Antares AutoTune 7 user manual

							55
The Pitch Graph Displa\f
In the process of time shifting, the articu\fation 
and transient profi\fe of your audio is typica\f\fy 
more re\fevant than its pitch contour. For that 
reason, the amp\fitude enve\fope of the tracked 
audio is now disp\fayed as a background 
e\fement of the Pitch Graph Disp\fay. This makes 
it much easier to accurate\fy se\fect the desired 
regions for time shifting and to se\fect the 
individua\f points in time to shift.
The Envelope Graph Displa\f
In addition to its traditiona\f functions, in Auto-
Tune 7 the Enve\fope Graph Disp\fay provides 
key visua\f feedback on the time shifting 
process. Here’s how:
Tracke\f Time In\fication
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 avai\fab\fe for time editing. This 
indication is a\fways visib\fe, whether time 
contro\f is current\fy enab\fed or not.
Time Control Enable\f In\fication
When Time \bontro\f is active (via the Time 
\bontro\f Enab\fe button described be\fow), the 
disp\fay is divided horizonta\f\fy into two enve\fope 
graphs, the origina\f and edited. When Time 
contro\f is not active, on\fy a sing\fe enve\fope (the 
origina\f audio’s enve\fope) is disp\fayed
Real-Time Time Shift \bisplay
To he\fp you visua\fize the affects of your edits, 
whenever time contro\f is enab\fed the disp\fay 
wi\f\f show both the origina\f audio (in the \fower portion of the graph) and the time-shifted audio 
(in the upper portion). As you make time shift 
edits in the main Pitch Graph Disp\fay, you wi\f\f 
see the upper enve\fope update in rea\f time. 
This makes it extreme\fy easy to visua\fize your 
time edits in the context of the origina\f audio.
Time Control Functions
The Time \bontro\f section provides time edit 
contro\f functions that are independent of the 
pitch edit contro\fs described ear\fier.
The Enable Button
The Enab\fe function is an easy way to quick\fy 
compare the effect of a\f\f of your current time 
edits to your origina\f audio.
When this button is b\fue, time shifting is active. 
You wi\f\f hear a\f\f of your current edits and are 
free to make new edits. When it is gray, time 
shifting is inactive. You wi\f\f hear on\fy your 
origina\f audio and no time editing is possib\fe. 
\b\fick the button to togg\fe its state.
IMpoRtANt 
No te: Usin\b this button 
to disable time control does not 
delete an\f of \four previous edits, it 
simpl\f disables them. If \fou subsequentl\f re-
enable time control, all of \four edits will once 
a\bain become active. 
The Un\fo Button
The Undo button becomes active whenever 
you make any time edit. \b\ficking the Undo 
button once wi\f\f undo the most recent edit. If 
you have made mu\ftip\fe edits, you can continue 
to c\fick Undo to undo additiona\f edits 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 time edit Undo. 
\b\ficking the Redo button once wi\f\f redo the 
most recent undone edit. If you have executed 
mu\ftip\fe undos, you can continue to c\fick Redo 
to redo additiona\f edits up to the \fimit that you 
set in the Options dia\fog.  
						

							56
The Clear All Button
\b\ficking the \b\fear A\f\f button c\fears a\f\f time edits 
from the track, essentia\f\fy restoring the timing 
of the origina\f audio.
Note: Unlike the Clear All function 
described in the pi tch ed itin\b to ols 
section, the 
ti

me Control Clear All 
function does not delete an\f tracked data, onl\f 
time edits. 
ANotHeR No te: Also unlike the 
Clear All function described in the 
pi

tch 
ed

itin\b 
to

ols section, the 
ti
 me 
Control Clear All function is undoable, so there’s 
no dire warnin\b messa\be when \fou click it. 
If \fou inadvertentl\f clear all \four edits, don’t 
panic. Just click the 
ti

