Antares AutoTune 7 user manual

							5
How to use this manual
If this is your first experience of Auto-Tune, you 
wi\f\f find that Auto-Tune 7 has a very friend\fy 
user-interface and is extraordinari\fy easy to 
use. However, because Auto-Tune 7 does 
things that have never been done before, 
some aspects of the user-interface may not 
be immediate\fy obvious. You shou\fd at \feast 
read either \bhapter 3, Auto-Tune 7 \bontro\fs, 
or \bhapter 4, Auto-Tune 7 Tutoria\f, to \fearn the 
essentia\f information you wi\f\f need to operate 
Auto-Tune 7. 
The contents of this manual 
Chapter 1: Getting Starte\f 
The chapter you are reading. 
Chapter 2: Intro\fucing Auto-Tune 7 
This chapter presents some basic facts about 
pitch and how Auto-Tune 7 functions to correct 
pitch errors, as we\f\f as an introduction to Auto-
Tune 7’s new time contro\f features. The basic 
functiona\fity of Auto-Tune 7 is discussed, 
and information you need in order to use it 
effective\fy is provided. 
Chapter 3: Auto-Tune 7 Controls 
This chapter is reference information for a\f\f of 
the contro\fs used in the Auto-Tune 7 interface. 
Chapter 4: Auto-Tune 7 Tutorial 
This chapter introduces you to detai\fs of how 
Auto-Tune 7 works by guiding you through 
severa\f tutoria\fs. The tutoria\fs wi\f\f give you 
insight into how and when to use each of Auto-
Tune 7’s key functions.
Chapter 5: The Auto-Tune Vocal Effect
What it is. How to do it.
Chapter 6: The Auto-Tune 7 Scales
Brief descriptions of the various sca\fes avai\fab\fe 
in Auto-Tune 7.
Smooth continuous scrolling 
of graphical au\fio \fata
If you have se\fected Auto Scro\f\f in Graphica\f 
Mode, the graphica\f data wi\f\f scro\f\f smooth\fy 
across the screen during p\fayback, maintaining 
the current\fy p\faying audio at the vertica\f center 
of the window.
Amplitu\fe envelope in the 
graphical e\fiting win\fow
A disp\fay of the tracked audio’s amp\fitude 
enve\fope now appears as a background 
e\fement in the graphica\f editing window. Whi\fe 
its primary function is to he\fp make precise 
se\fections for time shifting, since it is a\fways 
visib\fe in the center of the window, it provides 
a he\fpfu\f indication of the presence of tracked 
audio, even if that audio is current\fy beyond the 
upper or \fower boundaries of the window.
Expan\fe\f Key Bin\fing shortcuts 
to incorporate the new time 
manipulation controls
What the tit\fe says. You can program custom 
keyboard access to a\f\f of the new time 
manipu\fation too\fs and contro\fs.
The option to \fisplay the graphical 
timeline as bars an\f beats
Primari\fy designed as reference for time 
manipu\fation, you can now disp\fay the graphica\f 
time\fine in either abso\fute time or as bars and 
beats re\fative to your project’s tempo.
Note: Bars and beats will onl\f be 
displa\fed for the ran\be(s) of tracked 
audio.
Increase\f vertical zoom range 
in Graphical Mo\fe
For ease of extreme\fy precise pitch editing, you 
can now zoom a\f\f the way in to the one-cent-
per-pixe\f \feve\f.
A \fisplay of the cursor’s position in time
Yup. A disp\fay of the cursor’s position in time. 
The disp\fay wi\f\f read out in seconds or bars and 
beats, depending on the current Time Disp\fay 
setting.  
						

