Antares AutoTune 7 user manual

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 1. Adjust the zoom and scro\f\f contro\fs to focus on bars 3 through 5. P\fay the track and note 
that the end of the second phrase (the end 
of the word “i\f\fusion), is sustained too \fong.
 2

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 S
 e\fect the Move Point Too\f and se\fect the 
range from the beginning of the \fast sy\f\fab\fe 
of “i\f\fusion” (at time position 4:1.80) to the 
beginning of the breath before the fo\f\fowing 
note (at time position 5:2.23). 
 3

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 se the Move Point Too\f to se\fect the point 
to be moved. In this case we want to move 
the very end of the phrase whi\fe \feaving 
the beginning in p\face. Using the enve\fope 
disp\fay as reference, p\face the cursor over 
the very end of the note (at time position 
5:2.10). \b\fick and drag to move the end 
point back to the beginning of measure 5.
Your disp\fay shou\fd now \fook \fike this:
P\fay back your track and note that once again 
the two voca\f parts are now perfect\fy in sync. 
The Move Point Tool:  
Adjusting an Internal S\fllable 
For our fina\f examp\fe, we’\f\f use the Move Point 
Too\f to correct a sy\f\fab\fe in the midd\fe of a 
word.
 1

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 A
 djust the zoom and scro\f\f contro\fs to focus 
on bars 7 through 9. P\fay the track and 
note that the start of the \fast sy\f\fab\fe in the 
fina\f word of the track (“de\fusion”), starts 
s\fight\fy too ear\fy.
 2. Se\fect the Move Point Too\f and se\fect  the range from the beginning of the word 
“de\fusion” (at time position 7:4.63) to a 
beat past the end of the track (at time 
position 9:2.0). 
 3

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 I
 n this case we want to move the start of 
the sy\f\fab\fe whi\fe \feaving the beginning and 
end of the se\fected word in p\face. Using 
the enve\fope disp\fay as reference, p\face 
the cursor over the beginning of the \fast 
sy\f\fab\fe (at time position 8:1.73). \b\fick and 
drag to move the end point to the right to 
time position 8:2.0.
Your disp\fay shou\fd now \fook \fike this:
P\fay back your track and note that once again 
the two voca\f parts are now in sync. 
You’ve now comp\fete\fy corrected the timing 
of the track. If you \fike, c\fick the Time \bontro\f 
Enab\fe button to A/B the origina\f and time 
shifted versions to remind yourse\ff how far 
you’ve come.
Tutorial 12: Time: Creative Editing
In this tutoria\f we’\f\f use Auto-Tune 7’s Move 
Region function for a creative, rather than 
corrective, purpose.
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 L
 oad or import the audio fi\fe “Bass_riff” (a 
two-bar bass \fine) into a track of your host 
and set your host’s tempo to 110 BPM.   
						

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Listen to the track to become fami\fiar with 
it. We’re going to use the Move Region too\f 
to move the second note of the pattern and 
change the fee\f of the bass \fine. 
 2

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 S
 et up Auto-Tune 7 as an insert effect on 
the track and se\fect “Bass Inst” as the 
Input Type.
 3

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

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 P
 ress the Track Pitch + Time button. 
 5

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 P
 \fay the “Bass_riff” fi\fe and track the 
two-bar \fine. Stop the transport to exit the 
tracking function. Adjust the zoom and 
scro\f\f contro\fs to focus on the first measure 
of the bass \fine.
 6

.
 \b
 \fick the Make Notes button. A\fthough 
we’re on\fy interested in the timing of this 
examp\fe, the Note objects provide a usefu\f 
visua\f reference of the bass \fine. 
Our goa\f here is move the second note, an A#, 
so that instead of being a pickup note to the 
third beat, it fa\f\fs square\fy on the second beat, 
creating a distinct\fy different fee\f to the \fine.
 7

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 S
 e\fect the Move Region too\f and, using 
the main edit window’s enve\fope disp\fay 
as reference, se\fect the initia\f range from 
the end of the first note’s decay (at time 
position 1:1.58) to the end of the A#’s 
decay (at time position 1:2.93). You can 
check out the graphic be\fow for reference.
 8

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 ow, we’\f\f use the Move Region too\f to 
se\fect the region to be moved. Again using 
the enve\fope disp\fay as reference, se\fect 
the region from the beginning of the A# (at 
time position 1:2.38) to a bit before end of 
the A#’s decay (at time position 1:2.86). 
Note: the reason that we don’t 
select the entire A# is that when we 
move the note forward in the next 
step, we want to leave a bit of it for Auto-
tu

ne 
7 to stretch into a natural deca\f leadin\b into the 
note on the third beat. At this point, your disp\fay shou\fd \fook \fike this:
 9

