Antares AutoTune 7 user manual
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25 Natural Vibrato The Natura\f Vibrato function a\f\fows rea\f-time modification (either increase or decrease) of the depth of any vibrato present in the input audio whi\fe preserving the origina\f shape and character of the vibrato. This function uses the same Stochastic Optima\f Linear Estimation Theory as the Targeting Ignores Vibrato function (described be\fow) to differentiate between vibrato and intended pitch changes, adjusting the vibrato depth whi\fe \feaving intended pitch changes intact. The Natura\f Vibrato function acts independent\fy of the pitch correction functions. Of particu\far note is the fact that setting a sca\fe note or notes to Bypass sti\f\f a\f\fows vibrato adjustment for those notes. So, if you want to adjust a performance’s vibrato whi\fe making no other pitch changes, you can simp\fy set a\f\f sca\fe notes to Bypass and sti\f\f use the Natura\f Vibrato function to adjust vibrato depth. Note: this function acts onl\f on vibrato present in the ori\binal performance. If the ori\binal performance does not contain vibrato, this control will have no audible effect. ANotHeR No te: Natural Vibrato adjustments function independentl\f of the Create Vibrato functions described below. However, since both functions can operate simultaneousl\f, the\f can interact in wa\fs that ma\f or ma\f not be useful, dependin\b on \four intent. In most cases, \fou should probabl\f use one or the other. The defau\ft Natura\f Vibrato setting is 0. Doub\fe- c\ficking or \bommand (Mac)/\bontro\f (P\b) c\ficking the Natura\f Vibrato knob wi\f\f reset it to that va\fue. Targeting Ignores Vibrato Target note identification is the process by which Auto-Tune decides which note is the note the performer intended to sing or p\fay, so that it may re-tune any pitch errors c\foser to that note. Norma\f\fy, the target note is the nearest active sca\fe note to the current input pitch. The Targeting Ignores Vibrato feature is designed to he\fp with target note identification when the performance inc\fudes vibrato so wide that it approaches adjacent sca\fe notes. The most common symptom of this prob\fem is a pronounced “warb\fing” as the input is a\fternate\fy tuned to each of the upper and \fower adjacent notes. When this function is ”On,“ Auto-Tune 7 uses the impressive\fy named Stochastic Optima\f Linear Estimation Theory to attempt to recognize vibrato and differentiate between it and intended note changes. Our testing has shown that it works a \fot of the time — but not a\fways (it depends a great dea\f on the actua\f performance). When it works, Auto-Tune 7 ignores the wide vibrato as far as target note se\fection is concerned. When it doesn’t, it works pretty much the same way it wou\fd work if the function were ”Off.” The defau\ft state of this contro\f is Off. When you’ve got a vibrato prob\fem, try turning it on and see if it he\fps.
26 The Edit Scale Displa\f The Edit Sca\fe Disp\fay is used to create custom sca\fes or to modify any of the preset sca\fes se\fected in the Sca\fe popup. Edits made using this disp\fay are associated with each sca\fe. That is, each sca\fe retains its own edits independent of the other sca\fes. For examp\fe, if you se\fect \b Major in the Key and Sca\fe popups and Remove or Bypass certain notes and then change to \b Minor and make other edits, when you return to \b Major your previous edits associated with \b Major wi\f\f be restored. The Edit Sca\fe window disp\fays each note of the current\fy se\fected sca\fe in the current\fy se\fected key. If the se\fected sca\fe inc\fudes more than twe\fve notes, Up and Down arrows wi\f\f appear to a\f\fow scro\f\fing through a\f\f of the avai\fab\fe notes. Beside each note name are two buttons: a Bypass button and a Remove button. \b\fick on a button to togg\fe its state. The button wi\f\f \fight to indicate that its mode is active. If neither of these buttons are \fit, Auto-Tune 7 treats this note as a norma\f sca\fe note, i.e., when the input pitch is c\fose to this note, Auto- Tune 7 wi\f\f correct the pitch to this note at the rate set by the Retune Speed contro\f.If the sca\fe se\fected in the Sca\fe popup contains exact\fy 12 notes (e.g., \bhromatic, Pythagorean, Meantone \bhromatic, Just, etc.), the Virtua\f Keyboard (see be\fow) wi\f\f be active and any edits to the sca\fe notes made in the Edit Sca\fe Disp\fay wi\f\f a\fso be reflected on the Virtua\f Keyboard. Note: Althou\bh Auto-tu ne 7 allows settin\b scale note behaviors in individual octaves, an\f edits made via the ed it Scale Displa\f will affect all octaves. to edit notes in individual octaves, use the Virtual Ke\fboard. Bypass If the Bypass button is \fit, when the input pitch is c\fose to this note the input wi\f\f be passed through with no correction. Why set Scale notes to “Bypass”? There are two main reasons to set one or more sca\fe notes to “Bypass.” 1 . I f a performance inc\fudes pitch gestures around one or more specific notes that you want to preserve with no modification whatsoever, you can set just those notes to Bypass. This \fets Auto-Tune 7 correct any pitch prob\fems e\fsewhere in the sca\fe but passes everything near the bypassed notes comp\fete\fy unprocessed.
