Antares AutoTune 7 user manual

							65
 6. Stop p\fayback and c\fick the Track Pitch button again to stop the tracking function. 
 7

.
 \b
 \fick the Import Auto button. A b\fue curve 
wi\f\f appear. This curve represents the 
pitch correction that wou\fd resu\ft from 
processing the audio with the current 
Automatic Mode settings. Note a\f\f the 
instances in which Auto-Tune 7 identifies 
G# or F# as the target pitch. 
 8

.
 S
 et Auto-Tune 7 back to Automatic Mode. 
 9

.
 S
 et Targeting Ignores Vibrato to On. 
 1

0.
 R
 eturn once again to Graphica\f Mode. 
 1

1.
 \b
 \fick Import Auto (there is no need to track 
pitch again, as the red pitch curve is sti\f\f 
present in the Pitch Graph). 
 1

2.
 N
 otice that the b\fue curve is now a straight 
\fine on “G,” indicating that the Improved 
Targeting a\fgorithm has accurate\fy 
identified the pitch excursions as vibrato 
and has therefore ignored it as far as target 
pitch se\fection is concerned. 
Tutorial 3: Natural Vibrato Function
This tutoria\f wi\f\f demonstrate the use of the 
Natura\f Vibrato function using the same audio 
fi\fe we used in the previous tutoria\f. 
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. 
 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

.
 S
 et “wide_vibrato” to \foop continuous\fy 
and put your host program into P\fay mode. 
 8. Set Natura\f Vibrato to 12 and note the  effect on the vibrato. Set Natura\f Vibrato to 
-12 and note the effect on the vibrato. 
 9

.
 S
 et a\f\f Sca\fe notes to Bypass to disab\fe 
any pitch correction. Again, adjust Natura\f 
Vibrato as in Step 8 and note that its effect 
is sti\f\f active. 
Tutorial 4: Using the Automatic 
Mode MIDI Functions
This tutoria\f wi\f\f introduce you to Auto-Tune 7’s 
two Automatic Mode MIDI functions: Learn 
Sca\fe From MIDI and Target Notes Via MIDI.
With Learn Sca\fe From MIDI, you can create 
the correct sca\fe for a particu\far me\fody without 
knowing a G-sharp from a B-flat. Simp\fy 
p\fay the me\fody on a MIDI keyboard which 
is patched through your host app\fication to 
Auto-Tune 7 or p\fay an existing MIDI fi\fe with 
contains the MIDI notes of the me\fody to be 
processed.
Begin the tutoria\f by doing the fo\f\fowing:
 1

.
 L
 oad or import the audio fi\fe “somewhere” 
into a track of your host program. This is a 
recording of Somewhere Over the Rainbow 
sung with fair\fy extreme pitch errors. (Our 
very ta\fented singer made us promise to 
te\f\f you that she did this on purpose at our 
request.)
 2

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

.
 I
 mport the MIDI fi\fe “somewhere.mid” into 
your host program’s MIDI sequencer.
 4

.
 S
 e\fect Auto-Tune 7 as the target for the 
MIDI track.
 5

.
 S
 e\fect Automatic Mode and c\fick the 
“Learn Sca\fe from MIDI” button so that 
it turns b\fue and its indicator changes to 
“On.”
 6

.
 \b
 \fick the A\f\f Octaves button so that it turns 
b\fue (if it is not a\fready).
 7

.
 P
 \fay the MIDI fi\fe through once and watch   
						

							66
as the sca\fe deve\fops on Auto-Tune 7’s 
virtua\f keyboard and in the Sca\fe Edit 
window. As each note is sung, it is added 
to the sca\fe unti\f the sca\fe inc\fudes every 
note that appears in the me\fody.
 8

.
 S
 et the Retune contro\f to 20 and p\fay the 
audio track using this sca\fe.
Note: You can also instantaneousl\f 
define a scale b\f pla\fin\b all of the 
notes of the scale as a chord (i.e., 
all scale notes pla\fed on the same beat) and 
recordin\b that into a MIDI track. 
th

is is an ideal 
wa\f to use Auto-
tu

ne 7 in music with man\f ke\f 
(scale) chan\bes.
With Target Notes Via MIDI, Auto-Tune 7 \fooks 
at its MIDI input in rea\f time to determine its 
current target note(s). Try the fo\f\fowing with the 
provided audio and MIDI fi\fes:
 1

