Antares AutoTune 7 user manual

							15
Move Point too\f, you first se\fect a range of audio 
and then se\fect the region within that se\fection 
that you want to move and move it forward or 
back in time, again compressing and expanding 
the audio around it.
Both too\fs are context sensitive. That is, they 
change function (from se\fection to moving, 
for examp\fe) depending on what \fies beneath 
them on the screen. As a resu\ft, the time 
manipu\fation process becomes smooth and 
intuitive, never breaking your creative flow with 
the need to switch too\fs or remember some 
command key to temporari\fy change function. 
The time functions a\fso have their own Undo/
Redo contro\fs independent of the pitch 
correction contro\fs and an Enab\fe button that 
a\f\fows you to instant\fy switch between your 
origina\f audio and your time shifted audio.
Enhance\f Amplitu\fe Envelope \bisplay
To he\fp you visua\fize the affects of your edits, 
whenever time contro\f is enab\fed the Amp\fitude 
Enve\fope Disp\fay wi\f\f disp\fay both the origina\f 
audio (in the \fower portion of the disp\fay) and 
the time-shifted audio (in the upper portion). 
Additiona\f\fy, the disp\fay’s horizonta\f axis wi\f\f turn 
red to indicate the ranges of audio that have 
been time-tracked, so you wi\f\f a\fways know 
which ranges are current\fy avai\fab\fe for time 
editing.
Non-\festructive E\fiting
Since Auto-Tune 7 works on a copy of your 
audio, time editing a\fways \feaves your origina\f 
audio intact. At any point you can simp\fy turn 
off the Time \bontro\f Enab\fe button to instant\fy 
return to your track’s origina\f timing.
Note: Due to the architecture of tDM 
s\fstems, time shiftin\b is not available 
in the 
tD

M versions of Auto-
tu
 ne 7. 
If \fou wish to use the time shiftin\b function on a 
tD

M s\fstem, be sure to select the R
tA
 S version 
of Auto-
tu

ne 7.  
						

							16  
						

							17
Chapter 3: Auto\bTune 7 Controls
Continuous Controls
Auto-Tune 7’s continuous contro\fs are 
represented graphica\f\fy as virtua\f knobs. 
Depending on your preference, you can contro\f 
knobs by vertica\f, horizonta\f or radia\f mouse 
movement. Set your preference in the Options 
dia\fog described be\fow. 
Doub\fe-c\ficking on a knob wi\f\f return it to 
its defau\ft va\fue. In some host app\fications, 
\bommand (Mac)/\bontro\f (P\b) c\ficking on a 
knob wi\f\f a\fso reset it to defau\ft (see the Auto-
Tune 7 Read Me and/or your host app\fication 
manua\f for detai\fs).
Common Controls
The fo\f\fowing contro\fs and disp\fays are 
visib\fe regard\fess of which operating mode is 
se\fected. Their settings affect both Automatic 
and Graphica\f Modes.Input Type
As a resu\ft of Antares 
research into the 
unique characteristics 
of various types of 
audio signa\fs, Auto-Tune 7 offers a se\fection of 
optimized processing a\fgorithms for the most 
common\fy pitch-corrected inputs. \bhoices 
inc\fude Soprano Voice, A\fto/ Tenor Voice, Low 
Ma\fe Voice, Instrument, and Bass Instrument. 
Matching the appropriate a\fgorithm to the input 
resu\fts in even faster and more accurate pitch 
detection and correction.
To se\fect the desired Input Type, c\fick on the 
Input Type pop-up and then se\fect the desired 
type from the pop-up \fist. This chapter is a reference for a\f\f of the contro\fs used in the Auto-Tune 7 interface. 
How these contro\fs are used together for pitch correction and time shifting is 
demonstrated in \bhapter 4, Auto-Tune 7 Tutoria\f. 
If you are upgrading from Auto-Tune Evo, you can probab\fy just skip ahead to \bhapter 5, New 
Feature Quick Start Guide 
Note: Choosin\b the wron\b Input t\f
pe (or just for\bettin\b to set it 
at all) can result in compromised 
performance. 
pa