27 2. If a performance contains on\fy a sing\fe error, you can set a\f\f notes to Bypass except the one “sour” note. Auto-Tune 7 wi\f\f then pass the entire performance through unprocessed except for the sour note, which wi\f\f be corrected. Remove If the Remove button is \fit, then the note is simp\fy removed from the current sca\fe. For examp\fe, se\fecting the \bhromatic sca\fe and then setting \b#, D#, F#, G#, A# to Remove wou\fd cause a \b Major sca\fe to remain. In that case Auto-Tune 7 wou\fd a\fways retune the input to the c\fosest note of the \b Major sca\fe. Why set Scale notes to “Remove”? To understand why it is sometimes necessary to set even correct sca\fe notes to ”Remove,“ \fet’s \fook again at the examp\fe from \bhapter 2. This phrase is in D Major and, if a\f\f the pitch errors were no greater than about 49 cents, wou\fd work fine with a standard D Major sca\fe (D, E, F#, G, A, B, \b# ). However, the pitch error of three semitones at the end of the \fast note is so \farge that with B and \b# present in the Sca\fe, as the pitch fe\f\f, Auto-Tune 7 wou\fd see first \b# and then B as the target pitch and therefore a\f\fow the error to remain. With \b# and B removed from the Sca\fe, Auto-Tune 7 continues to see D as the target pitch for the entire duration of the note and therefore pu\f\fs the phrase up to the correct pitch. Cents The number in the \bents co\fumn is the associated note’s interva\f, in cents, from the root note of the sca\fe. It’s provided for reference purposes and to he\fp you choose which notes of a micro-tona\f sca\fe to inc\fude or remove. Set Major/Set Minor When any sca\fe that inc\fudes more than seven notes (i.e., any non-diatonic sca\fe) is se\fected, the Set Major and Set Minor buttons wi\f\f appear. \b\ficking on either of these buttons wi\f\f “Remove” a\f\f notes from the sca\fe except for those notes c\fosest to the notes of a traditiona\f diatonic major or minor sca\fe (depending, of course, on which button you c\ficked). Set All \b\ficking this button sets a\f\f notes in the current sca\fe to Sca\fe Notes in a\f\f octaves. This function is usefu\f as a Reset button to instant\fy erase a\f\f previous Remove and/or Bypass settings and reset an edited sca\fe to its defau\ft state. Remove All \b\ficking this button sets a\f\f notes in the current sca\fe to Remove in a\f\f octaves. Bypass All \b\ficking this button sets a\f\f notes in the current sca\fe to Bypass in a\f\f octaves. 10.0 10.5 11.0 D3 B2 ORIGINAL PERFORMAN\fE \fORRE\fTED BY A\bTO-T\bNE 7 \f # 3
28 The Virtual Ke\fboard The Virtua\f Keyboard disp\fays Auto-Tune 7’s pitch detection range and acts as a rea\f-time disp\fay of the current\fy detected pitch, a disp\fay of the current Sca\fe settings, and as a too\f for setting target note behaviors in specific octaves. IMpoRtANt No te: the ke\fboard is onl\f active for scales with exactl\f twelve notes. It will be \bra\fed out (hence inactive) when an\f other scale is selected. “But wait!” \fou mi\bht be thinkin\b, “I want to edit Major and Minor scales in individual octaves and the ke\fboard is \bra\fed out when I select either one.” No problem. Simpl\f select Chromatic, then use the Set Major or Set Minor button to set up the scale of \four choice and edit awa\f. ANotHeR No te: New in Auto-tune 7, when either the Major or Minor scale is selected, the virtual ke\fboard will displa\f the currentl\f detected pitch (althou\bh the ke\fboard will still not be active for editin\b). KEY \bOLORS T he co\for of the keys of the Virtua\f Keyboard indicate their current state as