectable Clock Source section below. (Again, check the Read Me file for any specific examples.) 
						

							
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Selectable Clock Source For hosts that do not provide valid time information, Auto-Tune 5’s clock display and selection functions let you use an internal time reference for Auto-Tune 4 style operation. 
Since all of the controls in the Clock section are used together, we will describe them as a group.
Determining if your host provides valid clock informationTo determine if your host supplies valid clock information, click the Host button to select the host-supplied clock and put your host into Play. If Auto-Tune 5 is receiving valid timing information from your host, the Position display should constantly update to reflect your current position in the track. Moving forward or backward in the track should result in corresponding display updates. If this is in fact happening, you have confirmed your host’s timing info. Simply leave the clock setting on Host and enjoy all of Auto-Tune 5’s new features. 
On the other hand, if the display does not update or if it does not accurately reflect your host’s transport, Auto-Tune 5 may be getting bad (or no) clock information. In that case, you will need to use the Internal clock option. 
Using Internal Clock ModeTo select Auto-Tune 5’s Internal clock, click the Internal button. 
To track and correct pitch in Internal Clock mode:
 1.  Use your host transport to move to the 
beginning of the section you want to correct and note that position, as you will need to return to that precise place for correction.
  2.  Click the Reset button to set the clock 
position to 00:00:0.
  3.  Click the Track Pitch button, play the 
desired audio and then stop the transport.
  4.  Use the various tools described below to 
create your pitch correction curves.
  5.  Use your host transport to return to the 
precise start location defined in step 1.  
6.  Click the Reset button to reset the clock 
position to 00:00:0.
  7.  Play your audio. Auto-Tune 5 will apply your 
corrections.
NOTE: Some hosts that require Internal Clock nonetheless have the capability to automatically reset the clock to 00:00:0. (Versions of Pro Tools HD and Pro Tools LE prior to v7.2 specifically have this capability.) In those cases, steps 2 and 6 above are not necessary.
In Internal Clock Mode, the following features are unavailable:
•   Sync to Host Transport (obviously)
•   Multiple simultaneous Graphical Mode 
instances with windows not open
NOTE: As the various host developers are constantly updating their applications’ functionality, it may be necessary to update to the latest version of your host to use Host Clock Mode.
In addition, we are working with host developers to ensure that as many as possible provide valid clock info, so even if yours doesn’t now, it may well add that capability in a future version. (And if it doesn’t now, you might want to drop the developers an email and let them know you’ d like it to.)
Realtime pitch tracking displayDuring the Track Pitch process, the graphic representation of the pitch will be displayed in realtime as the audio plays.
Multiple simultaneous Graphical Mode instances You can now have multiple instances of Auto-Tune Graphical Mode operating on different tracks simultaneously, even if their windows are not open. In previous versions, since you had to have plug-in windows open to engage Correct Pitch mode, only open instances could be active. No longer.