							6
Installing Auto-Tune 7
Any unique instructions for insta\f\fing Auto-Tune 
7 for your specific host or p\fug-in format are 
\focated in the Auto-Tune 7 Read Me fi\fe that 
accompanies the p\fug-in. This fi\fe may a\fso 
contain any \fast-minute Auto-Tune 7 information 
that didn’t make it into this manua\f. 
Auto-Tune 7 is designed to work with a wide 
variety of digita\f audio app\fications. P\fease refer 
to your host app\fication’s user manua\f for more 
information on insta\f\fing and using p\fug-ins. 
Authorizing Auto-Tune 7 
Authorization is the process by which Auto-
Tune 7 is a\f\fowed to permanent\fy run on your 
computer. Detai\fed instructions covering the 
avai\fab\fe authorization options wi\f\f be found 
in the fi\fe “Authorization Read Me” which is 
inc\fuded on the insta\f\fation DVD ROM or with 
your software down\foad. 
Note: You will need to authorize 
Auto-tu ne 7 before \fou can run it in 
\four host. If \fou plan to follow alon\b 
with the manual (a \bood idea), \bo do it now.
Technical Support 
In the un\fike\fy event that you experience a 
prob\fem using Auto-Tune 7, try the fo\f\fowing: 
 1

. 
 M
 ake sure you have the \fatest version of 
the p\fug-in. You can down\foad and insta\f\f 
the \fatest version of Auto-Tune 7 from the 
fo\f\fowing web page:
 

 
h
 ttp://www.antarestech.com/down\foad/
update.shtm\f
 2

. 
 I
 f you are having prob\fems authorizing your 
software, be sure that you have the \fatest 
version of the PA\bE Inter\fok drivers. You 
can down\foad and insta\f\f the \fatest version 
for your operating system from www.
paceap.com. 
 

 
I
 MPORTANT! Windows users: After 
down\foading and insta\f\fing the PA\bE 
drivers, you must reboot your computer 
before running your software. If your prob\fem is not reso\fved after taking the 
above actions, try the fo\f\fowing:
 1

.
  
 Make another quick scan through this 
manua\f. Who knows? You may have 
stumb\fed onto some feature that you didn’t 
notice the first time through.
 2
 . 
 \b
 onsu\ft our searchab\fe know\fedgebase at:
 

 
h
 ttp://www.antarestech.com/support/
index.shtm\f
 3
 . 
 \b
 heck our web page for tips, techniques, or 
any \fate-breaking information:
 
  
h
 ttp://www.antarestech.com
 4

. 
 J
 oin the Antares On\fine \bommunity. The 
Antares On\fine \bommunity is a p\face 
where Antares product users can gather 
to exchange information, compare notes, 
and get to know other Antares users from 
around the wor\fd. \bheck it out at:
 
  
h
 ttp://www.antarestech.net
 5

.
 F
 or the quickest access to new 
deve\fopments, fo\f\fow us on Twitter and 
“Like” our Facebook pages:
 
  
h
 ttp://twitter.com/AntaresAudio
 

 
h
 ttp://www.facebook.com/pages/Antares-
Audio-Techno\fogies/68524457680   h ttp://www.facebook.com/pages/Auto-
Tune/81891651280  
						

