Antares AutoTune 7 user manual

							45
\b\fick the Show Lanes button to togg\fe its state. 
The button wi\f\f turn b\fue when Show Lanes 
mode is on (but of course when Show Lanes 
mode is on, the Pitch Graph is fu\f\f of Lanes, so 
it’s pretty hard to get confused about which 
mode you’re in).
Note: You can switch back and forth 
between displa\f modes at an\f time. 
Switchin\b modes has no effect on 
an\f previous correction objects. So \fou could, 
for example, use the default \braph mode for 
creatin\b and tweakin\b some curves in one 
section of \four track, and then switch to Lanes 
mode to create and edit some Notes objects in 
a different section of the track. Your previousl\f 
created and edited curves would remain 
unaffected.
Pitch Graph Scale
The Pitch Graph Sca\fe 
Buttons contro\f the 
horizonta\f (time) and vertica\f (pitch) 
sca\fing of the graph. \b\ficking the 
appropriate “+” button causes the view 
to zoom in, whi\fe c\ficking a “-” button 
causes it to zoom out.
Note: the horizontal scale buttons 
alwa\fs control the pi tch Graph. th e\f 
also control the 
en

velope Graph 
when it is set to “
ti

e” (see below). Object Pitch 
\bisplay
The Object Pitch 
Disp\fay wi\f\f a\fways 
show the exact target pitch of the correction 
object at the current cursor position.  For Lines and \burves, this wi\f\f correspond to the 
pitch indicated by the b\fue target pitch curve. 
For Notes, this wi\f\f correspond either to the 
pitch of the graph \fine or \fane on which the 
Note is situated, or, if Snap to Note has been 
turned off and the Note has been offset from 
the graph \fine or \fane, it wi\f\f disp\fay the note and 
the amount of offset (in cents).
Output Pitch 
\bisplay
The Output 
Pitch Disp\fay wi\f\f 
a\fways show the exact output pitch (the green 
curve) at the current cursor position.
\betecte\f Pitch 
\bisplay
The Detected 
Pitch Disp\fay wi\f\f 
a\fways show the exact pitch of the tracked 
input data (the red curve) at the current cursor 
position. 
Cursor Time 
Position \bisplay
The \bursor 
Time Position 
Disp\fay (as you’ve 
probab\fy a\fready guessed) wi\f\f show the time 
at the current cursor position. The format of 
this disp\fay (either abso\fute time or bars and 
beats) wi\f\f be the same as that set by the Time 
Disp\fay Format se\fector described in the \b\fock 
\bontro\fs section.
The Envelope Graph \bisplay
The Enve\fope Graph disp\fays the amp\fitude 
(\foudness) enve\fope of the sound whose pitch 
is shown in the Pitch Graph. Additiona\f\fy, its 
centra\f horizonta\f axis wi\f\f disp\fay red in any 
range in which time has been tracked.
When Time \bontro\f is enab\fed, the Enve\fope 
Graph wi\f\f disp\fay two enve\fopes, one above the 
other; the origina\f enve\fope on the bottom and 
the (potentia\f\fy) time-shifted enve\fope on the 
top. See the Time \bontro\fs section for detai\fs.  
						

							46
All/Tie Buttons
The Enve\fope Graph’s 
horizonta\f (time) sca\fe is 
contro\f\fed by the “A\f\f” and 
“Tie” buttons.
\b\ficking the A\f\f button causes the enve\fope 
graph to disp\fay a\f\f of the current\fy tracked 
audio. This is usefu\f for quick\fy \focating and 
se\fecting various portions of audio spread over 
the duration of a song.
\b\ficking the Tie button s\faves the position of 
the Enve\fope Graph to that of the Pitch Graph. 
When this setting is se\fected, the horizonta\f 
sca\fe of the Enve\fope Graph is contro\f\fed by the 
Pitch Graph horizonta\f sca\fe buttons.
Auto Scroll
When Auto-Scro\f\f is on (the button is 
b\fue), Auto-Tune 7 wi\f\f automatica\f\fy 
scro\f\f the Pitch Graph Disp\fay to 
ensure that the current p\fay position 
is a\fways visib\fe in the disp\fay. 
When Auto-Scro\f\f is off (the button is pa\fe 
gray), the disp\fay wi\f\f not scro\f\f to fo\f\fow the 
p\fay position. N
o

te
:

 In addition to the above, if 
Auto-Scroll is off while trackin\b pitch 
or pitch and time, when the transport 
is stopped, Auto-
tu

ne 7 will not automaticall\f 
scale the displa\f to encompass all of the 
tracked audio, as it normall\f would. 
th

is is useful when \fou have zoomed in to 
a problematic bit of audio and want to track 
it a number of times with different 
tr

ackin\b 
settin\bs and observe the effects of the different 
settin\bs. If Auto-Scroll were on, Auto-
tu

ne 7 
would rescale the displa\f after each trackin\b 
pass, anno\fin\bl\f requirin\b \fou to zoom back in 
to the bit \fou were interested in each time. With 
Auto-Scroll (and therefore automatic rescalin\b) 
off, that wouldn’t be necessar\f.Editing Tools
E\fiting Mo\fality 
Un\fike versions of Auto-Tune prior to Auto-Tune 
5, with Auto-Tune 7, you are free to use any 
of the graphica\f editing functions whi\fe either 
tracking or correcting pitch.
You can, for examp\fe: 
• Draw new correction objects whi\fe you are  either tracking or correcting pitch. 
• Edit existing correction objects whi\fe 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 re\fease your mouse button).
• \b\fick Make \burve, Import Auto or Make Notes whi\fe tracking or correcting pitch. (If 
you do this whi\fe tracking pitch, the resu\fting 
objects wi\f\f app\fy on\fy to the audio that has 
a\fready been tracked at the instant you c\fick 
the respective button).
• \but, copy or paste correction objects whi\fe tracking or correcting pitch.
Now, just because you  can do something, 
doesn’t necessari\fy mean you wou\fd want to 
(or that it even makes sense to), but with this 
functiona\fity, you have a \fot of flexibi\fity in deve\f-
oping whatever workflow works best for you.  
						

							47
The Graphical Tools
The graphica\f too\fs are used in conjunction with 
the edit buttons to create or modify the desired 
correction objects.
Note: the two tools dedicated to 
time correction and manipulation will 
be described in the 
ti

me Controls 
section later in this chapter.
ANotHeR No te: In addition to clickin\b 
on the various tools, if \four host 
passes ke\f presses to plu\b-ins, \fou 
can assi\bn selected tools to 
QWeRtY number 
ke\fs usin\b the Ke\f Bindin\b function in the 
op

tions dialo\b. The Line Tool
The Line Too\f is used to draw 
mu\fti-segment straight \fines on the 
Pitch Graph. Start the process by 
se\fecting the Line Too\f and c\ficking anywhere 
on the Pitch Graph to set an anchor point. As 
you move the cursor, a \fine wi\f\f extend from the 
anchor point to the cursor position. \b\fick again 
to set a second anchor point and define the 
first segment of your pitch contour. \bontinue 
c\ficking and defining \fines unti\f your contour is 
comp\fete. End the process by doub\fe-c\ficking 
on the fina\f anchor point or pressing esc on 
your keyboard.
Pressing Option/A\ft on your keyboard during 
\fine entry wi\f\f force the current segment to be 
perfect\fy horizonta\f.
Note: Due to issues in pr o to ols 
for pC  that are be\fond our control, 
usin\b the Alt ke\f to constrain a 
line se\bment to horizontal does not function 
in those versions. However, \fou can \bet an 
equivalent effect b\f usin\b the Snap 
to

 Note 
function (see below) to constrain a line se\bment 
to a semitone, and then usin\b the Arrow 
to

ol 
to move that horizontal line se\bment to an\f 
intermediate pitch. If you have enab\fed Snap To Note mode (see 
be\fow), each segment wi\f\f automatica\f\fy snap 
to the nearest semitone. Pressing the Shift 
key on your keyboard whi\fe drawing a \fine 
temporari\fy togg\fes the state of the Snap To 
Line button. I.e., if Snap To Note mode is not 
enab\fed, pressing Shift wi\f\f enab\fe it for as \fong 
as Shift is pressed. \bonverse\fy, if Snap To Note 
mode is enab\fed, pressing Shift wi\f\f disab\fe it 
for as \fong as Shift is pressed.
If you move the cursor outside the Pitch Graph 
during point entry, the graph wi\f\f automatica\f\fy 
scro\f\f.
To de\fete the \fast anchor point entered, press 
de\fete on your keyboard (you can do this 
repeated\fy back to the very first anchor point).
On\fy one pitch correction object (Line, \burve, 
or Note) can exist at any time point on the Pitch 
Graph. When you comp\fete the entry of a \fine 
object, any object(s) that previous\fy existed at 
the same time wi\f\f be de\feted.
Note: If, while the Line to
ol is 
selected, \fou move the cursor onto 
the 
en

velope Graph Displa\f, it will 
temporaril\f chan\be to the Ma\bnif\fin\b Glass 
to

ol, 
allowin\b \fou to quickl\f and easil\f move to an\f 
other point in \four audio and then resume editin\b 
without needin\b to manuall\f chan\be tools.
The Curve Tool
The \burve Too\f is used to draw 
arbitrary curves on the Pitch Graph. 
Start the process by se\fecting the 
\burve Too\f and c\ficking anywhere on the Pitch 
Graph to set an anchor point. Ho\fd down your 
mouse button and move the cursor to draw the 
desired pitch contour curve. End the process by 
re\feasing your mouse button.
Un\fike the Line Too\f, the Pitch Graph wi\f\f not 
scro\f\f if you attempt to move the \burve Too\f 
cursor outside the current disp\fay area.  
						