me Control Undo button 
and all will be well a\bain.
Time Edit Tools
Auto-Tune 7’s time manipu\fation functions 
provide an enormous amount of power over 
the timing of your audio. But, a\fong with power 
and flexibi\fity, one of our key design objectives 
was to make the time shifting process 
extreme\fy easy to use. 
To that end, we’ve designed a\f\f of that power 
into two context-sensitive editing too\fs that 
simp\fy do what you need them to do when 
you need them to do it. As a resu\ft, Auto-Tune 
7’s time manipu\fation process is 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. 
Here are the detai\fs:
The Move Point Tool
The Move Point Too\f a\f\fows you 
to se\fect a range of audio and then 
move a point within that range 
forward or backward in time, compressing and 
expanding the audio around it. 
The Move Point Too\f is context sensitive. 
That is, it changes function (from se\fection to 
moving) depending on what \fies beneath it on 
the screen. As you move the too\f around the 
screen, its cursor icon wi\f\f change to indicate its 
current function. The Move Point Too\f is typica\f\fy used to edit 
a note, word, or phrase in which you want to 
correct the timing of one point whi\fe \feaving other 
key points unchanged. Examp\fes might inc\fude:
• A note, word, or phrase that begins at the 
correct time, but ends either ear\fy or \fate.
• \bonverse\fy, a note, word, or phrase that begins ear\fy or \fate, but ends at the correct 
time.
• A note, word, or phrase that both begins and ends at the correct times, but whose interna\f 
articu\fation you wou\fd \fike to edit.
Using the Move Point Too\f is a two step process:
 1

.
 S
 e\fect the audio range you wish to operate 
on.
 2

.
 S
 e\fect the point within that range that 
you want to shift and move it forward or 
backward as desired. 
The Move Point Too\f operates as a combination 
I-beam se\fection too\f and time shifting too\f as 
fo\f\fows:
• Whenever the cursor is over an area that  is not \focated in an existing range se\fection 
(either because there is no current range 
se\fection or because it is outside the area of 
an existing range), it appears as an I-beam 
and c\ficking and dragging the mouse wi\f\f 
se\fect a new range.
• Whenever the cursor is over an area that IS \focated in an existing range se\fection, 
it changes to the Move Point cursor and 
c\ficking on a point and dragging performs 
a time shift, moving the se\fected point and 
compressing and expanding the audio within 
the se\fected range. 
•  Whenever the cursor is over an area where audio has not been tracked by the Track 
Pitch + Time function, the cursor changes to 
the universa\f “No” icon to indicate that time 
shifting is not possib\fe at that point. 
Note: When in selection mode (i.e., 
when the cursor icon is the I-Beam), 
the resultin\b selection is applicable 
to time shiftin\b onl\f. Selections for the purpose 
of pitch correction are made b\f the dedicated 
I-Beam tool described earlier in this chapter.  
						

							57
AN
o

t
HeR

 N
o

te
: You will find that 
the envelope displa\f in the pi tch ed it 
Graph provides a useful reference for 
selectin\b the initial ran\be and exactl\f the ri\bht 
point to move.
Yet ANotHeR  No te: When selectin\b 
and movin\b a point, the vertical 
position of the cursor has no effect. 
on

l\f the horizontal position counts.
Examples of Using the Move Point Tool
The quickest way to become fami\fiar with the 
time edit too\fs is to run through the tutoria\fs in 
\bhapter 4. But if you’re not current\fy near your 
computer, the fo\f\fowing examp\fes shou\fd give 
you a good idea of how you’\f\f typica\f\fy use the 
Move Point Too\f in your projects.
For a note, word, or phrase that begins at the 
correct time, but ends either ear\fy or \fate:
 1

.
 U

se the Move Point Too\f to se\fect a range 
that extends from the exact beginning of 
the note, word, or phrase past its end. 
Note: How far past the end \fou 
select depends a lot on what follows 
the note, word, or phrase to be 
edited. If there is silence, select as much of 
the silence as \fou need to be able to move the 
endpoint to its desired location. If there is more 
audio, keep in mind that in order to move \four 
endpoint, \fou will also end up stretchin\b or 
compressin\b some of the followin\b audio. 
th

e 
exact selection amount will var\f dependin\b on 
the nature of \four audio. Undo is \four friend.
 2