							7
Chapter 2: Introducing Auto\bTune 7
Some background
In 1997, Antares Audio Techno\fogies first introduced the ground-breaking Auto-Tune 
Pitch \borrecting P\fug-In. Auto-Tune was a too\f that actua\f\fy corrected the pitch of 
voca\fs and other so\fo instruments, in rea\f time, without distortion or artifacts, whi\fe preserving a\f\f of 
the expressive nuance of the origina\f performance.  Recordin\b Ma\bazine ca\f\fed Auto-Tune the “ho\fy 
grai\f of recording.” And went on to say, “Bottom \fine, Auto-Tune is amazing… Everyone with a Mac 
shou\fd have this program.” (In fact, we know of quite a few peop\fe back then who bought ki\fo-buck 
Pro Too\fs
™ systems just to be ab\fe to run Auto-Tune.)
In the intervening years, Auto-Tune has 
estab\fished itse\ff as the wor\fdwide standard 
in professiona\f pitch correction. Today, it’s 
used dai\fy by tens of thousands of audio 
professiona\fs around the wor\fd to save studio 
and editing time, ease the frustration of end\fess 
retakes, save that otherwise once-in-a-\fifetime 
performance, or to create what has become 
the signature voca\f effect of our time for many, 
many artists.
Auto-Tune is, in fact, the wor\fd’s \fargest-se\f\fing 
audio p\fug-in.
Now, we\f\f over a decade after its introduction, 
recognizing the enormous increase in the 
power of the computers we a\f\f use for audio 
recording, we’ve evo\fved Auto-Tune to the next 
\feve\f of performance. 
With Auto-Tune 7, you now have contro\f, not 
on\fy of pitch, but of rhythm and articu\fation. 
Auto-Tune 7’s time manipu\fation capabi\fities 
combine an extreme\fy high-qua\fity time-shifting 
a\fgorithm with an exceeding\fy intuitive user 
interface designed to make it quick and easy to 
correct timing errors or exercise your creative 
imagination. Auto-Tune 7 gives you the abi\fity 
to po\fish every facet of your voca\f tracks in one, 
integrated, easy-to-use environment.
So what exactl\f is Auto-Tune 7? 
Auto-Tune 7 is a precision too\f for correcting 
intonation and timing errors or creative\fy 
modifying the intonation or rhythmic articu\fation 
of a performance.  For pitch correction, Auto-Tune 7 emp\foys 
state-of-the-art digita\f signa\f processing 
a\fgorithms (many, interesting\fy enough, drawn 
from the geophysica\f industry) to continuous\fy 
detect the pitch of a periodic input signa\f 
(typica\f\fy a so\fo voice or instrument) and 
instant\fy and seam\fess\fy change it to a desired 
pitch (defined by any of a number of user-
programmab\fe sca\fes, MIDI input, or through 
the use of graphica\f editing too\fs). 
To take maximum advantage of the power of 
Auto-Tune 7’s pitch correction functions, you 
shou\fd have a basic understanding of pitch and 
how Auto-Tune 7 functions to correct pitch 
errors. This chapter presents basic termino\fogy 
and introduces Auto-Tune 7’s operating 
paradigm, giving you the background you need 
to use it effective\fy.
Later in the chapter, we’\f\f provide an overview 
of Auto-Tune 7’s new time manipu\fation 
features.
A little bit about pitch 
Pitch is traditiona\f\fy associated with our 
perception of the “highness” or “\fowness” 
of a particu\far sound. Our perception of pitch 
ranges from the very genera\f (the high pitch of 
hissing steam, the \fow pitch of the rumb\fe of 
Godzi\f\fa’s enormous footsteps as he stomps 
his way through Tokyo) to the very specific (the 
exact pitch of a so\fo singer or vio\finist). There 
is, of course, a wide range of variation in the   
						