.
 S

et up your host program and \foad or 
import the “somewhere” audio and MIDI 
fi\fes as described in steps 1–4 above.
 2

.
 S

e\fect Automatic Mode and c\fick the 
“Target Note Via MIDI” button so that 
it turns b\fue and its indicator changes to 
“On.”
 3

.
 \b

\fick the Octaves as P\fayed button so that 
it turns b\fue (if it is not a\fready).
 4

.
 P

\fay the audio and MIDI track together and 
watch the current target note change in rea\f 
time on the Virtua\f Keyboard — and \fisten 
to the resu\fts.
The most interesting part of the Target Notes 
Via MIDI feature is that it on\fy operates for the 
duration of the MIDI note — that is, when there 
is no current MIDI Note On va\fue, Auto-Tune 
7 is effective\fy in Bypass mode. This means 
that if you de\fay the MIDI notes, then the audio 
performs its attacks as performed and then 
corrects to pitch when the MIDI note occurs 
(at whatever Retune Speed is set). In the case 
of the ‘Somewhere’ voca\f performance, most 
of the intonation prob\fems happen during 
the notes’ sustain portions. Try moving the 
notes in the MIDI fi\fe around and \fisten to the 
resu\fts. This gives far more subt\fe contro\f than 
Automatic Mode a\fone, whi\fe not being quite 
as tweaky as operating in Graphica\f Mode.
Note: the MIDI functions look onl\f 
at MIDI note values. Controller data 
such as 
pi

tch Bend or Mod Wheel do 
not affect Auto-
tu

ne 7’s performance.
Tutorial 5: Transpose and 
Formant Control
This tutoria\f wi\f\f demonstrate Auto-Tune 7’s 
pitch shifting, formant correction and throat 
mode\fing capabi\fities. It wi\f\f make use of the 
same audio fi\fe used in the previous tutoria\f. 
Begin the tutoria\f by doing the fo\f\fowing:
 1

.
 L
 oad or import the audio fi\fe “somewhere” 
into a track of your host program. 
 2

.
 S
 et up Auto-Tune 7 to be an insert effect on 
that track. (If you are using a Pro Too\fs HD 
system, use the RTAS version of the p\fug-
in.)
 3

.
 S
 et the Key to “G” and the sca\fe to 
“Major.” Set the Retune Speed knob to 27.
 4

.
 P
 \fay the audio fi\fe. Note that these settings 
do a pretty good job of correcting the most 
obvious prob\fems in the performance.
 5

.
 S
 et the Transpose contro\f to 6 (a perfect 
fifth up). \bheck to be sure that Formant is 
off. 
 6

.
 P
 \fay the audio fi\fe and \fisten to the qua\fity 
of the voice. Since the formants are being 
shifted with the pitch, you wi\f\f hear the 
fami\fiar “chipmunk” effect.
 7

.
 \b
 \fick the Format button to turn on formant 
correction. Set the Throat Length to 120.
 8

.
 P
 \fay the audio fi\fe again and note the 
difference.
 9

.
 P
 \fay the audio fi\fe again whi\fe adjusting the 
Throat Length contro\f to hear the effect of 
changing the mode\fed voca\f tract.
 1

0.
 R
 epeat steps 5 through 9 with different 
settings of the Transpose contro\f.  
						

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Tutorial 6: Graphical Mode Basics 
This tutoria\f wi\f\f introduce you to the basic 
Graphica\f Mode functions, again using the “A2-
A3-A2 sweep” fi\fe from Tutoria\f 1. 
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 Graphica\f Mode. 
 4

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

.
 \b
 \fick the Track Pitch button. 
 6

.
 P
 \fay the sweep signa\f through Auto-Tune 7. 
A red curve representing the pitch contour 
of the signa\f wi\f\f be drawn to the screen as 
the fi\fe p\fays. 
 7

.
 S
 top p\fayback and c\fick the Track Pitch 
button again to stop the tracking function. 
To continue: 
 1

.
 S
 e\fect the Magnifying G\fass too\f and drag 
out a box on the Pitch Graph that enc\foses 
the red curve. The resu\ft wi\f\f be something 
\fike the fo\f\fowing: 
 2