.
 W

ithin the range se\fected in Step 1, p\face 
the cursor exact\fy on the end of the note, 
word, or phrase and move it to the desired 
\focation. 
For a note, word, or phrase that begins ear\fy or 
\fate, but ends at the correct time, simp\fy use 
Steps 1 and 2 as described above, but se\fect 
a range that extends from the end of the note, 
word, or phrase to before its beginning. Then 
se\fect the exact beginning and move it to the 
desired \focation
For a note, word, or phrase that both begins 
and ends at the correct times, but whose 
interna\f articu\fation you wou\fd \fike to edit:
 1
 .
 U
 se the Move Point Too\f to se\fect a range 
that extends exact\fy from the beginning of 
the note, word, or phrase to its end. 
 2
 .
 S
 e\fect the point within the range that you 
wou\fd \fike to edit and move it to the desired 
\focation. 
The Move Region Tool
The Move Region too\f is designed 
for moving notes, words, or phrases 
in their entirety whi\fe preserving the 
timing of the moved e\fement. 
Note: For clarit\f, in the followin\b 
descriptions, a “ran\be” is defined as 
the overall ran\be of audio that \fou 
will be workin\b with, while a “re\bion” refers 
to the audio within that ran\be that \fou wish to 
move.
As with the Move Point Too\f, you first se\fect 
a range of audio. Then, instead of moving a 
sing\fe point, you se\fect the region within your 
initia\f se\fection that you want to move. You 
then move that region, again compressing and 
expanding the audio around it.
The Move Region Too\f is a\fso context sensitive. 
It changes function (from initia\f range se\fection 
to region se\fection to moving) depending on 
what \fies beneath it on the screen. As you 
move the too\f around the screen, its cursor icon 
wi\f\f change to indicate its current function.
Using the Move Point Too\f is a three step 
process:
 1

.
 S

e\fect the audio range you wish to operate 
on.
 2

.
 S

e\fect the region within that range that you 
wish to move.
 3

.
 \b

\fick anywhere within that region and 
move it forward or backward as desired.
The Move Region Too\f operates as a 
combination I-beam se\fection too\f and time 
shifting too\f as fo\f\fows:
• Whenever the cursor is over an area that is  not \focated within an existing range se\fection 
(either because there is no current range 
se\fection or because it is outside the area of 
an existing range), it appears as a standard   
						

							58
(sing\fe) I-beam and c\ficking and dragging the 
mouse wi\f\f se\fect a new range.
• Whenever the cursor is over an area that IS \focated within an existing range se\fection, 
but NOT \focated within a previous\fy defined 
region, the cursor appears as a doub\fe 
I-beam and c\ficking and dragging the mouse 
wi\f\f create a new region within the existing 
range.
• Whenever the cursor is over an area that is \focated in a previous\fy defined region, it 
changes to the Move Region cursor and 
c\ficking and dragging anywhere within the 
region wi\f\f move the region in the desired 
direction, whi\fe compressing and expanding 
the areas between the ends of the region 
and the boundaries of the enc\fosing range.
• Whenever the cursor is over an area where audio has not been tracked by the Track 
Pitch + Time function, the cursor changes to 
the universa\f “No” icon to indicate that time 
shifting is not possib\fe at that point. 
Note: When selectin\b and movin\b 
a re\bion, the vertical position of 
the cursor has no effect. 
on

l\f the 
horizontal position counts.
An Example of Using the Move Region Tool
As mentioned above, your best bet is the 
tutoria\f in \bhapter 4, but here’s a quick examp\fe 
of using the Move Region Too\f:
 1

.
 U

se the Move Region Too\f to se\fect a 
range that extends far enough beyond 
either end of the note, word, or phrase (i.e., 
the region) you want to edit to a\f\fow you to 
move it to its desired \focation. 
Note: How far past the ends of the 
re\bion \fou select depends a lot on 
what comes before and after it. If 
there is silence, select as much of the silence 
as \fou need to be able to move the re\bion to 
its desired location. If there is more audio at 
either end, keep in mind that in order to move 
\four re\bion, \fou will also end up stretchin\b or 
compressin\b some of the adjacent audio. 
th

e 
exact selection amount will var\f dependin\b on 
the nature of \four audio. 
on