\f attention.
ANotHeR No te:  When an\f Input t\f
pe other than Bass Instrument 
is selected, Auto-
tu

ne 7 is reliabl\f 
able to detect pitches down to A0 (55Hz). 
Selectin\b Bass Instrument lowers the lowest 
detectable frequenc\f b\f about one octave to 
25Hz. Since the lowest 
e 

strin\b on a bass \buitar 
is approximatel\f 41Hz, Bass Instrument (as its 
name so abl\f implies) allows \fou to appl\f pitch 
correction to those pesk\f fretless bass lines 
as well as other low bass ran\be instruments. 
However, when Bass Instrument is selected, 
pitches above A4 ma\f be incorrectl\f tuned, so 
be sure to select Bass Instrument onl\f when 
correctin\b bass ran\be tracks.
Tracking
In order to 
accurate\fy 
identify the 
pitch of 
the input, 
Auto-Tune 7 
requires a periodica\f\fy repeating waveform, 
characteristic of a voice or so\fo instrument. 
The Tracking contro\f determines how much 
variation is a\f\fowed in the incoming waveform 
for Auto-Tune 7 to sti\f\f consider it periodic.
If you are working with a we\f\f-iso\fated so\fo 
signa\f (e.g., tracking in a studio or off of a mu\fti
-t

rack master) you can typica\f\fy set the Tracking 
contro\f to 50 and forget it.  
						

							18
If, on the other hand, your signa\f is noisy or not 
we\f\f-iso\fated (as might be more common in a 
\five performance situation) or you are dea\fing 
with a particu\far\fy breathy or guttura\f voice, 
it may be necessary to a\f\fow more signa\f 
variation (higher Tracking numbers). However, 
under these circumstances tracking is not 
guaranteed and a too “re\faxed” setting may 
introduce distortion and popping.
Note: the improved pitch detection 
technolo\b\f in Auto-tu ne 7 (in 
combination with the Input 
t\f

pe 
selection described above) results in noticeabl\f 
more reliable pitch detection compared to 
previous versions of Auto-
tu

ne. If \fou have 
used older versions of Auto-
tu

ne, \fou ma\f find 
that situations that previousl\f required constant 
modifications of the 
tr

ackin\b control now track 
perfectl\f at the default settin\b.
Select Pitch 
Reference
Auto-Tune 7 provides 
the abi\fity to pitch 
correct stereo tracks 
whi\fe maintaining the tracks’ phase coherence. 
(Refer to your host app\fication’s manua\f for 
instructions on assigning a p\fug-in to a stereo 
track.) \b\fick the appropriate button to se\fect 
which of the two stereo tracks (\feft or right) 
Auto-Tune 7 wi\f\f use as a pitch reference.
Note: If there is a marked difference 
in the two tracks, pick the cleanest, 
most isolated track. For example, if 
one track is a close mic’ d vocal while the other 
is mic’ d from farther awa\f for ambience, or is 
heavil\f processed, select the close mic’ d track.
ANotHeR No te: Auto-tune 7 will 
onl\f pitch correct true stereo tracks. 
If the second track (i.e., the track 
not selected as a pitch reference) is simpl\f an 
independent unrelated track, unpredictable (and 
potentiall\f unpleasant) sounds ma\f result. 
on 
t

he other hand, somethin\b interestin\b mi\bht 
happen. You never know.
When Auto-Tune 7 is instantiated on a mono 
track, this contro\f is inactive (grayed out). Key Selection
This contro\f \fets you se\fect the 
key of the track you p\fan to 
process. 
To se\fect the desired key, c\fick 
on the Key pop-up and then se\fect the desired 
note from the pop-up \fist. This determines the 
pitch of the first note of the sca\fe according to 
the standard A3 = 440 Hertz.
Scale Selection
This contro\f is used in 
combination with the Key 
se\fection above to define 
the sca\fe of the track you 
p\fan to process. 
To se\fect a sca\fe, c\fick on the Sca\fe pop
 u
 p and 
then se\fect the desired sca\fe from the pop-up 
\fist.
Note: to avoid havin\b to deal with 
scales containin\b those anno\fin\b 
double flats, double sharps and 
notes like Cb, 
e#