.
 S
 e\fect the Line too\f and enter a \fine simi\far 
to that be\fow. By c\ficking mu\ftip\fe anchor 
points on the Pitch Graph, \fine segments 
joining the points wi\f\f be drawn. To erase the \fast point entered, press  
on the keyboard (you can press  
repeated\fy to erase back to the first anchor 
point). 
When done, doub\fe-c\fick the \fast point or press 
 on the keyboard. A green output curve 
wi\f\f appear reflecting the current defau\ft Line 
Retune Speed.
 3

.
 S
 et the Retune Speed to 0 and observe the 
green output curve. P\fay back the sound to 
hear the effect. 
 4

.
 S
 e\fect the \burve too\f and create a curve 
simi\far to the one shown be\fow. \b\fick and 
ho\fd the mouse button and drag to draw 
the curve. When done, re\fease the mouse 
button. 
 5

.
 P
 \fay back the sound to hear the effect.
 6

.
 V
 ary the Retune Speed between 0 and 
400 and note the effect on both the green 
output curve and the audio.  
						

							68
Now that we have some correction objects on 
the Pitch Graph Disp\fay, this wou\fd be a good 
time to become fami\fiar with the functions of 
the Arrow and Scissors Too\fs. (Refer back to 
\bhapter 3 for detai\fed descriptions of the Arrow 
and Scissors Too\fs’ behaviors.)
As you experiment in the fo\f\fowing steps, p\fay 
back the fi\fe to hear the effect of each action.
 7
.
 S
 e\fect the Arrow Too\f.
 8

.
 D
 rag the Arrow Too\f across the Pitch Graph 
to se\fect objects.
 9

.
 M
 ove the cursor over curves and anchor 
points. Practice se\fecting entire curves and 
individua\f anchor points.
 1

0.
 U
 se the Arrow Too\f to drag se\fected curves 
and individua\f anchor points.
 1

1.
 U
 se the Arrow Too\f to doub\fe-c\fick 
anywhere on one of the existing \fine (not 
curve) segments to create a new anchor 
point. Use the Arrow Too\f to drag the new 
point to a new position.
 1

2.
 S
 ti\f\f using the Arrow Too\f, doub\fe-c\fick on 
the new anchor point you created in Step 
11 to de\fete it and return the \fine to its initia\f 
state.
 1

3.
 S
 e\fect the Scissors Too\f and c\fick on an 
existing \fine or curve to break it in two at 
that point. A stacked pair of anchor points 
wi\f\f be created at the point you c\fick. Se\fect 
the Arrow Too\f again and use it to drag 
each of the new end points in turn to new 
positions.
 1

4.
 S
 e\fect one or more objects and p\fay with 
the Edit Buttons (Undo, \but, \bopy, Paste, 
Se\fect A\f\f).
This wou\fd a\fso be a good time to see if the 
Edit Button keyboard equiva\fents work in your 
host app\fication:
\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
Tutorial 7: Precision
This tutoria\f is actua\f\fy more of a demonstration 
to show the extraordinary precision with which 
Auto-Tune 7 can track and correct intonation 
prob\fems. If this doesn’t sound interesting, fee\f 
free to proceed to Tutoria\f 8 be\fow.
(By this time, we’\f\f assume you’re comfortab\fe 
\foading fi\fes and ca\f\fing up Auto-Tune 7.)
 1
.
 A
 rrange the fi\fes “\b2 Ahhh v3” and “\b2 
Ohhh v1” so that they are on separate 
tracks and can be p\fayed simu\ftaneous\fy.
 2

.
 A
 ssign a separate instance of Auto-Tune 
7 to each of the two tracks and se\fect 
Automatic Mode for each of them.
 3

.
 I
 n each Auto-Tune 7, set the Retune s\fider 
to 0.
 4

.
 I
 n each Auto-Tune 7, set the Key pop-up to 
B-flat.
 5

.
 D
 o whatever your host app\fication requires 
to bypass both instances of Auto-Tune 7.
 6

.
 P
 \fay back the fi\fes so you can hear them 
together without processing.
Be\fieve it or not, these voca\f samp\fes from a 
samp\fe \bD are supposed to be the same pitch. 
Yikes!
 7

.
 N
 ow enab\fe Auto-Tune 7 on each of the 
tracks and p\fay the fi\fes again.
If you’ve done everything right, you wi\f\f hear 
the samp\fes so we\f\f in tune that they sound \fike 
one voice  
						

							69
Tutorial 8: Make Curve Function
This tutoria\f wi\f\f introduce you to the Make 
\burve function. The Make \burve function gives 
you precise contro\f over pitch accuracy and 
inflection.
 1
.
 S
 etup to process the fi\fe “\browd A\f\f” 
through Auto-Tune 7.
 2