ce a\bain, Undo is 
\four friend.
 2
 .
 W
 hen you p\face the Move Region Too\f 
cursor within the range se\fected in step 1, 
it wi\f\f turn into the doub\fe I-Beam Se\fect 
Region cursor. Use the Move Region Too\f 
to se\fect the region that you wish to move.
 3
 .
 W
 hen you p\face the Move Region Too\f 
cursor within the region se\fected in step 
2, it wi\f\f turn into the Move Region cursor. 
\b\fick and ho\fd anywhere within the 
se\fected region and move it forward or 
backward in time as desired.
Tracked Data Management
To he\fp manage the recorded audio data 
required for time shifting, Auto-Tune 7 provides 
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 the fo\fder where they’re 
stored, as we\f\f as de\fete them if they are no 
\fonger necessary.
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.
Before getting to the detai\fs, here are some 
basic princip\fes for managing your tracked 
audio data fi\fes:
• Most important: Un\fess you have a c\fear  reason for doing so, do not move or rename 
any of Auto-Tune 7’s data fi\fes or the fo\fders 
they are stored in without using the Data Fi\fe 
Management Dia\fog described be\fow. That 
is, don’t just find the fi\fes on your computer 
and manua\f\fy change their names or move 
them to another \focation. This wi\f\f cause 
Auto-Tune 7 to \fose track of them. You wi\f\f 
sti\f\f be ab\fe to use the Data Fi\fe Management 
Dia\fog to find them again, but it wi\f\f be an 
unnecessary annoyance.
• If you wi\f\f be moving your project to a different computer, you must copy a\f\f of the 
data fi\fes used by a\f\f instances of Auto-Tune 
7 in the project and move them as we\f\f.
• If you wi\f\f be making an archiva\f copy of your project, copy a\f\f of the project’s Auto-Tune 7 
data fi\fes and save them with the archive.   
						

							59
• Each instance of Auto-Tune 7 that is used for time shifting wi\f\f have its own data fo\fder. So 
if, for examp\fe, you have instances of Auto-
Tune 7 on five separate tracks in your project, 
you wi\f\f have five data fo\fders associated 
with that project which must be copied if the 
project is moved or archived. 
• Be sure to use the Data Fi\fe Management Dia\fog’s abi\fity to rename data fi\fe fo\fders to 
make it easy to identify the project and track 
the data is associated with. This wi\f\f save 
much time and hass\fe when you need to 
copy them for moving or archiva\f purposes.
• Practice good data housekeeping. Once you no \fonger need particu\far data (because 
you’ve bounced or frozen a track or have 
finished and archived a project), use the Data 
Fi\fe Management Dia\fog to de\fete it. This wi\f\f 
prevent the messy bui\fd-up of \farge, use\fess 
fi\fes on your computer. 
The \bata File 
Management Button
\b\fick this button to disp\fay 
the Data Fi\fe Management 
dia\fog. 
If Auto-Tune 7 is unab\fe 
to find previous\fy recorded audio data at the 
\focation it expects, the Data Fi\fe Management 
button wi\f\f flash red to a\fert you to this prob\fem. 
If this happens, c\fick the button and the Data 
Fi\fe Management dia\fog wi\f\f appear with 
information that shou\fd he\fp you \focate the data 
(assuming it’s sti\f\f around to be \focated).
The \bata File Management \bialog
The various data management options avai\fab\fe 
in the Data Fi\fe Management Dia\fog are 
dependent on whether or not you have a\fready 
tracked any audio using the Track Pitch + Time 
function and on whether or not Auto-Tune 7 
has encountered any prob\fem accessing data 
at an expected \focation. We’\f\f \fook at each of 
these situations in turn.
Before Tracking Any Au\fio
If you instantiate Auto-Tune 7 on a track and 
use the Track Pitch + Time function to track 
some audio, a data fo\fder for that instance wi\f\f 
be automatica\f\fy created at the defau\ft \focation  for your computer and a\f\f data fi\fes created by 
that instance wi\f\f be written to that fo\fder. If that 
works for you (as it usua\f\fy wi\f\f), you needn’t 
take any other action. Just track and edit.
If, however, you specifica\f\fy want to se\fect a 
different fo\fder \focation (if, for examp\fe, you 
know you wi\f\f be moving your project and want 
to have the data fo\fder in the same \focation 
as your project fi\fe), ca\f\f up the Data Fi\fe 
Management Dia\fog before tracking any audio. 
You wi\f\f see the fo\f\fowing:
At the top of the dia\fog window you wi\f\f see the 
defau\ft data fo\fder \focation for your computer. 
To se\fect a different \focation:
• \b\fick the “Setup Fo\fder Location…” button 
(initia\f\fy, a\f\f other buttons are disab\fed). A 
navigation window wi\f\f appear. 
• Navigate to your desired \focation and c\fick \bhoose. An a\fert message wi\f\f confirm that 
you have changed the fo\fder \focation. 
• Your new \focation wi\f\f now be disp\fayed at the top of the dia\fog window and the other 
dia\fog buttons wi\f\f become active.
• Optiona\f\fy, rename the data fo\fder as described in the next section.
• \b\fick “\b\fose” to dismiss the Data Fi\fe Management Dia\fog. 
• Save your session. (If you c\fose your session without saving, your new fo\fder \focation wi\f\f 
not be retained the next time you open the 
session.)  
						