, Fb and B#, Auto-
tu
 ne 7 
will automaticall\f choose the simpler of two 
enharmonicall\f equivalent scales. For example, 
if \fou select Db Major, the 
ed

it Scale Displa\f 
will dul\f displa\f the Db Major scale. However, 
if \fou then \bo to the Scale selection pop-up 
and select Minor, the Ke\f will automaticall\f be 
chan\bed to C# and the 
ed

it Scale Displa\f will, in 
fact, displa\f the much friendlier C# Minor scale. 
th

is will be reflected on both the Auto Mode 
Scale 
ed

it displa\f and the 
pi
 tch Graph Displa\f in 
the Graphical Mode.
Auto-Tune 7 comes with 29 preprogrammed 
sca\fes. The first three equa\f-tempered sca\fes, 
chromatic, major, and minor, are the ubiquitous 
sca\fes typica\f\fy found in Western tona\f music. 
The other sca\fes are historica\f, ethnic, and 
micro-tona\f sca\fes. An in-depth discussion of 
these sca\fes and their history is beyond the 
scope of this manua\f. The interested reader 
wi\f\f find more information in 
tu

nin\b In — 
Micro-tonalit\f In 
el

ectronic Music  by Scott R. 
Wi\fkinson, pub\fished by Ha\f Leonard Books.
A brief description of each sca\fe can be found 
in \bhapter 6, The Auto-Tune 7 Sca\fes.  
						

							19
Scale 
\betune 
The Detune 
parameter 
a\f\fows you to 
change the 
pitch standard of Auto-Tune 7 from the defau\ft 
A = 440Hz. The va\fue is set in cents (100 
cents = 1 semitone). The range of adjustment 
is from -100 to +100 cents. For convenience, 
the detune amount is a\fso disp\fayed in Hertz 
re\fative to A440.
The Detune function can be used to tune 
a voca\f performance to some irreparab\fy 
out-of-tune instrument (a piano or organ, for 
examp\fe), or to a\f\fow correction to other than 
the conventiona\f 440Hz standard.
It shou\fd be noted that this contro\f functions 
different\fy in Automatic and Graphica\f modes:
AUTOMATI\b MODE In Automatic Mode, the 
Sca\fe Detune contro\f shifts the pitch reference 
by the set amount. 
GRAPHI\bAL MODE In Graphica\f Mode, the 
Sca\fe Detune contro\f shifts the position of 
the horizonta\f graph pitch reference \fines (or 
\fanes, if Show Lanes is se\fected), such that any 
correction objects created or adjusted re\fative 
to those reference \fines wi\f\f reflect the Sca\fe 
Detune setting.
VeRY IMpoRtA Nt  No te: If \fou 
create an\f pitch correction objects 
and subsequentl\f adjust the Scale 
Detune settin\b, this will N
o

t
 

chan\be the output 
pitches of the existin\b objects. If \fou will be 
workin\b in Graphical Mode on a track that 
requires scale detunin\b, set the proper detune 
amount B
eFoRe 

be\binnin\b pitch correction. 
A tIp: If \fou have a tone that \fou 
want to use as the pitch standard, 
select that tone and pla\f it in a loop. 
Adjust Scale Detune until the Chan\be meter 
reads zero. (You ma\f be required to use the 
ed

it 
Scale Displa\f to remove adjacent notes so that 
Auto-
tu

ne 7 doesn’t tune to the wron\b note.)
The defau\ft Sca\fe Detune setting is 0 cents. 
Doub\fe-c\ficking or \bommand (Mac)/\bontro\f 
(P\b) c\ficking the Sca\fe Detune knob wi\f\f reset it 
to that va\fue. Transpose
In addition to any pitch 
correction app\fied by 
either Automatic or 
Graphica\f Mode, the 
Transpose contro\f \fets 
you shift the overa\f\f pitch of your performance 
over a two octave range (+/- one 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 on top of any pitch shifting 
accomp\fished with the graphica\f editing too\fs. 
As noted above, 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.
Note: If \fou are transposin\b 
more than a semitone or two 
and \four intent is to preserve 
the performer’s vocal character, be sure to 
en\ba\be the Formant Correction function 
described below. 
tr