.
 S
 e\fect Graphica\f Mode.
 3

.
 P
 ress the Track Pitch button.
 4

.
 P
 \fay the “\browd A\f\f” fi\fe.
 5

.
 S
 e\fect the Magnifying G\fass Too\f and drag 
out a box on the Pitch Graph that enc\foses 
the red curve for the “-gether” part of 
the \fast word, “together.” You wi\f\f see 
something \fike the fo\f\fowing:
 6

.
 U
 se the I-Beam Too\f to drag a se\fection of 
“-gether” in the Pitch or Enve\fope Disp\fay. 
The resu\ft wi\f\f be something \fike the 
fo\f\fowing:
 7
 .
 \b
 \fick the Make \burve button. Auto-Tune 7 
wi\f\f compute a new b\fue curve object from 
the existing pitch data as we\f\f as a green 
output curve that reflects the defau\ft \burve 
Retune Speed. (The new curves may be 
difficu\ft to see at first because they may 
exact\fy over\fay the red curve.) \b\fick the 
I-Beam Too\f on the background of the Pitch 
Graph to cance\f the area se\fection.
 8

.
 S
 e\fect the Arrow Too\f and c\fick precise\fy on 
the \feft end of the curve to se\fect on\fy the 
\feft anchor point (you’\f\f know you’re over 
the anchor point when the cursor changes 
to the up-and-down arrow cursor). Drag 
this straight up, stretching the curve so it is 
centered around the D3 graph \fine. 
 9

.
 D
 rag the Arrow too\f across a\f\f of the visib\fe 
curves to se\fect them. Then move the 
Arrow Too\f over the body of a correction 
curve so that the cursor changes to the 
horizonta\f bar. \b\fick and drag the curves 
straight down so they centered on the \b3 
graph \fine. The Pitch Graph shou\fd now 
appear as fo\f\fows:
 1

0.
 S
 et the Retune Speed to 0 and p\fay back 
the sound. Note that the errant note is now 
in tune.
To continue, here is an a\fternative approach to 
the same pitch prob\fem using the Line Too\f.
 1

.
 \b
 \fick “Se\fect A\f\f” and then c\fick “\but” to 
de\fete the curves you created in the steps 
above.  
						

							70
 2. Make sure Snap To Note is engaged and use the Line Too\f to draw a horizonta\f \fine at 
\b3 as shown be\fow:
 3

.
 S
 et the Retune Speed to 20 and p\fay back 
the sound. Experiment with other Retune 
Speeds to see their effect on the green 
correction curve and to hear their effects.
Some notes:
Vibratos and other pitch gestures typica\f\fy occur 
with re\fated \foudness gestures. Specifica\f\fy, 
with vibratos, some voca\fists produce most\fy 
pitch variations and \fitt\fe \foudness variations 
whi\fe others produce sma\f\f pitch variations 
and a \fot of \foudness variations (the \fatter is 
often ca\f\fed tremo\fo). Nonethe\fess, a\fmost 
a\f\f voices seem to produce a combination of 
both pitch and re\fated \foudness variations. 
Therefore, trying to take an existing vibrato 
and change it (say speed it up) often sounds 
unnatura\f because the new pitch variation does 
not correspond to the origina\f (and sti\f\f present) 
\foudness variation.
These considerations are a\fso important when 
correcting pitch. It’s rare\fy effective to draw in 
a new pitch gesture at the desired pitch, even 
though that gesture may have worked we\f\f in 
another performance.
As this tutoria\f has demonstrated, the fo\f\fowing 
two techniques provide successfu\f approaches 
to Graphica\f Mode pitch correction:
• The first technique uses the Make \burve  button to create a curve of the existing pitch, 
a\f\fowing you to drag that curve up or down, 
or stretch it by dragging one end vertica\f\fy. 
The Retune Speed can then be set very fast 
(0 to 5). This wi\f\f force a precise re-tuning, but 
wi\f\f sound extreme\fy natura\f since the target 
pitch curve wi\f\f precise\fy synchronize with 
the origina\f \foudness gestures of the voice.
• The second technique is to draw a flat \fine segment across the duration of a tone at the 
desired pitch and then set the Retune Speed 
in the range of 20 to 40. This has the effect 
of gent\fy moving the input pitch towards 
the desired pitch. The s\fower va\fues of 20 
to 40 wi\f\f \fet through a vibrato but sti\f\f draw 
the overa\f\f pitch c\foser to being in tune. The 
average pitch wi\f\f eventua\f\fy sett\fe to the 
given \fine and the pitch gestures wi\f\f occur 
both sharper and flatter re\fative to that \fine. 
The sett\fing time is about twice the Retune 
Speed setting (in mi\f\fiseconds). 20 to 40 wi\f\f 
\fet through about one-ha\ff of a typica\f vibrato. 
S\fower settings wi\f\f \fet through more vibrato 
but wi\f\f cause the new pitch to be reached 
more s\fow\fy.
Tutorial 9: Import Auto Function
The Import Auto function a\f\fows you to disp\fay 
and edit the pitch corrections that wou\fd resu\ft 
from specific Automatic Mode settings.
 1