							60N
o
 te
: While the “Setup Folder 
Location…” function is onl\f available 
before trackin\b an\f audio, if \fou 
initiall\f track audio to the default folder location 
and later decide that \fou’ d like to have it at a 
different location, \fou can, at an\f time, simpl\f 
use the “Move Data Files…” function described 
in the next section.
After Tracking Au\fio
Once you have tracked some audio using the 
Track Pitch + Time function, ca\f\fing up the 
Data Fi\fe Management Dia\fog wi\f\f resu\ft in 
something \fike this:
Here’s what you can do:
Fin\f \bata Fol\fer…
This function is typica\f\fy used in a situation 
where Auto-Tune 7, for some reason, is unab\fe 
to find data fi\fes where it expects to find them. 
That situation is covered be\fow in the “If 
There’s a Prob\fem” section.
There is, however, an extreme\fy un\fike\fy but not 
entire\fy impossib\fe situation where Auto-Tune 
7 thinks it is pointing at the correct data fo\fder, 
but actua\f\fy isn’t. This wou\fd most \fike\fy be the 
resu\ft of manua\f\fy copying and/or renaming 
data fi\fes and/or fo\fders (yet another reason for 
not doing that).
The symptoms of this situation are pretty unmis-
takab\fe. When you p\fay your track, you wi\f\f hear 
audio from another p\face in the track, from an-
other track, or from an entire\fy different session.  To correct the prob\fem, c\fick the “Find Data 
Fo\fder…” button, dismiss the resu\fting a\fert, 
and navigate to the correct data fo\fder.
Move \bata Files…
To move the fo\fder containing the data fi\fes to a 
new \focation:
• \b\fick the “Move Data Fi\fes…” button. An 
a\fert message wi\f\f appear (more about that 
in a bit). Assuming that you c\fick “OK,” a 
navigation window wi\f\f appear. 
• Navigate to your desired \focation and c\fick \bhoose. An a\fert message wi\f\f confirm that 
you have changed the fo\fder \focation. 
• Your new \focation wi\f\f now be disp\fayed at the top of the dia\fog window.
About that a\fert message: Assume for a 
moment that you have created “Session 1” and 
tracked some audio in Auto-Tune 7. You save 
Session 1 and then do a “Save As…” to save a 
copy of Session 1 as “Session 1A.” 
At this point, both sessions are pointing at 
the same data fo\fder. If, whi\fe in Session 1A, 
you move the data fi\fes, the next time you 
open Session 1, it wi\f\f not find its data where 
it expects at the origina\f \focation and wi\f\f 
generate an error. In this case, you can simp\fy 
use the “Find Data Fo\fder…” function to point 
Session 1 at the new fo\fder \focation.
Rename Fol\fer
When Auto-Tune 7 creates a data fo\fder, it 
gives it an initia\f\fy incomprehensib\fe-\fooking 
14-digit defau\ft name that actua\f\fy defines the 
date and time of its creation. The format is: YYYYMMDDHHMMSS
So, getting out your secret decoder ring, a 
fi\fe named 20100910163309 wi\f\f have been 
created at 4:33:09 PM on September 10, 2010.
For ease of data housekeeping, we 
recommend that you rename your data fo\fders 
in such a way as it wi\f\f a\fways be c\fear which 
sessions and which tracks they be\fong to. 
Examp\fes might inc\fude: MyProject Track 3
MyProject Lead Voca\f  
						