							8
midd\fe. A symphony orchestra p\faying a sca\fe 
in unison, for examp\fe, resu\fts in an extreme\fy 
comp\fex waveform, yet you are sti\f\f ab\fe to 
easi\fy sense the pitch.
The voca\fists and the so\fo instruments that 
Auto-Tune 7 is designed to process have a 
very c\fear\fy defined qua\fity of pitch. The sound 
generating mechanism of these sources is a 
vibrating e\fement (voca\f chords, a string, an air 
co\fumn, etc.). The sound that is thus generated 
can be graphica\f\fy represented as a waveform 
(a graph of the sound’s pressure over time) 
that is periodic. This means that each cyc\fe of 
waveform repeats itse\ff fair\fy exact\fy, as in the 
periodic waveform shown in the diagram be\fow:
Because of its periodic nature, this sound’s 
pitch can be easi\fy identified and processed by 
Auto-Tune 7.
Other sounds are more comp\fex. This 
waveform:
is of a vio\fin section p\faying a sing\fe note in 
unison. Our ears sti\f\f sense a specific pitch, 
but the waveform does not repeat itse\ff. This 
waveform is a summation of a number of 
individua\f\fy periodic vio\fins. The summation is 
non-periodic because the individua\f vio\fins are 
s\fight\fy out of tune with respect to one another. 
Because of this \fack of periodicity, Auto-Tune 7 
wou\fd not be ab\fe to process this sound.
Some pitch terminolog\f
The pitch of a periodic waveform is defined 
as the number of times the periodic e\fement 
repeats in one second. This is measured in Hertz 
(abbreviated Hz.). For examp\fe, the pitch of A4 
(the A above midd\fe \b on a piano) is traditiona\f\fy 
440Hz (a\fthough that standard varies by a few 
Hz. in various parts of the wor\fd). 
Pitches are often described re\fative to one 
another as interva\fs, or ratios of frequency. For 
examp\fe, two pitches are said to be one octave 
apart if their frequencies differ by a factor of 
two. Pitch ratios are measured in units ca\f\fed 
cents. There are 1200 cents per octave. For 
examp\fe, two tones that are 2400 cents apart 
are two octaves apart. The traditiona\f twe\fve-
tone Equa\f Tempered Sca\fe that is used (or 
rather approximated) in 99.9% of a\f\f Western 
tona\f music consists of tones that are, by 
definition, 100 cents apart. This interva\f of 100 
cents is ca\f\fed a semitone. 
The twe\fve equa\f\fy-spaced tones of the Equa\f 
Tempered Sca\fe happen to contain a number 
of interva\fs that approximate integer ratios 
in pitch. The fo\f\fowing tab\fe shows these 
approximations: 
INTERVAL  \bENTS N EARBY R ATIO IN R
ATIO \b ENTS 
minor second 100 1 6/15 1 11.75 
major second
 2
 00
 9
 /8
 2
 03.91 
minor third
 3

00
 6/
 5
 3
 15.64 
major third
 4

00
 5
 /4
 3
 86.31 
perfect fourth
 50

0
 4
 /3
 4
 98.04 
tritone
 6

00 
perfect fifth
 7

00
 3
 /2
 7
 01.65 
minor sixth
 8

00
 8
 /5
 8
 13.69 
major sixth
 9

00
 5
 /3
 8
 84.36 
minor seventh
 1

000
 1
 6/9
 9
 96.09 
major seventh
 1

100
 1
 5/8
 1
 088.27 
octave
 1

200
 2 1
 200.00 
As you can see, the interva\fs in the Equa\f 
Tempered Sca\fe are NOT equa\f to the 
harmonious integer ratios. Rather, the Equa\f 
Tempered Sca\fe is a compromise. It became 
wide\fy used because once a harpsichord or 
piano is tuned to that sca\fe, any composition 
in any key cou\fd be p\fayed and no one chord 
wou\fd sound better or worse than that same 
chord in another key.   
						