ansposin\b lar\be intervals 
(especiall\f transposin\b hi\bher) without formant 
correction will result in the “munchkinization” 
effect familiar from tape speed chan\bin\b and 
earl\f di\bital samplin\b. (
of

 course, if sin\bin\b 
chipmunks are what \fou’re \boin\b for, leave 
Formant Correction off.)
The defau\ft Transpose setting is 0 semitones 
(i.e., no transposition). Doub\fe-c\ficking or 
\bommand (Mac)/\bontro\f (P\b) c\ficking the 
Transpose knob wi\f\f reset it to that va\fue.
Throat Length
As mentioned above, 
the shape of a singer’s 
throat is a prime 
contributor to their 
voca\f character. Auto-
Tune 7 \fets you modify the voca\f qua\fity of a 
performance by actua\f\fy varying the geometry 
of a physica\f mode\f of the human voca\f tract 
and processing the origina\f performance 
through that mode\f.   
						

							20
The Throat Length contro\f \fets you modify 
the \fength of the mode\fed throat. The range 
of the contro\f is 50 to 180. Va\fues above 100 
represent a \fengthening of the throat whi\fe 
va\fues be\fow 100 represent a shortening of the 
throat.
The actua\f va\fues represent the percentage 
change in the throat \fength. For examp\fe, a 
va\fue of 120 represents a 20% increase in 
throat \fength, whi\fe a va\fue of 70 represents a 
30% decrease in throat \fength.
Note: this control is onl\f active when 
Formant Correction is en\ba\bed. 
When Formant Correction is not 
en\ba\bed, this control is disabled (\bra\fed out). 
Since Formant Correction is not available in the 
tD

M versions of Auto-
tu
 ne 7, 
th
 roat Len\bth 
is also not available in the 
tD

M versions. If 
\fou wish to use the 
th

roat Len\bth function 
on a 
tD

M s\fstem, be sure to select the R
tA
 S 
version of Auto-
tu

ne 7.
In addition to simp\fy changing voca\f timbre, 
increasing throat \fength is usefu\f when the 
origina\f performance is fema\fe and you want 
to transpose it down and have it sound more 
ma\fe. \bonverse\fy, decreasing throat \fength 
is usefu\f when the origina\f input is ma\fe and 
you want to transpose it up and have it sound 
fema\fe or chi\fd\fike.
Note: While this control \bives \fou the 
abilit\f to radicall\f chan\be the throat 
len\bth, keep in mind that the variation 
in the len\bth of human vocal tracts is rarel\f 
more than about 20% in either direction. If \fou 
are lookin\b for a “realistic” vocal characteristic, 
start with modest settin\bs of this control. More 
extreme settin\bs can produce dramatic results, 
but probabl\f not what an\fone would call 
“realistic.”
\bommand (Mac)/\bontro\f (P\b) c\fick the contro\f 
to reset it to its defau\ft va\fue of 100.
IMpoRtANt  Note: this function is 
specificall\f for chan\bin\b the existin\b 
qualit\f of a voice, not for manual 
formant compensation for pitch shiftin\b. 
Auto-
tu

ne 7 automaticall\f applies appropriate 
formant correction when it shifts pitch with 
Formant Correction 
en

abled.
ANotHeR Note: this control sets the 
overall th
roat Len\bth for \four entire 
track. Additionall\f, 
th

roat Len\bth can 
be adjusted on a note-b\f-note basis in Graphical 
Mode usin\b the 
th

roat Len\bth Adjust function 
described in the Graphical Mode section below.
Formant Correction
\b\fick the Formant button to 
togg\fe Auto-Tune 7’s formant 
correction function on and off. 
The button wi\f\f turn b\fue when 
formant correction is active and wi\f\f be pa\fe 
gray when it is inactive. 
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. (For a more comp\fete exp\fanation 
of formant correction, refer to the Pitch Shifting 
and Formant \borrection section in \bhapter 2.)
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.
AN otHeR Note: Formant Correction 
is not available in the tD M versions 
of Auto-
tu

ne 7. If \fou wish to use 
the Formant Correction function on a 
tD

M 
s\fstem, be sure to select the R
tA

S version of 
Auto-
tu

ne 7. Correction Mo\fe
\b\fick the appropriate 
button to se\fect 
either Automatic or 
Graphica\f Mode.
IMpoRtANt No te: Switchin\b 
between Automatic and Graphical 
Modes while \four DAW’s transport 
is runnin\b will almost certainl\f result in audio 
artifacts or other unexpected weirdness. Don’t 
do that.  
						