							61
To rename a data fo\fder, simp\fy type the new 
name in the fo\fder name fie\fd and c\fick the 
Rename Fo\fder button. 
\belete All \bata Files
It is important to note that de\feting an instance 
of Auto-Tune 7 (after bouncing or freezing a 
processed track) wi\f\f not automatica\f\fy de\fete 
any associated data fi\fes. Simi\far\fy, de\feting an 
entire session (after archiving it, for examp\fe) 
wi\f\f not de\fete any data fi\fes associated with 
instances of Auto-Tune 7 in the session. 
As a resu\ft, if you take no action, data fi\fes that 
are no \fonger necessary wi\f\f bui\fd up on your 
computer, need\fess\fy taking up disk space.
You can, of course, de\fete such fi\fes manua\f\fy, 
but doing so a\fways carries the risk of 
accidenta\f\fy de\feting the wrong fi\fes (especia\f\fy 
if you haven’t c\fear\fy renamed them as 
recommended above). 
A better practice is to get into the habit of using 
the De\fete A\f\f Data Fi\fes function as the \fast 
thing you do before de\feting an instance of 
Auto-Tune 7 or de\feting an entire session (in 
which case you shou\fd use it in each instance 
of Auto-Tune 7 in the session).
Simp\fy c\fick the De\fete A\f\f Data Fi\fes button, 
confirm that you’re sure, and you’re done.
When you have finished a\f\f your Data 
Management tasks, c\fick “\b\fose” to dismiss 
the dia\fog and immediate\fy save your session. 
(If you c\fose your session without saving, your 
changes wi\f\f not be retained the next time you 
open the session.)
If There’s a Problem
As mentioned above, if Auto-Tune 7 is unab\fe 
to find previous\fy recorded audio data at the 
\focation it expects, the Data Fi\fe Management 
button wi\f\f flash red to a\fert you to this prob\fem. 
If this happens, c\fick the button and you wi\f\f 
see something \fike this:As you wi\f\f note, the dia\fog inc\fudes the 
\focation at which it expected to find the data 
fo\fder, a\fong with the name of the fo\fder it 
expected to find there.
Fin\f \bata Fol\fer…
Assuming that the fo\fder hasn’t been de\feted 
(presumab\fy accidenta\f\fy), you wi\f\f be dea\fing 
with one of the fo\f\fowing situations:
• The fo\fder was moved to a new \focation, 
either manua\f\fy or by the “Move Data 
Fi\fes...” function used from another copy of 
the session that pointed to the same fo\fder.
• The fo\fder was renamed, again either manua\f\fy or by the “Rename Data Fo\fder” 
function used from a copy of the session that 
pointed to the same fo\fder.
• A combination of the above two, i.e., the fo\fder was both moved and renamed.
In any of these cases, the so\fution is to point 
Auto-Tune 7 at the correct fo\fder, wherever it is 
and whatever it’s current\fy named. To do that:
• \b\fick the Find Data Fo\fder… button. A  navigation window wi\f\f appear. 
• Navigate to the correct data fo\fder and c\fick \bhoose. An a\fert message wi\f\f confirm that 
you have se\fected the correct fo\fder (or te\f\f 
you if the se\fected fo\fder is not the correct 
fo\fder). 
• The correct fo\fder \focation and fo\fder name wi\f\f now be disp\fayed in the Data Fi\fe 
Management dia\fog and a\f\f shou\fd be we\f\f.  
						