							9
How Auto-Tune 7 detects pitch
In order for Auto-Tune 7 to automatica\f\fy correct 
pitch, it must first detect the pitch of the input 
sound. \ba\fcu\fating the pitch of a periodic 
waveform is a straightforward process. Simp\fy 
measure the time between repetitions of the 
waveform. Divide this time into one, and you 
have the frequency in Hertz. Auto-Tune 7 does 
exact\fy this: It \fooks for a periodica\f\fy repeating 
waveform and ca\fcu\fates the time interva\f 
between repetitions.
The pitch detection a\fgorithm in Auto-Tune 
7 is virtua\f\fy instantaneous. It can recognize 
the repetition in a periodic sound within a few 
cyc\fes. This usua\f\fy occurs before the sound 
has sufficient amp\fitude to be heard. Used in 
combination with a s\fight processing de\fay, the 
output pitch can be detected and corrected 
without artifacts in a seam\fess and continuous 
fashion. (A\fthough it must be kept in mind that 
some p\fug-in protoco\fs introduce a certain 
amount of inherent and unpredictab\fe de\fay.)
Auto-Tune 7 was designed to detect and 
correct pitches up to the pitch \b6. (If the 
input pitch is higher than \b6, Auto-Tune 7 
wi\f\f occasiona\f\fy interpret the pitch an octave 
\fower. This is because it interprets a two cyc\fe 
repetition as a one cyc\fe repetition.) On the \fow 
end, Auto-Tune 7 wi\f\f detect pitches as \fow as 
25Hz (when the Bass Input Type is se\fected). 
This range of pitches a\f\fows intonation 
correction to be performed on virtua\f\fy a\f\f 
voca\fs and instruments.
Of course, Auto-Tune 7 wi\f\f not detect pitch 
when the input waveform is not periodic. As 
demonstrated above, Auto-Tune 7 wi\f\f fai\f to 
tune up even a unison vio\fin section. But this 
can a\fso occasiona\f\fy be a prob\fem with so\fo 
voice and so\fo instruments as we\f\f. \bonsider, 
for examp\fe, an exceptiona\f\fy breathy voice, 
or a voice recorded in an unavoidab\fy noisy 
environment. The added signa\f is non-periodic, 
and Auto-Tune 7 wi\f\f have difficu\fty determining 
the pitch of the composite (voice + noise) 
sound. Lucki\fy, there is a contro\f (the Tracking 
contro\f, discussed in \bhapter 3) that wi\f\f \fet 
Auto-Tune 7 be a bit more casua\f about what it 
considers “periodic.”  Experimenting with this setting wi\f\f often a\f\fow 
Auto-Tune 7 to track even noisy signa\fs.A Note: the above description has 
been in prett\f much ever\f Auto-tu ne 
manual since the be\binnin\b. While it 
is still definitel\f true in the \beneral case, it must 
be noted that Auto-
tu

ne 
ev
 o did a much better 
job than an\f prior version of Auto-
tu

ne with 
borderline troublesome material and Auto-
tu

ne 
7 does even better \fet.
How Auto-Tune 7 corrects pitch
Auto-Tune 7 provides two separate and distinct 
ways to approach pitch correction: Automatic 
Mode and Graphica\f Mode. The basic 
functiona\fity of each is described be\fow.   
						

							10
Automatic Mode
Auto-Tune 7’s Automatic Mode works by 
continuous\fy tracking the pitch of an input 
sound and comparing it to a user-defined 
sca\fe. The sca\fe tone c\fosest to the input 
is continuous\fy identified. If the input pitch 
exact\fy matches the sca\fe tone, no correction 
is app\fied. If the input pitch varies from the 
desired sca\fe tone, an output pitch is generated 
which is c\foser to the sca\fe tone than the 
input pitch. (The exact amount of correction is 
contro\f\fed by the Retune Speed and Humanize 
settings, described be\fow and in \bhapter 3.) Scales 
The heart of Automatic Mode pitch correction 
is the Sca\fe. Auto-Tune 7 \fets you choose 
from major, minor, chromatic or 26 historica\f, 
ethnic and micro-tona\f sca\fes. Individua\f sca\fe 
notes can be bypassed, resu\fting in no pitch 
correction when the input is near those notes. 
Individua\f sca\fe notes can a\fso be removed, 
a\f\fowing a wider range of pitch correction for 
neighboring pitches. The sca\fe can be detuned, 
a\f\fowing pitch correction to any pitch center. 
For added flexibi\fity, you can a\fso se\fect the 
target pitches in rea\f time via MIDI from a MIDI 
keyboard or a pre-recorded sequencer track.   
						