							48
The Snap To Note mode does not affect the 
\burve Too\f.
On\fy one pitch contour object (Line, \burve, 
or Note) can exist at any time point on the 
Pitch Graph. When you comp\fete the entry of 
a \burve object, any object(s) that previous\fy 
existed at the same time wi\f\f be de\feted.
Note: If, while the Curve tool is 
selected, \fou move the cursor onto 
the 
en

velope Graph Displa\f, it will 
temporaril\f chan\be to the Ma\bnif\fin\b Glass 
to

ol, 
allowin\b \fou to quickl\f and easil\f move to an\f 
other point in \four audio and then resume editin\b 
without needin\b to manuall\f chan\be tools.
The Note Tool
The Note Too\f is used to draw new 
Notes (duh!). Simp\fy c\fick and drag 
near the desired horizonta\f graph 
\fine or \fane (depending on the current disp\fay 
mode) to create a new Note. 
On\fy one pitch contour object (Line, \burve, or 
Note) can exist at any time point on the Pitch 
Graph. When you comp\fete the entry of a new 
Note, any object(s) that previous\fy existed at 
the same time wi\f\f be de\feted.
Note: New Notes will alwa\fs be 
drawn precisel\f on semitone or scale 
note \braph lines or lanes (dependin\b 
on the displa\f mode), re\bardless of the settin\b 
of the Snap 
to

 Note button. If \fou wish to 
create a note that is offset from a line or lane, 
first draw the note on the nearest line or lane, 
then ensure that Snap 
to

 Note mode is off and 
use either the Arrow tool or the Nud\be buttons 
to move the Note to the desired pitch.
ANotHeR No te: If, while the Note to
ol is selected, \fou move the cursor 
onto the 
en

velope Graph Displa\f, it 
will temporaril\f chan\be to the Ma\bnif\fin\b Glass 
to

ol, allowin\b \fou to quickl\f and easil\f move to 
an\f other point in \four audio and then resume 
editin\b without needin\b to manuall\f chan\be 
tools (is this be\binnin\b to sound familiar?). The Arrow Tool
The Arrow Too\f is used to se\fect 
and drag or edit existing correction 
objects (Lines, \burves, or Notes) 
as we\f\f as to add or de\fete anchor points to 
existing \fines.
The Arrow Too\f behaves as fo\f\fows:
MANIPULATING LINES AND \bURVES: \b\ficking 
on the background of the Pitch Graph and 
dragging horizonta\f\fy se\fects objects’ anchor 
points. Shift-c\ficking extends the se\fection.
Dragging beyond the Pitch Graph boundaries 
automatica\f\fy scro\f\fs the graph.
Moving the Arrow Too\f over a Line or \burve 
causes the cursor to change to the object 
cursor (a horizonta\f bar). \b\ficking on an 
unse\fected curve or \fine segment with the 
object cursor causes the curve or segment 
and its anchor points to become se\fected and 
a\f\fows that object to be dragged. \b\ficking on an 
a\fready se\fected curve or \fine segment with the 
object cursor a\f\fows that object, a\fong with a\f\f 
other se\fected objects, to be dragged.
By defau\ft, when you c\fick to drag an object, 
you wi\f\f be restricted to vertica\f movements 
on\fy (the cursor wi\f\f indicate this state). The 
effect of this is to a\f\fow you to modify the pitch 
contour whi\fe preserving the object’s \focation 
in time. This is particu\far\fy handy after using the 
Make \burve or Import Auto buttons.
In some host app\fications, ho\fding down the 
Option/A\ft key and then c\ficking to drag wi\f\f 
a\f\fow movement in both vertica\f and horizonta\f 
directions.
Moving the Arrow Too\f over a Line or \burve 
anchor point (whether that point is current\fy 
se\fected or not) causes the cursor to change 
into the anchor point cursor (four diagona\f 
arrows). \b\ficking on an anchor point with the 
anchor point cursor dese\fects a\f\f other objects 
and anchor points and se\fects that anchor point 
so that it can be dragged. Dragging an anchor 
point stretches or compresses the correction 
object re\fative to the nearest unse\fected anchor 
point(s).  
						

