Antares AutoTune 5 user manual

							
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The End Of Editing ModalityIn previous versions of Auto-Tune, tracking pitch, editing pitch objects and correcting pitch operated in a modal manner — i.e., when you were doing any one of those things, you couldn’t do either of the others. With Auto-Tune 5, you are now free to use any of the graphical editing functions while either tracking or correcting pitch.
You can, for example:
•  Draw new pitch objects while you are either 
tracking or correcting pitch.
•   Edit existing pitch objects while correcting 
pitch — even when the position indicator is passing over the object you’re editing (in which case the edit takes effect as soon as you release your mouse button).
•   Click either Make Curve or Import Auto 
while tracking or correcting pitch. (If you do this while tracking pitch, the resulting curves with apply only to the audio that has already been tracked at the instant you click the respective button).
•   Cut, copy or paste pitch objects while 
tracking 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 this new functionality, you will have a lot more flexibility in developing whatever workflow works best for you. 
Import AutoWhat was previously called the “Make Auto” function has been renamed “Import Auto”. The functionality remains the same.
Enhanced Envelope Display functionality 
•  When in “ALL” mode, the Envelope Display 
automatically scales to precisely encompass the tracked audio (rather than defaulting to the entire length of the buffer). 
•   The behavior of the various editing tools 
has been changed such that for every tool except the I-Beam, moving the cursor onto the Envelope Display causes the tool to temporarily change into the Magnifying Glass Tool (perfect for quickly moving to 
another portion of your audio without having to manually change tools). 
•   Using the I-Beam to make a selection on the 
Envelope Display now automatically causes the Pitch Graph Display to move to the selected audio.
Adjust VibratoThe purpose of this function is to let you quickly and easily change (either increasing or decreasing) the amount of an existing vibrato, while preserving the original shape and character of the vibrato. 
To use this function, select the I-Beam tool and highlight the range of audio you’d like to edit. Set the desired amount of change using the Adjust Vibrato slider. A blue correction curve will be created that reflects your setting. 
If a correction curve already exists in the selected range (as a result of Make Curve, Import Auto or the use of the Line or Curve tool), that curve will be replaced by the Adjust Vibrato curve. Consequently, if you need to both modify the vibrato and correct the pitch of a phrase, you should first adjust the vibrato and then manipulate the resulting blue curve to correct the pitch. (If you do it in the opposite order, your vibrato adjustment will wipe out your previously executed pitch correction, often resulting in exclamations of a possibly profane nature.)
The default Adjust Vibrato setting is 0. Command (Mac)/Control (PC) clicking the slider will reset it to that value.
NOTE: This function is only available when some tracked audio has been selected with the I-Beam tool. If no audio is selected, the slider handle will not appear. Once some audio is selected, the handle will appear.
ANOTHER NOTE: This function uses the same Stochastic Optimal Linear Estimation Theory as the Auto Mode’s Targeting Ignores Vibrato function to attempt to differentiate between vibrato and intended pitch changes. Therefore, you can typically select a portion of your audio containing both vibrato and intended pitch  
						

							
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change and the Adjust Vibrato function will scale the vibrato while leaving the intended pitch changes alone. But again,  depending on the actual performance, sometimes this will work better than others. If Adjust Vibrato seems to be making changes to parts of the audio you’ d like to leave alone, simply Undo the adjustment and use the I-Beam to select only the vibrato portions you wish to edit. 
The Clear All Button Clicking the Clear All button erases all tracking and correction information, whether or not it is currently visible on the Pitch Display. Since you can not undo this function (and accidentally executing it could be catastrophic), you must confirm your intent in a warning dialog. 
The Snap To Note ButtonPress this button to enable Snap To Note mode when using the Line Tool.  In Snap To Note mode, each line segment will automatically snap to the nearest semitone. 
Pressing the Shift key on your keyboard while drawing a line temporarily toggles the state of the Snap To Line button. I.e., if Snap To Note mode is not enabled, pressing Shift will enable it for as long as Shift is pressed. Conversely, if Snap To Note mode is enabled, pressing Shift will disable it for as long as Shift is pressed.
Have fun! 
						

							
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Chapter	6: 	Creative 	Applications 	for	
Auto-Tune	
Auto-Tune 5 works on vocals so well you may think that’s all it can do. Actually, lots of instruments can use it to great advantage. Fretless bass, electric violin, trombone, even the theremin, all feature continuous pitch potential, unconstrained by frets or keys. Here are some other ideas for using Auto-Tune 5: 
•  
Produce instant double tracking in one take! Record onto two tracks, processing only one of the tracks through Auto-Tune 5. If you’re going for a tight double track, set Retune Speed rather fast and Detune Auto-Tune 5 slightly. Increase both of these parameters to broaden the doubled effect. You can also use some Vibrato to make a more dynamic effect (small depth and rate values are best, with medium delay). Of course, you can also decide to record a single virgin track, and bounce that to another, processing through Auto-Tune 5. This way you can dial in the effect while auditioning the mix. 
•   Recording with two mics (as above) 
while improvising can also produce heterophonic effects (the effect of 
two players and instruments playing the ‘same’ melody, which actually varies with some different pitch material). The more constrained your scale is in Auto-Tune 5, the more variation there will be between the two performances. 
•  
To set up a drone or ambient aura behind a melodic performance, try sending some of the signal to Auto-Tune 5 with an extremely constrained scale (for example, in the key of C: C, F, G, A#) and then on to a lush, long reverb. The effect produced will be a steady backdrop of chanting tones behind the main melodic material.  •
 
Don’t be afraid to use just as little of Auto-Tune 5 as you need. It’s quite possible that a performer has really quite good intonation, but fails consistently on one or two notes. In this case, use Auto-Tune 5’s individual Bypass function (using the Edit Scale display or on the Virtual Keyboard) to bypass all the notes except the one(s) which need the retuning. This way, Auto-Tune 5 is working in a completely transparent mode, and only when needed.  
						

							
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