							11
Retune Spee\f 
Auto-Tune 7 a\fso gives you contro\f over how 
rapid\fy, in time, the pitch adjustment is made 
toward the sca\fe tone. This is set with the 
Retune Speed contro\f (see \bhapter 3 for more 
detai\fs). 
Fast Speed settings are appropriate for short 
duration notes and for mechanica\f instruments, 
\fike oboe or c\farinet, whose pitch typica\f\fy 
changes a\fmost instant\fy. A fast enough setting 
wi\f\f a\fso minimize or comp\fete\fy remove a 
vibrato, as we\f\f as produce the iconic Auto-Tune 
Voca\f Effect.
S\fow Speed settings, on the other hand, are 
appropriate for \fonger notes where you want 
expressive pitch gestures (\fike vibrato) to 
come through at the output and for voca\f and 
instrumenta\f sty\fes that are typified by gradua\f 
s\fides (portamento) between pitches. An 
appropriate\fy se\fected s\fow setting can \feave 
expressive gestures intact whi\fe moving the 
average pitch to the correct tona\f center. 
Vibrato 
Auto-Tune 7 a\f\fows rea\f-time adjustment of the 
depth of any natura\f vibrato present in the input. 
Auto-Tune 7 can a\fso add a vibrato to an input 
that does not natura\f\fy exhibit one. You can 
program the vibrato rate a\fong with individua\f 
vibrato depths for pitch, amp\fitude (\foudness) 
and formant (resonant frequencies). You can 
a\fso specify de\fayed vibrato with independent\fy 
programmab\fe onset de\fay and onset rate. 
By combining a fast Retune Speed setting with 
Auto-Tune 7’s Vibrato settings, you can even 
remove a performer’s own vibrato and rep\face 
it with Auto-Tune 7’s programmed vibrato, a\f\f in 
rea\f time. A\fso, unusua\f combinations of Vibrato 
Waveform, Rate and Depth settings can be 
used for some interesting specia\f effectsAn Example of Automatic Mo\fe Correction 
As an examp\fe, consider this before-and
-af

ter graphic representation of the pitch of a 
voca\f phrase that contains both vibrato and 
expressive gestures. 
In the origina\f performance, we can see that 
a\fthough the fina\f note shou\fd be centered 
around D, the voca\fist a\f\fowed the tai\f of the 
note to fa\f\f near\fy three semitones flat. The 
“after” p\fot is the resu\ft of passing this phrase 
through Auto-Tune 7’s Automatic Mode 
programmed to a D Major Sca\fe (with \b# and B 
set to ”Remove”) and a Retune Speed setting 
of 25. That Retune Speed causes the pitch 
center to be moved to D, whi\fe sti\f\f retaining 
the vibrato and expressive gestures. (Setting 
\b# and B to ”Remove” is necessary to keep 
Auto-Tune 7 from trying to correct the serious\fy 
flat tai\f of the \fast note to those pitches. See 
\bhapter 3 for more detai\fs.) 
10.0 10.5 11.0
D3
B2
ORIGINAL
PERFORMAN\fE \fORRE\fTED BY 
A\bTO-T\bNE 7
\f # 3  
						

							12
Graphical Mode 
The Graphica\f Mode is simi\far to the Automatic 
Mode in that it a\fso continuous\fy tracks the 
pitch of the incoming sound and modifies the 
output pitch to be c\foser to a desired pitch. But 
in the Graphica\f Mode, the desired pitch is not a 
predefined sca\fe tone, but rather is a graphica\f 
representation of your desired pitch (ca\f\fed a 
“correction object”).  
As in Automatic Mode, the rate of change 
towards the desired pitch is contro\f\fed by the 
Retune Speed contro\f, but in Graphica\f Mode 
you can assign a different Retune Speed to 
each individua\f correction object, ensuring that 
any pitch change is as natura\f (or as wacky) as 
you desire.The key feature of Graphica\f Mode is the Pitch 
Graph disp\fay. On this disp\fay, the vertica\f axis 
represents pitch (with higher notes towards the 
top) whi\fe the horizonta\f axis represents time. 
Depending on your host, you can resize the 
Graphica\f Mode window up to the \fimit of your 
monitor size.
On the Pitch Graph, the red curve represents 
the origina\f pitch contour of the input track, 
whi\fe the desired target pitch or pitch contour 
(as defined by one of the three possib\fe 
\borrection Objects described be\fow) is 
indicated in b\fue. The green curve disp\fays the 
exact output pitch based on the current setting 
of the Retune Speed for each correction object.  
						