fo\f\fows: \bOLOR S TATE B\fue The current\fy detected input pitch White or B\fack S ca\fe Note Gray R emoved Note Light Brown B ypassed Note KEYBOARD EDIT T hese buttons are used to se\fect which state (Remove or Bypass) wi\f\f be togg\fed when you c\fick on a key. When Remove is se\fected, c\ficking on any key that is not current\fy set to Remove wi\f\f set that key to Remove. \b\ficking on any key that is current\fy set to Remove wi\f\f set that key to a Sca\fe Note. When Bypass is se\fected, c\ficking on any key that is not current\fy set to Bypass wi\f\f set that key to Bypass. \b\ficking on any key that is current\fy set to Bypass wi\f\f set that key to a Sca\fe Note. Note: In the descriptions above, “clickin\b” on a ke\f refers to pressin\b the mouse button down and then releasin\b it. th e edit action is executed when the mouse button is released. th erefore, if the Ke\fboard Mode is set to Latch (see below), dra\b\bin\b across the ke\fboard hi\bhli\bhts each ke\f in turn, but it is onl\f when \fou release the mouse button that the resultin\b ke\f will chan\be state.
29 Sample Rate \bisplay This disp\fay indicates the samp\fe rate of the current audio fi\fe as reported to Auto-Tune 7 by the host app\fication. Note: Auto-tune 7 is hi\bh sample rate compatible. If \four host application and audio hardware are capable of dealin\b with up to 192 kHz files (96kHz files for HD Accel s\fstems), Auto- tu ne 7 will process them correctl\f. However, it’s important to remember that hi\bh sample rate files require substantiall\f more DS p power than 44.1 kHz and 48 kHz files, so the number of possible simultaneous Auto- tu ne 7 instantiations will be decreased. Yet ANotHeR No te: If \fou are usin\b external A/D converters with independentl\f selectable sample rates, it can be possible to establish a mismatch between the actual conversion sample rate and what the host application thinks is the sample rate. If this happens, Auto- tu ne 7 will appear to be correctin\b pitch to the “wron\b” ke\f. If this appears to be happenin\b, check to be sure that \four converter sample rate and \four host application sample rate (as displa\fed b\f Auto- tu ne 7) match. Pitch Shifting, Formant Correction an\f Throat Mo\feling To use the Pitch Shifting, Formant \borrection and/or Throat Mode\fing functions in Automatic Mode, refer to the descriptions of the Transpose, Throat Length, and Formant contro\fs in the \bommon \bontro\fs section ear\fier in this chapter. KEYBOARD MODE W hen the Latch mode is active (i.e., the Latch button is b\fue), any edits made to the keyboard wi\f\f \fatch -i.e., c\ficking a key wi\f\f change its state and the key wi\f\f retain that state unti\f some other action causes it to change. When the Momentary mode is active (i.e., the Momentary button is b\fue), keyboard edits are on\fy active for as \fong as the mouse is he\fd down on a key. Note: pressin\b and holdin\b the Shift ke\f on \four ke\fboard will temporaril\f to\b\ble the Ke\fboard Mode. A tIp: the main purpose of the Momentar\f mode is to allow \fou to deal easil\f with specific individual events in a performance. However, \fou can also use it to “pla\f” the tar\bet melod\f notes in real time. to do this: • Set the Scale to Chromatic and use the Scale ed it window Remove All button to remove all notes from the scale • Set Ke\fboard ed it to Remove and Ke\fboard Mode to Momentar\f • Now use \four mouse to pla\f the tar\bet melod\f on the ke\fboard. It’s not as eas\f as ta r\bet Notes via MIDI, but if \fou don’t have a MIDI controller hand\f, it’ll do in a pinch.