							49
The extent to which you can drag se\fected 
objects is constrained by the position of 
neighboring unse\fected objects.
\b\ficking on the background of the Pitch Graph 
dese\fects a\f\f se\fected objects.
ADDING AND DELETING AN\bHOR POINTS: 
Moving the Arrow Too\f over an existing \fine 
segment and doub\fe-c\ficking wi\f\f add an 
intermediate anchor point at that point. The 
cursor wi\f\f change to the anchor point cursor 
and the new anchor point can then be dragged.
Moving the Arrow Too\f over an existing anchor 
point (except for end points) and doub\fe-c\ficking 
wi\f\f remove that anchor point and cause a 
straight \fine to be drawn between the now 
adjacent anchor points.
The Arrow Too\f wi\f\f not add or de\fete anchor 
points on curves, on\fy on \fines created with the 
Line Too\f.
MANIPULATING NOTE OBJE\bTS: The Arrow 
too\f is used to modify the pitch of a Note object 
(i.e., move it up or down on the Pitch Graph) or 
to modify the start and/or end points of a Note 
(i.e., adjust those points forward or backward 
in time).
When you move the Arrow too\f over a Note 
object, the cursor wi\f\f change to one of two 
states, depending on where over the Note it is 
positioned. 
When the cursor is over the centra\f area of a 
note, the pitch shift cursor (vertica\f up and down 
arrows) wi\f\f be disp\fayed. \b\ficking on the Note 
when the pitch shift cursor is disp\fayed wi\f\f a\f\fow 
you to drag the note up or down to a new pitch. 
If the Snap To Note function is active, the Note’s 
movement wi\f\f be constrained to the grid \fines 
or \fanes of the Pitch Graph. If the Snap To Note 
function is not active, you can move the note to 
any arbitrary pitch.
A tIp: When movin\b a Note with 
Snap to  Note off, \fou can refer to the 
ob

ject 
pi
 tch Displa\f to determine the 
Note’s exact pitch at an\f position.
When the cursor is near either end of a note, 
the \fength adjustment cursor (horizonta\f \feft 
and right arrows) wi\f\f be disp\fayed. \b\ficking  on either end of a Note when the \fength 
adjustment cursor is disp\fayed wi\f\f a\f\fow you 
to drag the se\fected end point \feft or right 
to a new position, effective\fy \fengthening or 
shortening the Note.
Un\fike Lines and \burves, whose movement is 
constrained by adjacent objects, extending a 
Note’s start or end point wi\f\f rep\face any other 
correction objects that current\fy exist in the 
extended time range. 
Note: When extendin\b a Note, 
as lon\b as \fou are dra\b\bin\b the 
end point (i.e., as lon\b as \fou hold 
\four mouse button down), movin\b the end 
point over an existin\b object will cause it to 
be overwritten, but then movin\b it back to its 
ori\binal position will cause the overwritten 
object to reappear. However, once \fou 
release the mouse button and finalize the 
move, the overwritten object is \bone forever. 
Subsequentl\f dra\b\bin\b the Note’s end point 
back to its ori\binal position will not cause the 
overwritten object to reappear.
ANotHeR No te: When extendin\b 
a Note, an\f new pitch material that 
becomes part of the len\bthened 
Note will inherit the ori\binal Note’s Retune 
Speed (as displa\fed b\f its \breen output curve). 
As a result, it ma\f (or ma\f not) be necessar\f to 
adjust the Retune Speed to achieve the best 
result with the additional material.
AN IMpoRtA Nt  No te: When we 
talk about movin\b a Note ob ject’s 
end points in time, it’s important to 
understand that what we’re doin\b is adjustin\b 
the time ran\be durin\b which that Note defines 
the tar\bet correction pitch of the audio. We are 
not shiftin\b the time of the audio itself. 
to

 shift 
the time of the audio, use the 
ti

me Control 
tools described later in this chapter. 
A tIp: If \fou are workin\b on a 
performance with such wide vibrato 
that even with Number of Note 
ob

jects set to its lowest settin\b \fou still end 
up with a series of notes rapidl\f alternatin\b 
between the desired pitch and the upper and 
lower adjacent pitches, instead of manuall\f 
movin\b each upper and lower note back to the   
						

							50
desired central pitch, just \brab the appropriate 
end of the first or last central pitch Note and 
dra\b it over all of the other Notes. You’ll end 
up with a sin\ble Note on the desired frequenc\f 
whose vibrato \fou can tame with a sin\ble 
adjustment of the Note’s Retune Speed.
Whi\fe a\f\f of the above may seem a bit mind-
bogg\fing on first reading, in practice it’s quite 
intuitive. Spend a minute or two p\faying with 
the Arrow Too\f and a\f\f wi\f\f become c\fear.
Note: If, while the Arrow tool is 
selected, \fou move the cursor onto 
the 
en

velope Graph Displa\f, it will 
temporaril\f chan\be to the Ma\bnif\fin\b Glass 
to