							13
The horizonta\f grid \fines (or Lanes, when Show 
Lanes in se\fected) represent sca\fe pitches. The 
key annotation, sca\fe name, and sca\fe detune 
va\fue are those defined by the common area 
contro\fs at the top of the interface. They do not 
affect the computations of the Graphica\f Mode 
in any way. They are mere\fy a reference to 
guide you in setting the target pitches. 
Graphica\f Mode a\fso inc\fudes the Enve\fope 
Graph, which disp\fays the amp\fitude (\foudness) 
enve\fope of the sound whose pitch is shown 
in the Pitch Graph. The horizonta\f sca\fe of this 
graph wi\f\f either 1) show the enve\fope of the 
entire extent of the pitch-detected sound or 2) 
a\fign with the horizonta\f sca\fe and position of 
the Pitch Graph above it. 
To define the desired pitches, Graphica\f Mode 
provides three different Pitch \borrection 
Objects: Lines, \burves and Notes. You can draw 
desired target pitches using the Line and \burve 
drawing too\fs, se\fective\fy modify the existing 
pitch contours using the Make \burve function, 
or use Note Objects to disp\fay and modify the 
pitch of each individua\f target note. The different 
Objects can be free\fy intermixed on a track to 
accomp\fish different tasks, or just to a\f\fow you 
to work in whichever way fee\fs easiest.
In addition, Auto-Tune 7 introduces the abi\fity 
to define target pitches using MIDI. Simi\far in 
concept to the Target Notes Via MIDI function 
in Automatic Mode, when tracking pitch in 
Graphica\f Mode, Auto-Tune 7 wi\f\f record any 
MIDI note information routed to it (either 
from another MIDI track or \five from a MIDI 
contro\f\fer) and (optiona\f\fy) disp\fay the data on 
the Pitch Graph Disp\fay. You can then use 
the new Make Notes From MIDI function 
to convert the MIDI information into Note 
\borrection Objects.
\bomp\fete image sca\fing and scro\f\fing contro\fs 
are provided, a\fong with a se\fection of graphica\f 
too\fs which a\f\fow easy editing, inc\fuding cut, 
copy and paste functions. 
Given the power of the too\fs, there is a huge 
variety of possib\fe Graphica\f Mode workflows, 
but the basic steps you wi\f\f typica\f\fy perform in 
Graphica\f Mode are: • In your host app\fication, se\fect some sound for processing. 
• Bring up Auto-Tune 7. Set the buffer \fength to at \feast the number of seconds from the 
beginning of the track to the end of the audio 
you are going to process. Press the Track 
Pitch button, then p\fay back the audio. The 
pitch wi\f\f be detected and then disp\fayed in 
the Pitch Graph as a red curve. 
• When you have tracked a\f\f the audio you want to work with, stop the transport to exit 
Track Pitch mode. 
• Define target pitches using any combination of \borrection Objects (Lines, \burves or 
Notes) and the graphica\f too\fs and adjust 
each object’s Retune Speed and vibrato 
depth for the desired effect.  
• If desired, set a transposition interva\f, engage formant correction, or modify overa\f\f voca\f 
character with the Throat Length contro\f. 
Then use the Throat Length Adjust contro\f to 
individua\f\fy set the voca\f timbre of each note. 
• P\fay back the track. The pitch wi\f\f be corrected or shifted as specified. 
Pitch Shifting, Formant Correction 
and Throat Modeling
Auto-Tune 7’s Pitch Shifting, Formant 
\borrection, and master Throat Mode\fing 
functions are \focated in the common contro\f 
area and avai\fab\fe in both Automatic and 
Graphica\f Modes.
Pitch Shifting
In addition to any pitch correction app\fied by 
either Automatic or Graphica\f Mode, Auto-Tune 
7 provides a Transpose function that \fets you 
shift the overa\f\f pitch of your performance over 
a two octave range (+/- an octave), se\fectab\fe in 
precise semitone increments. 
In Automatic Mode, this transposition is 
accomp\fished in rea\f time. 
In Graphica\f Mode, this function does not 
affect the Pitch Edit Disp\fay. It provides 
overa\f\f transposition after any pitch shifting 
accomp\fished with the graphica\f editing too\fs.   
						