30 Automatic Mode MIDI Functions Auto-Tune 7 provides two functions that require it to receive MIDI data from the host app\fication. Depending on your intent, this data cou\fd come in rea\f time from a MIDI contro\f\fer (typica\f\fy a keyboard) or from a prerecorded MIDI sequencer track. Refer to your host app\fication’s manua\f for detai\fs on how to route MIDI to Auto-Tune 7. Note: Althou\bh these da\fs virtuall\f all major hosts allow the routin\b of MIDI to plu\b-ins, there ma\f still be a few hosts lurkin\b out there that do not support it. If \fou happen to be usin\b one of those, these MIDI functions will not be selectable. Instance I\b Some host app\fications assign numerica\f instance IDs to mu\ftip\fe instances of the same p\fug-in. If your host does this, the ID wi\f\f appear in an orange disp\fay in the \fower \feft-hand corner of the MIDI contro\f area. Instance IDs are usefu\f when you are using any of Auto-Tune 7’s MIDI functions, as they a\f\fow you to be sure that you are routing the MIDI stream to the correct instance of Auto-Tune on the desired track. Learn Scale From MI\bI In most cases, you wi\f\f probab\fy te\f\f Auto-Tune 7 which notes are va\fid sca\fe notes using the Key and Sca\fe popups, the Edit Sca\fe Disp\fay, and/or the Virtua\f Keyboard. However, there may be occasions when it is not c\fear exact\fy what key a me\fody \fine is in, or where the me\fody \fine has too many accidenta\fs to fit comfortab\fy into a conventiona\f sca\fe. For those occasions, the Learn Sca\fe From MIDI function a\f\fows you to simp\fy p\fay the me\fody into Auto-Tune 7 from a MIDI keyboard or sequencer track and \fet Auto-Tune 7 construct a custom sca\fe containing on\fy those notes that appear in the me\fody. To use the Learn Sca\fe From MIDI function, ensure that the desired MIDI source is routed to Auto-Tune 7 and then c\fick the Learn Sca\fe From MIDI button. Its co\for wi\f\f change to b\fue and the Edit Sca\fe disp\fay wi\f\f automatica\f\fy be set to a chromatic sca\fe with a\f\f of the notes set to Remove. Now simp\fy p\fay the me\fody to be corrected from your keyboard or sequencer. Tempo and rhythm don’t matter, so take your time and make sure you don’t p\fay any wrong notes. As each note is p\fayed, the corresponding Remove button in the Edit Sca\fe Disp\fay is turned off (adding that note to the sca\fe as a Sca\fe Note). Assume, for examp\fe, that your me\fody starts with D, B, and then A. After p\faying those notes the disp\fay wou\fd \fook \fike this:
31 When you have p\fayed the entire me\fody, press the Learn Sca\fe From MIDI button again to end the process. The Edit Sca\fe Disp\fay wi\f\f now contain a sca\fe containing on\fy those notes that appeared in your me\fody. If you happen to have made an error during note entry, or want to try again for any other reason, simp\fy c\fick the Learn Sca\fe From MIDI button and start the process again. Note: When \fou start the process b\f pressin\b the Learn Scale From MIDI button, all notes are first Removed from the chromatic scale in preparation for addin\b just the notes \fou pla\f. If \fou then press the Learn Scale From MIDI button a\bain without pla\fin\b an\f notes, \fou will be left with a chromatic scale with all notes removed. In that state, Auto- tu ne 7 will pass all notes with no correction applied. So don’t do that. Target Notes Via MI\bI To use the Target Notes Via MIDI function, ensure that the desired MIDI source is routed to Auto-Tune 7, then c\fick the Target Notes Via MIDI button. Its co\for wi\f\f change to b\fue and the Edit Sca\fe disp\fay wi\f\f automatica\f\fy be set to a chromatic sca\fe with a\f\f of the notes set to Remove. Whi\fe in this mode, Auto-Tune 7 continuous\fy monitors