ol, \fadda, \fadda, \fadda… Scissors Tool 
Moving the Scissors Too\f over an 
existing \burve, Line, or Note object 
and c\ficking wi\f\f break the object 
in two at the point c\ficked. Both of the new 
objects wi\f\f be unse\fected.
For \burves and Lines, a\fthough it wi\f\f \fook \fike 
there is on\fy one anchor point created at the 
break point, there are actua\f\fy two (one for 
each of the two new\fy created \fine or curve 
segments). Simp\fy use the Arrow Too\f to move 
the top anchor point to revea\f the other one.
Note: Scissors tool, en velope Graph 
Displa\f, temporaril\f Ma\bnif\fin\b Glass 
to

ol. Yup.
Magnifying Glass
In the Pitch Graph, use the 
Magnifying G\fass to c\fick and drag 
a box around an area of interest. 
Dragging off the Pitch Graph automatica\f\fy 
scro\f\fs the graph. When you re\fease the 
mouse button, the sca\fe and position of the 
Pitch Graph wi\f\f be changed to disp\fay the area 
enc\fosed by the box.
When the Magnifying G\fass cursor is disp\faying 
the defau\ft “+”, c\ficking the Magnifying G\fass 
anywhere in the pitch disp\fay wi\f\f increase the 
disp\fay’s horizonta\f and vertica\f zoom factors 
one step (if possib\fe).
Pressing Option(Mac)/A\ft(P\b) wi\f\f cause the 
cursor to change to “-”. In this state, c\ficking  anywhere in the pitch disp\fay wi\f\f decrease the 
disp\fay’s horizonta\f and vertica\f zoom factors 
one step (if possib\fe).
Dragging the Magnifying G\fass in the Enve\fope 
Disp\fay wi\f\f cause the se\fected time range 
to appear in the Pitch Disp\fay (most usefu\f 
for navigating when the Enve\fope Disp\fay is 
in “A\f\f” mode). The pitch range of the Pitch 
Disp\fay wi\f\f be automatica\f\fy sca\fed such that a\f\f 
of pitch information in that time range is visib\fe 
on the screen.
I-Beam Tool
Drag the I-Beam Too\f in either the 
Pitch or Enve\fope Disp\fay to se\fect 
an area to app\fy Make \burve, 
Import Auto, Make Notes, or Number of Note 
Objects. The se\fection area wi\f\f be reflected in 
both disp\fays.
Doub\fe-c\ficking with the I-Beam too\f in either 
the Pitch or Enve\fope Disp\fay wi\f\f high\fight the 
range of a\f\f current\fy tracked audio.
If the Enve\fope Disp\fay is set to A\f\f, using the 
I-Beam Too\f to make a se\fection anywhere in 
the Enve\fope Disp\fay wi\f\f cause the se\fected 
audio to appear in the Pitch Disp\fay. This is 
handy for quick\fy moving around your track to 
make various edits.Note: this I-Beam to ol is applicable 
to pitch editin\b onl\f. Selections for 
the purpose of time shiftin\b are made 
b\f the dedicated time control tools described 
later in this chapter.
Han\f Tool
Drag the Hand Too\f in any direction 
in the Pitch Disp\fay to move the 
area disp\fayed.
If you move any se\fected cursor into the \feft-
hand “key” area, it wi\f\f temporari\fy change to 
the Hand too\f, a\f\fowing you to quick\fy scro\f\f the 
Pitch Disp\fay up or down as desired.
pop QUIZ!: If, while the Hand to ol 
is selected, \fou move the cursor 
onto the 
en

velope Graph Displa\f, 
what happens? (Send \four answer to info@
antarestech.com with the words “
po

p Quiz” in 
the subject line.)  
						

							51
The Edit Buttons
Once some audio has been tracked and/or 
correction objects created, they can be affected 
or edited in various ways with the Edit Buttons.
The Edit Buttons are context sensitive, i.e., on\fy 
the buttons that are app\ficab\fe to the current 
state of the pitch disp\fay are active. If a particu\far 
button does not have a va\fid function re\fative to 
the current pitch disp\fay state, it wi\f\f be “grayed 
out” (i.e., co\fored dark gray). If it does have a 
va\fid function, it wi\f\f appear pa\fe gray.
Note: other than the Clear All button, 
which reall\f does clear ever\fthin\b, 
these edit buttons are applicable 
specificall\f to correction objects and pitch edits. 
ti

me shiftin\b has its own set of edit functions, 
described below.
The Clear All Button
\b\ficking the \b\fear A\f\f button 
erases a\f\f tracking (both pitch 
and time) and correction 
information, whether or not it 
is current\fy visib\fe on the Pitch Disp\fay. Since 
you can not undo this function (and accidenta\f\fy 
executing it cou\fd be catastrophic), you must 
confirm your intent in a warning dia\fog.
Note: If \fou’re absolutel\f certain 
\fou want to clear ever\fthin\b and 
don’t want to be bothered b\f the 
confirmation dialo\b, 
op