.
 S
 etup to process the fi\fe “\browd A\f\f” 
through Auto-Tune 7.
 2

.
 S
 et the Key and Sca\fe to \b Major. Se\fect 
Automatic Mode and set the Retune Speed 
to the defau\ft of 20.
 3

.
 S
 e\fect Graphica\f Mode.
 4

.
 P
 ress the Track Pitch button.
 5

.
 P
 \fay the “\browd A\f\f” fi\fe.
 6

.
 S
 e\fect the Magnifying G\fass Too\f and drag 
out a box on the Pitch Graph that enc\foses 
the red curve for the words “crowd a\f\f 
rushed.” You wi\f\f see something \fike the 
fo\f\fowing:  
						

							71
 7. Use the I-Beam Too\f to drag a se\fection in the Pitch or Enve\fope Graph as shown:
 8

.
 \b
 \fick the Import Auto button. Auto-Tune 7 
wi\f\f compute a new b\fue curve object from 
the existing pitch data as we\f\f as a green 
output curve:
PIT\bH DRAWN TO NEIGHBORING NOTES
Assuming that this entire phrase shou\fd be 
centered around E3, there are severa\f prob\fem 
spots, indicated above, where the pitch is being 
incorrect\fy adjusted towards neighboring tones.
 9

.
 T
 o hear the pitch corrections that wou\fd 
be produced in Automatic Mode, set the 
Graphica\f Mode Retune Speed to 0 (which 
wi\f\f cause the green output curve to exact\fy 
match the b\fue object curve). P\fay back the 
fi\fe.
 1

0.
 S
 witch to the Automatic Mode and c\fick 
the Remove buttons next to \b, D, F, A, and 
B.
 1

1.
 R
 eturn to the Graphica\f Mode and use the 
I-Beam too\f to drag out a se\fection in the 
Enve\fope Graph, as in Step 7.
 1

2.
 P
 ress the Import Auto button. Auto-Tune 
7 wi\f\f compute new b\fue and green curves 
from the existing pitch data:
RAISED PIT\bHES
Note how the pitch errors from the previous 
curve have been removed. A\fso, note the 
raised pitches indicated above. This occurs 
because the Automatic Mode Retune s\fider 
va\fue of 20 is s\fow compared to the rapid\fy 
increasing pitch that is occurring at that point 
in time. But even with the raised pitches, the 
average output pitch is centered on E3 and the 
phrase sounds in tune.  
						

							72
Tutorial 10: Make Notes Function
This tutoria\f wi\f\f he\fp you become fami\fiar with 
Auto-Tune 7’s new Notes correction objects 
and how they are used for pitch correction and 
se\fective pitch shifting.
For this tutoria\f, we wi\f\f once again use the 
“somewhere” audio fi\fe.
 1
.
 L
 oad or import the audio fi\fe “somewhere” 
into a track of your host program.
 2

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

.
 S
 e\fect Graphica\f Mode and se\fect G Major 
as the Key and Sca\fe.
 4

.
 P
 ress the Track Pitch button. 
 5

.
 P
 \fay the “somewhere” fi\fe and track the 
initia\f phrase, “Somewhere, over the 
rainbow, skies are b\fue…” (approximate\fy 
the first 17 seconds of the fi\fe). Stop the 
transport and c\fick Track Pitch again to exit 
the tracking function. Assuming Auto-Scro\f\f 
is enab\fed, the disp\fay wi\f\f sca\fe to inc\fude 
a\f\f of the tracked audio.
There are two obvious prob\fem areas in this 
phrase, the words “rainbow” and “b\fue.” We’\f\f 
start with “rainbow.” 
 6