its MIDI input for Note On messages. At any instant, the sca\fe used for correction is defined by a\f\f MIDI notes that are on. For examp\fe, if MIDI notes A, \b and E are he\fd, Auto-Tune 7’s input wi\f\f be retuned to an A, \b or E, whichever is c\fosest to the input pitch. The source of the MIDI input wou\fd typica\f\fy be a MIDI keyboard or sequencer track, and cou\fd consist of chords, sca\fes, or, most powerfu\f\fy, the exact me\fody that the input shou\fd be corrected to. IMpoRtANt No te: If \fou will not be definin\b Auto-tu ne 7’s tar\bet pitches via MIDI, be sure that the ta r\bet Notes Via MIDI button is off. If it is left on and no MIDI note data is present, Auto- tu ne 7 will pass throu\bh all audio unprocessed — \bivin\b the impression that Auto- tu ne 7 is not functionin\b. ANotHeR No te: We realize that there is some possibilit\f of confusion between the ta r\bet Notes Via MIDI function and the Learn Scale From MIDI function described above. to clarif\f: ta r\bet Notes Via MIDI is used to specif\f tar\bet pitches in real time while pitch correction is occurrin\b, while Learn Scale From MIDI is used in advance of correction to create a custom scale. Octave As Playe\f/All Octaves For both of the MIDI functions (Learn Sca\fe from MIDI and Target Notes via MIDI), you can choose whether you want incoming MIDI notes to affect a\f\f octaves or just the notes in the specific octaves in which they are p\fayed. Simp\fy c\fick the desired button. The button wi\f\f change co\for to b\fue to indicate your choice.
32 Create Vibrato Functions The contro\fs in this section are designed to add a synthesized vibrato to the input. Whi\fe vibrato is typica\f\fy perceived to be a variation so\fe\fy in pitch, carefu\f ana\fysis shows that, depending on the voice or instrument and the sty\fe of the individua\f performer, variations in amp\fitude (\foudness) and formant resonances are a\fso invo\fved. Reflecting this, Auto-Tune 7 inc\fudes a p\fethora of vibrato functions to a\f\fow the creation of much more convincing vibratos. (And for the adventuresome, they can be abused to create some “interesting” effects.) The contro\fs are:Shape Se\fects the shape of the vibrato.The choices are: NO VIBRATO P retty se\ff-exp\fanatory. SINE WAVE \b hanges smooth\fy from minimum to maximum and back again. The most common choice for a conventiona\f vibrato. SQUARE J umps to maximum where it spends 50% of the cyc\fe and then jumps to minimum for the remaining 50% of the cyc\fe. SAWTOOTH G radua\f\fy rises from minimum to maximum and then drops instantaneous\fy to minimum to start the cyc\fe again. Rate S ets the rate of the vibrato over a range of 0.1 Hz to 10 Hz. The defau\ft Rate setting is 5.5 Hz. Doub\fe-c\ficking or \bommand (Mac)/\bontro\f (P\b) c\ficking the Rate knob wi\f\f reset it to that va\fue. Variation Sets the amount of random variation that wi\f\f be app\fied to the Rate and Amount parameters on a note to note basis. Usefu\f for humanizing the vibrato by adding random “errors.” The range is from 0 (no variation) to 100 (maximum variation). The defau\ft Variation setting is 20. Doub\fe-c\ficking or \bommand (Mac)/\bontro\f (P\b) c\ficking the Variation knob wi\f\f reset it to that va\fue. Onset \belay S ets the amount of time (in msec) between the beginning of a note and the beginning of the onset of vibrato. The range is from 0 to 1500ms (1.5 seconds). The defau\ft va\fue is 500ms. Doub\fe-c\ficking or \bommand (Mac)/ \bontro\f (P\b) c\ficking the Onset De\fay knob wi\f\f reset it to that va\fue. Onset Rate S ets the amount of time (in msec) between the end of the Onset De\fay (set above) and the point at which the vibrato reaches the fu\f\f Amounts set in the Pitch, Amp\fitude and Formant Amount settings. The range is from 0 to 1500ms (1.5 seconds). The defau\ft va\fue is 500ms. Doub\fe- c\ficking or \bommand (Mac)/ \bontro\f (P\b) c\ficking the knob wi\f\f reset it to that va\fue. Onset Examp\fe: As an examp\fe of the above parameters, assume an Onset De\fay of 1000ms and an Onset Rate of 750ms. In that case, each time a new note starts there wi\f\f be no vibrato at a\f\f for the first second (1000ms) fo\f\fowed by a 3/4 second (750ms) period during which the vibrato depths wi\f\f increase from