tion-click the Clear All 
button to b\fpass the warnin\b.
The Un\fo Button
The Undo button becomes 
active whenever you move or 
modify a target pitch contour 
object. \b\ficking the Undo 
button once wi\f\f undo the most recent change. 
If you have made mu\ftip\fe changes, you can 
continue to c\fick Undo to undo additiona\f 
changes up to the \fimit that you set in the 
Options dia\fog.
The Re\fo Button
The Redo button becomes 
active whenever you have 
executed at \feast one Undo. 
\b\ficking the Redo button once  wi\f\f redo the most recent undone change. 
If you have executed mu\ftip\fe undos, you 
can continue to c\fick Redo to redo additiona\f 
changes up to the \fimit that you set in the 
Options dia\fog.
The Snap To Note Button
Press this button to enab\fe 
Snap To Note mode when 
using the Line Too\f or 
moving Note objects. In 
Snap To Note mode, each \fine segment wi\f\f 
automatica\f\fy snap to the nearest semitone and 
Notes can on\fy be moved to exact semitones 
(or exact sca\fe notes for microtona\f sca\fes).
Pressing the Shift key on your keyboard 
whi\fe drawing a \fine or moving a Note object 
temporari\fy togg\fes the state of the Snap To 
Note button. I.e., if Snap To Note mode is not 
enab\fed, pressing Shift wi\f\f enab\fe it for as \fong 
as Shift is pressed. \bonverse\fy, if Snap To Note 
mode is enab\fed, pressing Shift wi\f\f disab\fe it 
for as \fong as Shift is pressed.
The Select All Button
The Se\fect A\f\f button causes 
a\f\f correction objects, whether 
current\fy visib\fe on the Pitch 
Graph view or not, to become 
se\fected.
The Cut An\f Copy Buttons
The \but and \bopy buttons 
become active whenever one 
or more correction objects are 
se\fected. \but removes se\fected objects. Both \but and \bopy 
copy se\fected objects to the 
Auto-Tune 7 c\fipboard. You 
can then paste the objects 
e\fsewhere in the Pitch Graph 
disp\fay.
The Paste Button
The Paste button becomes 
active whenever one or more 
objects have been \but or 
\bopied to the c\fipboard. 
To paste object(s) from the c\fipboard:
• Navigate to the genera\f area where you want  to paste the object(s.)   
						

							52
• \b\fick the Paste button (the cursor wi\f\f turn into the Paste cursor). 
• Press and ho\fd your \feft (or on\fy) mouse button. A graphic representation of the 
object(s) to be pasted wi\f\f appear.
• Whi\fe ho\fding down the mouse button, drag the objects to the exact \focation where you 
wish to paste them. 
• Once they are at the proper \focation, re\fease the mouse button to comp\fete the paste.
Note: Since onl\f one correction 
object (Line, Curve, or Note) can exist 
at an\f time point on the 
pi

tch Graph, 
an\f object(s) that previousl\f existed at the 
time where an object is pasted will be deleted. 
Hence, before \fou complete the paste, be 
sure that the area \fou’re pastin\b into does not 
contain an\f correction object(s) that \fou want 
to keep.
A tIp: When pastin\b an object, the 
object retains the Retune Speed(s) 
of the ori\binall\f copied object. 
th

at 
speed ma\f or ma\f not be appropriate for the 
pitch data at the object’s new location. 
ob

serve 
the resultin\b \breen output pitch curve and 
adjust the Retune Speed as necessar\f.
The Nu\fge Buttons
The Nudge buttons a\f\fow you 
to move a\f\f current\fy se\fected 
correction objects up or down in 
precise one-pixe\f increments. 
Note: If Snap to Note mode is 
enabled, Note objects can not be 
nud\bed. If \fou want to nud\be a Note 
object, first turn off Snap 
to

 Note. After nud\bin\b 
the Note to its new pitch, \fou can re-en\ba\be 
Snap 
to

 Note. 
th
 e nud\bed note will remain at 
its offset pitch (unless \fou subsequentl\f use 
the Arrow tool to move it, in which case it will 
once a\bain be constrained to scale notes).
The actua\f pitch interva\f for each Nudge step 
depends on the current vertica\f zoom setting of 
the Pitch Graph. When the disp\fay is zoomed 
far out, the interva\f is \farger than when zoomed 
in. The extremes of the nudge interva\fs are as 
fo\f\fows: When zoomed a\f\f the way out: 20 cents per 
nudge
When zoomed a\f\f the way in: 1 cent per nudge
For maximum contro\f, zoom in as c\fose as 
possib\fe to your object(s) of interest before 
using the Nudge buttons.
Keyboar\f Equivalents
Some host app\fications support the fo\f\fowing 
keyboard command equiva\fents for the 
above Edit Buttons. Others reserve these 
commands for their own use. \bonsu\ft your host 
app\fication’s manua\f for detai\fs (or just try them 
and see if they work).
\bommand/\bontro\f-Z
 U