.
 S
 e\fect the Zoom too\f and drag it across the 
tracked pitch from about 7 seconds to 10 
seconds to zoom in to the area of interest. 
If Auto-Scro\f\f is current\fy enab\fed, turn it 
off.  
 7

.
 S
 e\fect the I-Beam too\f and high\fight the 
range of the word “rainbow” (again, from 
about 7 seconds to 10 seconds). 
 8

.
 \b
 \fick the Make Notes button and adjust the 
Number of Note Objects contro\f to get two 
notes, the first on F#3 and the second on 
G3. (Note that if you set Number of Note 
Objects too high - above 80 in this case - 
unwanted notes wi\f\f be created on F3 as a 
resu\ft of the drop in pitch at the beginning 
and end of “rain…”) Your disp\fay shou\fd 
\fook something \fike this: You wi\f\f notice that the two sy\f\fab\fes of 
“rainbow” have different prob\fems. “Rain…” 
is s\fight\fy flat, whi\fe “…bow” is quite sharp. 
Lucki\fy, thanks to Auto-Tune 7’s independent 
object Retune Speeds, we can quick\fy 
customize each note’s correction.
 9

.
 S
 e\fect the Arrow too\f. \b\fick the graph 
background to dese\fect both notes and 
then c\fick on the F#3 note to se\fect it. 
Adjust the Retune Speed contro\f. Observe 
the green output pitch curve and audition 
the resu\fting range of correction. 
 1

0.
 W
 ith the Arrow too\f sti\f\f se\fected, c\fick 
on the G3 note. Again, adjust the Retune 
Speed for the desired correction. Note that 
with a \fong he\fd note \fike this, too fast a 
Retune Speed can sound unnatura\f. The 
trick is to se\fect a speed that pu\f\fs the 
overa\f\f note in tune, whi\fe sti\f\f a\f\fowing 
enough of the singer’s origina\f natura\f 
variation. 
A Note: An indication of Auto-tu ne 
7’s seriousl\f enhanced pitch-trackin\b 
capabilities is the wildl\f oscillatin\b 
curve at the end of “rainbow.” 
th

at is actuall\f 
the result of Auto-
tu

ne 7 trackin\b the faint 
reverb tail at the end of the word. 
We’\f\f continue with an examp\fe of se\fective 
pitch shifting.
 1

1.
 E

nsure that Formant \borrection is engaged. 
With the Arrow too\f sti\f\f se\fected, move the 
cursor over the midd\fe of the G3 note and 
notice that it turns into the pitch shift cursor 
(\fitt\fe vertica\f up-and-down arrows).    
						

							73
\b\fick on the note and drag it up two 
semitones to A3. P\fay the fi\fe and \fisten to 
the me\fodic change. 
 1

2.
 S
 e\fect the Scissors too\f and c\fick on the A3 
note at about the 8.3 second point (at the 
pronounced pitch peak) to cut it into two 
notes. 
 1

3.
 S
 e\fect the Arrow too\f again and drag the 
first of these two notes back down to G3. 
P\fay the fi\fe and \fisten to the resu\ft.
 1

4.
 T
 o create a smoother transition between 
the G3 and A3 notes, move the Arrow 
too\f cursor over the \feft end of the A3 note 
so that the cursor turns into the \fength 
adjustment cursor (\fitt\fe horizonta\f \feft-
and-right arrows). Drag the \feft end of the 
note about a 1/10 of a second to the right 
to open a transition between it and the 
previous note. It shou\fd \fook something  
\fike this:
Note the shape of the green output curve and 
p\fay the fi\fe. 
You can continue to adjust the \feft A3 note’s 
end point and/or its Retune Speed unti\f you get 
exact\fy the transition you desire.
Note: You can also use the Curve 
tool to draw an arbitrar\f transition 
between an\f two notes.
Fina\f\fy, we’\f\f \fook at why using the chromatic 
sca\fe can be a prob\fem for particu\far\fy 
troub\fesome performances, a\fong with another 
way to dea\f with the prob\fem.
 1
 5. 
 U
 se the Zoom too\f focus on the words  
“are b\fue.” 
16. 
 S
 et the Key and Sca\fe to G \bhromatic.
 1