							14
\fets you use Antares’ unique throat mode\fing 
techno\fogy to modify a voice’s character by 
passing it through a precise physica\f mode\f of 
the human voca\f tract.
New to Auto-Tune 7 is the abi\fity in Graphica\f 
Mode to individua\f\fy modify the throat mode\fing 
for each note or correction object, offering an 
entire\fy new \feve\f of creative contro\f.
Time Shifting and Correction
By far the most dramatic addition to Auto-
Tune 7 is its entire\fy new time correction and 
manipu\fation system. We’ve designed Auto-
Tune 7’s time contro\f capabi\fities to combine 
an extreme\fy high-qua\fity time-shifting 
a\fgorithm with an exceeding\fy intuitive user 
interface designed to make it quick and easy to 
correct timing errors or exercise your creative 
imagination.
Time Tracking
In order to do its time shifting magic, Auto-Tune 
7 must first create a copy of the audio you wish 
to edit. This is accomp\fished with the Track 
Pitch and Time function. To he\fp manage this 
audio data, we’ve provided a convenient Data 
Fi\fe Management dia\fog that a\f\fows you to 
estab\fish or move the \focation of the data fi\fes, 
rename their fo\fder, as we\f\f as de\fete them if 
they are no \fonger necessary (after bouncing 
the fina\f time-modified audio, for examp\fe).
The Fi\fe Management System wi\f\f a\fso a\fert 
you if the data fi\fes are not where Auto-Tune 7 
expects them to be and wi\f\f provide information 
to he\fp you find them.
Time Tools
A\fthough a\f\fowing for an enormous amount of 
flexibi\fity, Auto-Tune 7’s time shifting functions 
make use of two easy-to-use too\fs; the Move 
Point too\f and the Move Region too\f. 
The Move Point too\f a\f\fows you to se\fect 
a range of audio and pick any point in the 
range and move it forward or back in time, 
compressing and expanding the audio around it.
The Move Region too\f is designed for moving 
notes, words, or phrases whi\fe preserving 
the timing of the moved e\fement. As with the 
A\fthough you can a\fso accomp\fish overa\f\f 
transposition in Graphica\f Mode by se\fecting 
a\f\f the correction objects in your track and 
manua\f\fy moving them up or down, in most 
cases, using the Transpose function wi\f\f provide 
superior resu\fts.
Formant Correction
A sound’s ”formants” are the combined 
acoustic resonances that resu\ft from the physica\f 
structure of whatever is producing the sound. 
In the case of a human voice, air from your 
\fungs is forced through your voca\f chords, 
causing them to vibrate. From there, the voice 
is propagated through the throat, the mouth 
and out through the \fips. It is the shape of 
these structures that create the resonant 
characteristics that define your unique voca\f 
identity.
When a voca\f is pitch-shifted by \farge interva\fs 
without formant correction, not on\fy is the pitch 
of sung notes shifted, but the formants are 
shifted as we\f\f. The resu\fting effect is not just 
of a person singing higher or \fower notes, but 
of a person who is \fitera\f\fy growing or shrinking 
(depending on the direction of the shift). 
Whi\fe this can be usefu\f for producing singing 
chipmunks, it typica\f\fy does not produce 
rea\fistic pitch-shifting over ranges \farger than a 
semitone or two.
Engaging Auto-Tune 7’s Formant \borrection 
prevents the shifting of a voice’s resonant 
frequencies to ensure that its voca\f 
characteristics are preserved over the pitch 
shift range.
AN IMpoRtA
Nt  Note: over the ver\f 
small intervals usuall\f associated 
with basic pitch correction, formant 
shiftin\b is essentiall\f inaudible and Auto-
tu

ne’s classic pitch adjustment technolo\b\f 
still provides the optimum results. Formant 
Correction is desi\bned to be used with overall 
transposition or on tracks where notes are 
shifted b\f lar\be intervals.
Throat Mo\feling
As mentioned above, the shape of a singer’s 
throat is a prime contributor to their voca\f 
character. Auto-Tune 7’s Throat Length contro\f