							21
Options
\b\ficking the Options button wi\f\f 
bring up a window containing a 
number of settings that fa\f\f into  
the “set and forget” category. They are:
BUFFER SIZE This contro\fs the number of 
seconds of memory buffer space that are 
permanent\fy reserved for pitch tracking and 
pitch correction data in Graphica\f Mode. 
(There is a separate buffer for each p\fug-in 
occurrence.) To change the buffer a\f\focation, 
c\fick in the data fie\fd and enter the required 
number of seconds.
The maximum buffer \fength is 14,400 seconds  (i.e., 4 hours).
Note: For hosts that provide valid 
time information, Auto-tu ne 7 will displa\f all 
tracked pitch information at its correct time 
within the track. If \four host supports this  capabilit\f, settin\b the buffer to the len\bth of 
the entire son\b and trackin\b the pitch in one 
pass will allow \fou to quickl\f and easil\f move 
to each section of audio to be corrected as 
necessar\f.
NUMBER OF UNDOS Auto-Tune 7 provides 
mu\ftip\fe Undo/Redo capabi\fity in Graphica\f 
Mode. Se\fect the maximum a\f\fowab\fe number 
here (up to 20). \bhoosing a higher number 
a\f\focates more memory for saving intermediate  states.
Note: the value selected here 
applies independentl\f to both pitch 
correction Undo/Redos and time control Undo/
Redos. For example, if \fou set this value to 
15, \fou will have 15 levels of undo for pitch 
correction actions and an additional 15 levels for 
time control actions
KNOB \bONTROL Lets you se\fect how you 
want to contro\f the “knobs” in the Auto-Tune 7 
interface.
 VERTI\bAL: Position the cursor over a knob, 
press and ho\fd the \feft mouse button (or 
the on\fy mouse button, if you’re using a 
one-button mouse) and move the cursor 
up to turn the knob c\fockwise or down to 
turn the knob counterc\fockwise. The current 
va\fue of the knob’s parameter appears in its 
associated numeric disp\fay.
 HORIZONTAL: Position the cursor over a 
knob, press and ho\fd the \feft mouse button 
and move the cursor to the right to turn the 
knob c\fockwise or to the \feft to turn the knob 
counterc\fockwise. The current va\fue of the 
knob’s parameter appears in its associated 
numeric disp\fay.
 RADIAL: \b\fick anywhere around the 
circumference of the knob, press and ho\fd 
the \feft mouse button and “rotate” the 
knob in the desired direction. The current 
va\fue of the knob’s parameter appears in its 
associated numeric disp\fay.  
						

							22
USE \bUSTOM \bURSORS \b\fick the check box 
to use \bustom \bursors in Graphica\f Mode. 
Norma\f\fy, Auto-Tune 7 disp\fays different cursor 
shapes in the Pitch Graph Disp\fay to he\fp you 
se\fect ranges and grab and drag objects (e.g., 
the object cursor, the anchor point cursor, etc.). 
However, some host app\fications mistaken\fy 
think that they own the cursor when it is in a 
p\fug-in window. This may cause the cursor to 
flash as the host and Auto-Tune 7 a\fternate\fy 
try to set the cursor shape. If this annoys you, 
unc\fick this check box. It wi\f\f stop the flashing, 
but you wi\f\f no \fonger see Auto-Tune 7’s 
custom cursors.
DISPLAY VERTI\bAL LINE AT \bURSOR TIME 
POSITION \b\fick the check box to cause 
a vertica\f \fine to be disp\fayed at the cursor 
position in Graphica\f Mode. This is most usefu\f 
when you are comparing the various pitch 
va\fues (tracked pitch, correction object pitch, 
and output pitch) at one or more time \focations 
in your track. 
A tIp: Since the line indicator can be 
somewhat anno\fin\b durin\b normal 
editin\b tasks, \fou can, if \fou prefer, 
uncheck this box in the 
op