ndo 
\bommand-Shift-Z/\bontro\f-Y 
 R
 edo 
\bommand/\bontro\f-X 
 \b
 ut 
\bommand/\bontro\f-\b 
 \b
 opy 
\bommand/\bontro\f-V 
 P
 aste 
\bommand/\bontro\f-A 
 S
 e\fect A\f\f
Pitch Shifting, Formant Correction 
and Throat Modeling
To use the Pitch Shifting, Formant \borrection 
and/or Throat Mode\fing functions in Graphica\f 
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.
Pen Tablet Input
If you do a \fot of your pitch correction using 
Graphica\f Mode, you may want to consider 
using a USB pen tab\fet \fike the Wacom 
Bamboo or Intuos.
A pen tab\fet \fets you contro\f Auto-Tune 7’s 
graphica\f too\fs (as we\f\f as a\f\f the other contro\fs) 
using a fami\fiar pen-sty\fe input device. Once 
you become comfortab\fe with one (which 
usua\f\fy on\fy takes a few minutes), a pen tab\fet 
typica\f\fy offers increased drawing accuracy 
with \fess wrist stress in \fong sessions. Some 
tab\fets a\fso inc\fude programmab\fe function 
keys for often-used keyboard commands.  
						

							53
Time Shifting Overview
As mentioned back in \bhapter 2, in order to do 
its time shifting magic, Auto-Tune 7 must first 
create a copy of any audio you wish to edit. 
As you might imagine, these audio fi\fes can 
be quite \farge. Un\fike the pitch data generated 
by the traditiona\f Track Pitch function, which is 
a\fways stored with the instances of Auto-Tune 
in your session, the audio recorded for time 
shifting by the Track Pitch + Time function is 
saved as one or more separate fi\fes e\fsewhere 
on your computer. 
You wi\f\f find detai\fed information about these 
fi\fes in the Tracked Data Management section 
be\fow, but here are some basic guide\fines to 
keep in mind:
• If you a\fways work on one computer and never transfer your projects to other 
computers, you don’t rea\f\fy have to worry 
about this. Everything wi\f\f typica\f\fy take care 
of itse\ff. 
 T

he one exception is that’s it’s wise to de\fete 
any tracked audio fi\fes once you no \fonger 
need them (after bouncing or freezing a 
processed track, for examp\fe), as they wi\f\f 
otherwise end up sitting on your computer 
forever, just taking up space. See be\fow for 
detai\fs.
• If you do transfer your sessions to other  computers, any tracked audio fi\fes must 
be transferred with them. Again, see the 
Tracked Data Management section be\fow for 
instructions.
• If you know from the beginning that you won’t be doing time shifting on a track, use 
the Track Pitch function. There’s no point in 
recording \farge fi\fes you’\f\f never need.
• If you wi\f\f be doing time shifting in on\fy a sma\f\f region of your track, use Track Pitch 
+ Time on\fy in that region. You can do a  separate Track Pitch pass for any other 
regions that on\fy require pitch correction. 
• Auto-Tune 7’s time shifting is comp\fete\fy 
nondestructive. 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 switch off the Time \bontro\f 
Enab\fe button to instant\fy return to your 
track’s origina\f timing.
Time Shifting Limits
For both of the time editing too\fs described 
be\fow, the tota\f amount of time compression 
or expansion that can be app\fied to a range of 
audio is \fimited to a 10:1 ratio. That is, a range 
can be expanded up to 10 times its origina\f 
\fength or compressed down to 1/10th of its 
origina\f \fength. Once that \fimit is reached, 
further compression or expansion (depending, 
of course on which \fimit we’re ta\fking about) is 
not possib\fe.
Note: the compression and 
expansion limits are cumulative. 
So, if \fou find \fourself unable to 
make a small time shift, it will almost certainl\f 
be because the re\bion \fou are editin\b has 
previousl\f been shifted to (or near) its limit.
Computer Power an\f the 
\bata Error In\ficator
In addition to the \fimits 
described above, there are 
a two other re\fated issues that can affect the 
usefu\f range of time compression: computer 
speed and session comp\fexity. 
When performing time compression, Auto-
Tune 7 needs to process the audio at faster 
than rea\f time. At the \fimit of 10:1, audio must 
be processed at ten times its norma\f rate. 
Our tests have shown that computers that 
meet our pub\fished system requirements   
						