33 none to the fu\f\f amounts set in the various Amount parameters - for a tota\f of 1.75 seconds from the beginning of the note to the time fu\f\f vibrato depth was reached. Pitch Amount S ets the amount that the pitch changes. The range is from 0 (no change) to 100 (maximum change). The defau\ft setting is 18. \bommand (Mac)/\bontro\f (P\b) c\ficking the s\fider wi\f\f reset it to that va\fue. Amplitu\fe Amount S ets the amount that the \foudness changes. For the most rea\fistic vibrato, the amount of amp\fitude change shou\fd be substantia\f\fy \fess than pitch change, a\fthough for specia\f effects, anything goes. The range is from 0 (no change) to 30 (maximum change). The defau\ft setting is 10. \bommand (Mac)/\bontro\f (P\b) c\ficking the s\fider wi\f\f reset it to that va\fue. Formant Amount S ets the amount that the resonant timbre changes. The range is from 0 (no change) to 100 (maximum change). The defau\ft setting is 70. \bommand (Mac)/\bontro\f (P\b) c\ficking the s\fider wi\f\f reset it to that va\fue. Note: the vibrato is re-started ever\f time Auto-tu ne 7 matches the incomin\b pitch to a different scale tone. Also, the vibrato is applied after the effects of the Retune Speed control. Hence, even with a slow retune value of 50, a square wave vibrato will make instantaneous chan\bes in pitch. ANotHeR No te: As mentioned above, althou\bh we perceive vibrato primaril\f as a variation in pitch, in most cases there is also matchin\b (thou\bh more subtle) variations in amplitude and timbre. Settin\b Auto- tu ne 7’s Retune Speed to 0 will remove an existin\b vibrato’s pitch variation, but the amplitude and timbral variation will remain. If \fou then appl\f a new vibrato usin\b Auto- tu ne 7’s Create Vibrato section, the results ma\f be less than convincin\b. Auto- tu ne 7’s Vibrato section is more often useful for addin\b a vibrato to an input that ori\binall\f had none, or for various special effects. Yet ANotHeR No te: the Create Vibrato controls function completel\f independentl\f of the Natural Vibrato function. Chan\bes in that function have no direct effect on the depth of an\f vibrato resultin\b from the Create Vibrato controls. However, since both functions can operate simultaneousl\f, the\f can interact in wa\fs that ma\f or ma\f not be useful, dependin\b on \four intent. In most cases, \fou should probabl\f use one or the other.
34 The Pitch Change Meter The Pitch Change Amount In\ficator The Pitch \bhange Indicator shows you how much the pitch is being changed, measured in cents (100 cents = one semitone). For examp\fe, if the indicator bar has moved to the \feft to -50, it indicates that the input pitch is 50 cents too sharp and Auto-Tune 7 is \fowering the pitch by 50 cents to bring the input back to the desired pitch.Hol\f Button \b\ficking and ho\fding the word “Ho\fd” whi\fe Auto-Tune 7 is processing audio wi\f\f freeze both the Pitch \bhange Amount Indicator and the b\fue Detected Pitch indication on the virtua\f keyboard for as \fong as you ho\fd down the mouse button. This is usefu\f for figuring out exact\fy what’s going on with a particu\far note in a performance that wou\fd otherwise pass too quick\fy to see.