tions dialo\b and 
then assi\bn 
to

\b\ble 
ti
 me Indicator to one of 
the number ke\fs as described below. 
th

at 
wa\f, \fou can turn it on onl\f when \fou need 
it, without havin\b to call up the 
op

tions dialo\b 
ever\f time.
DEFAULT RETUNE SPEEDS Since Auto-Tune 
7 a\f\fows independent Retune Speeds for each 
correction object, we’ve provided the abi\fity 
to set custom defau\ft Retune Speeds for each 
of the three object types: Lines, \burves and 
Notes. These are the initia\f Retune Speed 
va\fues that are assigned to each new\fy created 
object. (You may, of course, modify each 
individua\f object’s setting as needed.) To choose your own va\fues, just pay attention 
to what va\fues you most common\fy use for 
the various objects and set those as defau\fts. 
Update as necessary.
A tIp: Your choice of default values 
will depend \breatl\f on \four particular 
workflow and \four t\fpical use of 
the various correction objects. If, for example, 
\fou usuall\f use Make Curve or Import Auto to 
tweak pitch while preservin\b all pitch \bestures, 
usuall\f use Lines for quick correction of 
individual out-of-tune notes, and usuall\f use 
Note 
ob

jects for precise pro\brammin\b of Auto-
tu

ne Vocal effects, \fou mi\bht set the Curves 
default to 0, the Lines default to 20 and the 
Notes default to 0. 
KEY BINDINGS
 T

he Key Bindings section 
a\f\fows you to assign your most common\fy used 
Graphica\f Mode too\fs and contro\fs to the 10 
number keys that appear above the \fetter keys 
on the 
QWERTY portion of your keyboard.
Note: Since some hosts reserve the 
numeric ke\fpad for host ke\fboard 
shortcuts even when a plu\b-in 
window is active, the Ke\f Bindin\bs appl\f onl\f 
to the number ke\fs on the QW
eRtY

 portion of 
\four ke\fboard.
The fo\f\fowing functions are avai\fab\fe for 
assignment:
Graphic Tools
Line
\burve
Note 
Arrow 
Scissors
Zoom
I-Beam
Hand Scro\f\f
Move Point
Move Region  
						

							23
E\fit Functions
\b\fear A\f\f 
Undo
Redo
Se\fect A\f\f
\but
\bopy
Paste
Time Control
Undo Time \bhange
Redo Time \bhange
\b\fear A\f\f Time \bhanges
Control Toggles
Snap To Note
Auto-Scro\f\f
Show Lanes
Track Pitch
\bursor Time Indicator
Show Output \burve
Show MIDI
Track Pitch + Time
Enab\fe Time \bontro\f
Correction Objects
Make \burves
Import Auto
Make Notes
Make Notes from MIDI
Other Controls
Reset Interna\f \bock
Nudge Up
Nudge Down
Zoom In Horizonta\f
Zoom Out Horizonta\f
Zoom In Vertica\f
Zoom Out Vertica\f
Adjust Retune Speed Faster
Adjust Retune Speed S\fower
Adjust Vibrato Depth More
Adjust Vibrato Depth Less
Adjust Throat Length Longer
Adjust Throat Length Shorter
WINDOW SIZE (VST and Audio Units versions 
on\fy) S
ince some hosts and/or p\fug-in formats 
do not support rea\f-time p\fug-in window 
resizing (i.e., dragging on the corner of the 
window), the Window Size contro\fs a\f\fow you 
to se\fect among three preset sizes or specify a 
custom size of your choice.
The preset sizes (measured in pixe\fs) are:
 N

orma\f: 850 wide by 600 high
 W

ide: 1600 wide by 600 high
 L

arge: 1600 wide by 1100 high
\b\ficking any of the Preset buttons wi\f\f enter 
those dimensions in the Width and Height data 
entry fie\fds. To enter a custom size, simp\fy c\fick 
in the desired fie\fd and enter the va\fue of your 
choice.
The new size wi\f\f take affect when you c\fick the 
Save button.
Note: Some hosts do not support 
immediate resizin\b of an open plu\b-
in window. If \fours in one of those, 
after clickin\b Save, \fou will have to close the 
Auto-
tu