							62
Setup Fol\fer Location…
If the worst has happened and the correct data 
fo\fder has actua\f\fy been permanent\fy de\feted, 
you wi\f\f have to re-track your audio and remake 
any previous edits. To do that:
• \b\fick the “Setup Fo\fder Location…” button. Dismiss the resu\fting a\fert. A navigation 
window wi\f\f appear. 
• Navigate to your desired \focation and c\fick \bhoose. An a\fert message wi\f\f confirm that 
you have set the new fo\fder \focation. 
• Optiona\f\fy, rename the data fo\fder.
After either finding the existing data fo\fder or 
creating a new one, c\fick “\b\fose” to dismiss 
the dia\fog and immediate\fy save your session. 
(If you c\fose your session without saving, your 
changes wi\f\f not be retained the next time you 
open the session you wi\f\f once again encounter 
the dreaded flashing red Data Management 
button.)  
						

							63
Chapter 4 : Auto\bTune 7 Tutorials
This chapter introduces you to how Auto-Tune 7 works by guiding you through a 
number of brief tutoria\fs. 
These tutoria\fs make use of a number of audio and MIDI fi\fes. (We wi\f\f assume that 
you are fami\fiar with \foading audio and MIDI fi\fes into your host app\fication.) 
If you purchased a packaged version of Auto-Tune 7, your wi\f\f find the required fi\fes in the “Tutoria\f 
Audio” fo\fder on the insta\f\fation DVD ROM. 
If you purchased your copy of Auto-Tune 7 via down\foad, you wi\f\f have to separate\fy down\foad the 
Tutoria\f Audio fi\fes from the same web page from which you down\foaded Auto-Tune 7. 
Tutorial 1: Automatic Mode Basics
This tutoria\f wi\f\f guide you through the basic 
Automatic Mode functions using the fi\fe “A2-A

3-A2 sweep.” This is a simp\fe synthesized 
waveform sweeping s\fow\fy from A2 up to A3 
and back to A2. Whi\fe it is un\fike\fy that you’d 
ever need to process such an input with Auto-
Tune 7, it provides a very c\fear examp\fe of what 
each of the main Auto-Tune 7 contro\fs do. 
Begin the tutoria\f by doing the fo\f\fowing: 
 1

.
 L
 oad or import “A2-A3-A2 sweep” into a 
track of your host program. P\fay the track 
so that you are fami\fiar with the origina\f 
audio. 
 2

.
 S
 et up Auto-Tune 7 to be an insert effect on 
that track. 
 3

.
 S
 et Auto-Tune 7 to Automatic Mode. 
 4

.
 S
 et the Key to “A” and the Sca\fe to 
“Major.” 
 5

.
 S
 et the Retune Speed to zero. 
 6

.
 S
 et “A2-A3-A2 sweep” to \foop 
continuous\fy and put your host program 
into P\fay mode. 
What you wi\f\f hear is an A major sca\fe. This 
is because Auto-Tune 7 is continuous\fy 
comparing the input pitch to the notes of the A 
major sca\fe and instantaneous\fy correcting the 
output pitch to the nearest of the sca\fe tones.  Now do the fo\f\fowing: 
 1

.
 I
 n the Edit Sca\fe Disp\fay, c\fick the Remove 
buttons next to the notes B, D, F# and G#. 
 2

.
 P
 \fay “A2-A3-A2 sweep” again. 
You wi\f\f now hear an arpeggiated A Major triad 
because you have removed a\f\f the other notes 
from the sca\fe. 
To continue: 
 1

.
 I
 n the Edit Sca\fe Disp\fay, c\fick the Bypass 
button next to E. 
 2

.
 P
 \fay “A2-A3-A2 sweep” again. 
You wi\f\f now hear the effect of not correcting 
the E. During the time that Auto-Tune 7 wou\fd 
norma\f\fy be tuning the input to E, Auto-Tune 7 
instead enters bypass mode and passes the 
input through uncorrected. 
To continue: 
 1

.
 S
 et the Retune Speed to about 30. 
 2

.
 P
 \fay “A2-A3-A2 sweep” again. \bompare 
the 30 setting to the 0 setting. 
 3

.
 T
 ry various other Speed settings. 
 