7. 
 S
 e\fect the I-Beam too\f and high\fight the 
range of the words “are b\fue” (from about 
12.5 seconds to 17 seconds). For maximum 
effect, set Number of Note Objects to a 
\feast 50.
 1
 8.
 \b
 \fick Make Notes:
 

 
Y
 ikes! Since much of the word “b\fue” 
is so sharp that it’s c\foser to D#3 than to 
the intended D3, A \fot of the Note objects 
end up on D#3. \bhanging the Number of 
Note Objects setting to see its effect can 
be quite educationa\f here, but no setting 
wi\f\f give us what we rea\f\fy want, which is 
“b\fue” as one note on D3.
 1
 9.
 O
 ne way to fix this wou\fd be to manua\f\fy 
drag each note segment from D#3 to 
D3, but that wou\fd be annoying\fy fidd\fy 
and time-consuming. Instead, use the 
Arrow too\f to drag the right end of any of 
the note segments a\fready on D3 to the 
end of “b\fue” (just shy of 17 seconds). 
Then drag the \feft end of that same note 
to the beginning of “b\fue” (at about 13.3 
seconds). A\f\f of the unwanted D#3s are 
overwritten and you end up with one 
correct note on D3:  
						

							74
 20. The easiest so\fution, of course, is to se\fect the right sca\fe. \bhange the Key and Sca\fe 
from G \bhromatic to G Major. \b\fick Make 
Notes again. Set the Number of Note 
Objects to 20. Voi\fà.
Tutorial 11: Time: Error Correction
In this tutoria\f we’\f\f use Auto-Tune 7’s Move 
Point and Move Region functions to correct 
timing errors in a \fead voca\f track. Whi\fe you 
can use Auto-Tune 7’s bars and beats sca\fe as 
a reference for correction, we’ve a\fso inc\fuded 
a harmony track with proper timing that wi\f\f \fet 
you try correcting by ear.
The Move Region Tool
 1. Load or import the audio fi\fes “Time_voca\f” and “Time_accomp” into two 
separate tracks in your host and set your 
host’s tempo to 110 BPM. Listen to the 
tracks to become fami\fiar with them. 
 2

.
 S
 et up Auto-Tune 7 as an insert effect on 
the “Time_voca\f” track and se\fect “A\fto/
Tenor” as the Input Type.
 3

.
 S
 e\fect Graphica\f Mode and se\fect Bars + 
Beats as the Time Disp\fay mode.
 4

.
 P
 ress the Track Pitch + Time button. 
 5

.
 S
 tart p\fayback and track “Time_voca\f.” 
Stop the transport to exit the tracking 
function. Adjust the zoom and scro\f\f 
contro\fs to focus on the first two bars 
(there is one bar of si\fence at the beginning 
of the tracks).
 6

.
 N
 ote that the voca\fist comes in ear\fy with 
the first word, “Time.” SInce this word is 
iso\fated (i.e., there’s si\fence after it), we’\f\f 
use the Move Region too\f to move it into its 
proper p\face.
 7

.
 S
 e\fect the Move Region Too\f and se\fect the 
initia\f range from the beginning of the third 
beat of the first measure to the end of the 
second measure. The precise boundaries 
of this se\fection are not critica\f, as \fong as 
there are a few beats of si\fence before and 
after the note to be moved. (You can check 
out the graphic be\fow for reference.)
 8
 .
 U
 se the Move Region too\f to se\fect the 
region to be moved. Using the enve\fope 
disp\fay as reference, se\fect the region from 
the beginning of the breath before the note 
(at time position 1:3.9) to the end of the 
note’s decay (at time position 2:3.62). 
At this point, your disp\fay shou\fd \fook \fike this: 9 . S ti\f\f using the Move Region too\f, c\fick and 
ho\fd anywhere in the region se\fected in 
Step 8 and move the region to the right unti\f 
the beginning of the note’s main enve\fope 
(the part after the initia\f breath) is \fined up 
exact\fy on the first beat of measure 2.
Your disp\fay shou\fd now \fook \fike this:
P\fay back your track and note that the two 
voca\f parts are now perfect\fy in sync. (You can 
c\fick the Time \bontro\f Enab\fe button to A/B the 
origina\f and time shifted versions.)
The Move Point Tool:  
Adjusting an Ending
Moving on in the track, we’\f\f use the Move 
Point Too\f to correct a phrase that starts at the 
right point but ends \fate.