ne 7 window and reopen it to have the 
size chan\be take affect.
ANotHeR Note: Since real-time resiz-
in\b is supported in all current versions 
of 
pr

o 
to

ols L
e 

and HD, neither the 
R
tA

S nor 
tD

M versions of Auto-
tu
 ne 7 include 
(or need) the Window Size controls.
SAVE AS DEFAULT When the “Save as 
defau\ft” box is checked, any changes you make 
to the various Options settings are saved as 
defau\fts for a\f\f future instances of Auto-Tune 7. 
If you want to make a temporary change to an 
Option setting for a particu\far track, but want to 
retain the previous defau\ft for future instances, 
uncheck the “Save as defau\ft” box before 
c\ficking the Save button. Your modified va\fue 
wi\f\f take effect in the current instance of Auto-
Tune 7, but future instances wi\f\f revert to the 
previous\fy saved va\fue.  
						

							24
Bypass
Auto-Tune 7 does not inc\fude a dedicated 
Bypass contro\f as that function is typica\f\fy 
provided by the host app\fication’s p\fug-in 
interface. 
Automatic Mode Controls
Pitch Correction Functions
Retune 
Spee\f
Retune Speed 
contro\fs 
how rapid\fy 
the pitch 
correction 
is app\fied to 
the incoming 
sound. The units are mi\f\fiseconds. A va\fue 
of zero wi\f\f cause instantaneous changes 
from one tone to another and wi\f\f comp\fete\fy 
suppress a vibrato (note that any re\fated 
vo\fume changes wi\f\f remain). Va\fues from 10 
to 50 are typica\f for voca\fs (un\fess you’re going 
for the now-infamous Auto-Tune Voca\f Effect, 
in which case use 0). Larger va\fues \fet through 
more vibrato and other interpretative pitch 
gestures but a\fso s\fow down how rapid\fy pitch 
corrections are made. 
A\fthough the above suggestions can be used 
as starting points, finding the correct Retune 
Speed setting for a particu\far performance is 
\farge\fy a matter of tria\f-and-error and depends 
on such attributes as song tempo, note 
duration and voca\f sty\fe, among others. As 
a\fways, \fet your ears be your guide.
The defau\ft Retune Speed va\fue is 20. Doub\fe-
c\ficking or \bommand (Mac)/\bontro\f (P\b) 
c\ficking the Retune Speed knob wi\f\f reset it to 
that va\fue. Humanize
One situation that 
can be prob\fematic 
in Automatic Mode 
is a performance 
that inc\fudes 
both very short 
notes and \fonger 
sustained notes. 
The prob\fem is that in order to get the short 
notes in tune, you’d have to set a fast Retune 
Speed, which wou\fd then make any sustained 
notes sound unnatura\f\fy static. Lucki\fy, the 
Humanize function easi\fy so\fves this prob\fem.
The Humanize function differentiates between 
short and sustained notes and \fets you app\fy 
a s\fower Retune Speed just to the sustained 
notes. Thus, the short notes are in tune and the 
sustained notes sti\f\f a\f\fow the natura\f variations 
of the origina\f performance.
Here’s how it works:
Start by setting Humanize to 0 and adjusting 
the Retune Speed unti\f the shortest prob\fem 
notes in the performance are in tune. At 
this point, any sustained notes may sound 
unnatura\f\fy static. If so, start advancing the 
Humanize contro\f. The higher the Humanize 
setting, the more the Retune Speed is s\fowed 
for sustained notes. The goa\f is to find the 
point where the sustained notes are a\fso in 
tune and just enough of the natura\f variation 
in the performance is present in the sustained 
notes to sound natura\f and rea\fistic. (If you set 
Humanize too high, any prob\fem sustained 
notes may not be fu\f\fy corrected.)
This is another of those settings where you 
have to \fet your ears be your guide. The 
optimum Humanize setting for any particu\far 
performance wi\f\f depend on the performance 
sty\fe, the other Automatic Mode settings and 
the specific effect you desire.
The defau\ft Humanize setting is 0. Doub\fe-
c\ficking or \bommand (Mac)/\bontro\f (P\b) 
c\ficking the Humanize knob wi\f\f reset it to that 
va\fue.