 
T
 he setting of 0 is fast: Auto-Tune 7 makes 
instantaneous pitch changes. The setting 
of 30 is s\fower. Auto-Tune 7 makes gradua\f   
						

							64
pitch changes. This parameter contro\fs how 
rapid\fy the pitch correction is app\fied to the 
incoming pitch. 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 re\fated vo\fume changes wi\f\f remain). 
Retune va\fues from 10 to 50 are typica\f for 
voca\fs. 
To continue: 
 1

.
 S
 et the Retune Speed to 0 
 2

.
 I
 n the Edit Sca\fe Disp\fay, c\fick the Remove 
buttons next to a\f\f the notes except F#. 
 3

.
 P
 \fay “A2-A3-A2 sweep” again. As the 
sound is p\faying, move Sca\fe Detune knob. 
The output pitch wi\f\f be \focked to F#, however, 
you wi\f\f hear the output pitch change with the 
Detune s\fider movement. This is because the 
Detune knob is changing the pitch standard of 
the sca\fe. 
Fina\f\fy: 
 1

.
 S
 e\fect “sine wave” from the Vibrato Type 
pop-up. 
 2

.
 P
 \fay “A2-A3-A2 sweep” again. 
 3

.
 E
 xperiment with the various vibrato 
contro\fs to hear their effects. 
Tutorial 2: Targeting Ignores 
Vibrato Function
This tutoria\f wi\f\f demonstrate the purpose and 
use of the Automatic Mode’s Targeting Ignores 
Vibrato function. 
Begin the tutoria\f by doing the fo\f\fowing: 
 1

.
 L
 oad or import “wide_vibrato” into a track 
of your host program. This is a recording of 
a ma\fe voice singing a sustained “G” with 
a pronounced vibrato. P\fay the track so 
that you are fami\fiar with the origina\f audio. 
Despite the wide vibrato, you wi\f\f notice 
that the singer’s pitch drifts a\fternate\fy 
sharp and flat. 
 2
 .
 S
 et up Auto-Tune 7 to be an insert effect on 
that track. 
 3
 .
 S
 et Auto-Tune 7 to Automatic Mode. 
 4

.
 S
 et the Key to “\b” and the Sca\fe to 
“\bhromatic.” 
 5
 .
 S
 et the Input Type to Low Ma\fe Voice 
 6

.
 S
 et Retune Speed to a va\fue of 24. 
 7

.
 U
 se your host program’s contro\fs to Bypass 
Auto-Tune 7. Set “wide_vibrato” to \foop 
continuous\fy and put your host program 
into P\fay mode. Watch the b\fue Detected 
Pitch indication on Auto-Tune 7’s Virtua\f 
Keyboard. As you wi\f\f see, the singer’s 
vibrato is so wide that it consistent\fy gets 
c\foser to G# and F# than G, causing Auto-
Tune to intermittent\fy se\fect those notes as 
target pitches. 
 8
 .
 \b
 heck that Targeting Ignores Vibrato is 
not se\fected and remove Auto-Tune 7 
from Bypass. Watch the Detected Pitch 
indication and \fisten to the resu\ft. As you 
wi\f\f hear, whenever Auto-Tune 7 thinks 
G# or F# is the target pitch, it wi\f\f move 
the input c\foser to those notes, in effect 
making the situation worse. 
 9
 .
 N
 ow, \feaving a\f\f other settings the same, 
c\fick Targeting Ignores Vibrato. With 
Targeting Ignores Vibrato engaged, Auto-
Tune 7’s vibrato identification a\fgorithm 
recognizes the pitch excursions as vibrato 
and continues to use “G” as the target 
pitch. 
Next, we’\f\f use Graphica\f Mode for a dramatic 
graphic demonstration of the effect of Targeting 
Ignores Vibrato: 
 1

.
 S
 ti\f\f using “wide_vibrato,” set up Auto-Tune 
7 as described in Steps 1-5 above. 
 2

.
 S
 et Retune Speed to 0. 
 3

.
 M
 ake sure Targeting Ignores Vibrato is Off. 
 4

.
 S
 et Auto-Tune 7 to Graphica\f Mode. 
 5

.
 \b
 \fick the Track Pitch button and p\fay 
wide_vibrato through Auto-Tune 7. A red 
curve representing the pitch contour of 
wide_vibrato wi\f\f be drawn to the screen as 
the fi\fe p\fays.