							54
can accomp\fish this in most cases, but it’s 
important to keep in mind that if your session is 
particu\far\fy comp\fex, with many tracks and \fots 
of other potentia\f\fy processor-hungry p\fug-ins 
a\f\f running at once, even the fastest computer 
may have troub\fe keeping up. 
To a\fert you to any data access prob\fems, the 
Data Error indicator wi\f\f \fight red anytime Auto-
Tune 7 is unab\fe to read data from its disk fi\fe in 
the time avai\fab\fe. If this happens, you shou\fd 
consider the fo\f\fowing options:
• Listen carefu\f\fy to the point in your audio where the Data Error indicator \fights. Very 
much \fike a VU meter’s c\fip \fight, not every 
instance wi\f\f resu\ft in an audib\fe prob\fem. 
If you can’t hear anything wrong, you can 
safe\fy ignore it.
• Decrease the amount of time compression by a tiny bit. If you’re right on the edge of 
your computer’s capabi\fity, an extreme\fy 
sma\f\f change can e\fiminate the prob\fem.
• Temporari\fy simp\fify your session (mute other  tracks, bypass other p\fug-ins) and render or 
bounce or your time edits to a new track.
• Since data access depends on everything going on at any particu\far time in your session, 
for cases that are on the edge of your 
computer’s capabi\fity, it’s possib\fe that the 
Data Error indicator might \fight on one pass, 
but not on another. It’s a\fways worthwhi\fe 
just p\faying the track again to see if Data Error 
indication was a one-time anoma\fy.
• Buy a faster computer. If you’ve been \fooking for an excuse to upgrade, the Data Error 
indicator may be your ticket to that hot new 
Mac or P\b you \fust after.
Track Pitch + Time
The process of tracking 
pitch and time is very much 
\fike that of simp\fy tracking 
pitch a\fone. The on\fy 
difference is that in addition 
to norma\f pitch tracking, 
Auto-Tune 7 a\fso makes a recording of the 
actua\f audio to be processed. 
IMpoRtANt  No te: As was noted in 
the tr
ack pi
tch section, \fou should 
alwa\fs start trackin\b pitch and time 
in an area of silence before the audio \fou want 
to correct, or from the ver\f start of the track.  Startin\b trackin\b in the middle of audio will 
t\fpicall\f result in an artifact.
To track pitch and time, \focate the desired audio 
and press the Track Pitch + Time button. (If you 
are using Auto-Tune 7’s Interna\f c\fock, you may 
(depending on your host) need to c\fick the Reset 
button to reset the c\fock position to 00:00:0.) 
The Track Pitch + Time button wi\f\f flash b\fue 
and red to indicate that Auto-Tune is in Track 
Pitch + Time mode.
Next, start p\fayback of the audio. A graphic 
representation of the pitch and its amp\fitude 
enve\fope wi\f\f be drawn to the disp\fay as the 
audio p\fays. When a\f\f of the audio you want to 
correct has p\fayed, stop p\fayback. You wi\f\f exit 
Track Pitch + Time mode and, if you have Auto-
Scro\f\f enab\fed, the Pitch Graph wi\f\f automatica\f\fy 
sca\fe in such a way as to inc\fude a\f\f of the 
tracked audio. If you have not enab\fed Auto-
Scro\f\f, no sca\fing wi\f\f occur. 
In addition, the centra\f horizonta\f axis of the 
Enve\fope Disp\fay wi\f\f turn red to indicate the 
range of audio that has been recorded and is 
avai\fab\fe for time shifting.
Note: If \fou are usin\b Auto-tu
ne 7’s 
Internal Clock, after stoppin\b pla\fback 
in \four host, \fou must click the clock 
Reset button to stop Auto-
tu

ne 7’s transport and 
return \fou to the be\binnin\b of \four tracked re\bion.
ANotHeR No te: Althou\bh trackin\b 
time does not involve the Buffer Size 
settin\b in the 
op

tions dialo\b, trackin\b 
pitch (which happens simultaneousl\f) does. 
Consequentl\f, if the len\bth of the audio to be 
processed exceeds the currentl\f set Buffer Size 
(or \four start point lies be\fond the current buffer 
area), trackin\b of both pitch and time will stop 
when the buffer is full and a warnin\b messa\be 
will appear notif\fin\b \fou of that fact. If this 
happens, increase the buffer size as necessar\f.
Yet ANotHeR  No te: Be cautious 
about chan\bin\b the tr ackin\b value (in 
the 
op

tions dialo\b) after performin\b 
the 
tr

ack 
pi

tch + 
ti

me function. Auto-
tu
 ne 7 
uses the 
tr

ackin\b settin\b durin\b both the 
tr
 ack 
pi

tch + 
ti

me function and while correctin\b pitch. 
Chan\bin\b the 
tr

ackin\b settin\b after 
tr
 ackin\b 
pi

tch + 
tI

me, but before correctin\b, ma\f result 
in unpredictable pitch modifications or stran\be 
(thou\bh possibl\f interestin\b) artifacts.