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 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 \feft unti\f 
the beginning of the note’s main enve\fope 
is \fined up exact\fy on beat 2.
Your disp\fay shou\fd now \fook \fike this:
P\fay back your track and note the new fee\f. You 
can c\fick the Time \bontro\f Enab\fe button to A/B 
the origina\f and time shifted versions. 
A\fso note how Auto-Tune 7’s time shifting 
a\fgorithm has turned the sma\f\f bit of audio 
at the end of the moved A# into a natura\f-
sounding decay \feading into the fo\f\fowing \b.   
						

							77
Chapter 5: The Auto\bTune Vocal Effect 
In addition to its adoption as 
the wor\fdwide standard in 
professiona\f pitch correction, 
Auto-Tune has a\fso gained 
renown as the too\f of choice for what has 
become one of the signature voca\f sounds of 
our time.
First heard on \bher’s 1998 mega-hit “Be\fieve,” 
variations of the effect have gone on to appear 
on songs from a huge variety of artists. Since 
there seems to be a \fot of mytho\fogy about 
how it’s accomp\fished, we thought we’d 
provide the officia\f Antares version here.
What is it?
Quite simp\fy, the Auto-Tune Voca\f Effect 
is what is technica\f\fy known as “pitch 
quantization.” That is, instead of a\f\fowing a\f\f 
of the sma\f\f variations in pitch and the gradua\f 
transitions between notes that are a norma\f 
part of singing (and speaking, for that matter), 
the Auto-Tune Voca\f Effect \fimits each note to 
its exact target pitch, stripping out any variation, 
as we\f\f as forcing instantaneous transitions 
between notes. 
How to do it.
There are basica\f\fy two key e\fements to 
producing the Auto-Tune Voca\f Effect:
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 etune Speed = 0
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 ick the right sca\fe
That’s pretty much it. Rea\f\fy.
There are, however, some possib\fe variations 
in approach, depending main\fy on whether 
you want to use Automatic Mode or Graphica\f 
Mode. Here are the detai\fs: Automatic Mo\fe
 1

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 A
 s we a\fready mentioned, start by setting 
Retune Speed to 0.
 2
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 et the Key and Sca\fe to the key and sca\fe 
of your track. 
 3
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 P
 \fay your track. If you \fike the resu\ft, you’re 
done.
 4
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 I
 f you’re not happy with the resu\ft, try one 
or more of the fo\f\fowing:
 • Edit the sca\fe notes. Depending on the  specific voca\f \fine, adding or removing 
sca\fe notes can give you distinct\fy different 
effects.
 • Try a different key and/or sca\fe.
 • Try the chromatic sca\fe (a\fthough our experience is that if you’re going for the 
c\fassic effect, chromatic rare\fy provides it).
 • Try a Retune Speed of 1 or 2 or a bit s\fower. This wi\f\f a\f\fow s\fight pitch variations and 
s\fight\fy \fess instant note transitions, but 
may resu\ft in the right effect for a particu\far 
performance.
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 D
 on’t forget your host’s Bypass function. 
Limiting the Auto-Tune Voca\f Effect just to 
specific phrases can provide sonic contrast 
in your song.
Graphical Mo\fe
Using Auto-Tune 7’s graphica\f Note objects 
wi\f\f give you the u\ftimate contro\f over the Auto-
Tune Voca\f Effect.
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 ince you want a\f\f of your notes quantized, 
start by opening the Options dia\fog and 
setting the defau\ft Notes Retune Speed to 
0. 
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 n\fess you wi\f\f using something other than 
a standard diatonic sca\fe, turn on Show 
Lanes mode.  
						

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 3. Track your audio.
 4
.
 \b
 \fick the Make Notes button. If necessary, 
adjust the Number of Note Objects contro\f 
to get as accurate a representation of the 
desired target notes as possib\fe.
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 M
 ake sure that a\f\f of the Note objects in 
the range where you want the effect to 
happen butt up against each other (this 
wi\f\f ensure that a\f\f of the note transitions 
are instantaneous). If they don’t, either 
use the Arrow too\f to extend existing Note 
boundaries so that they do, or use the Note 
too\f to draw new notes to fi\f\f in any gaps.
 6

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 \fay your track. If you \fike the resu\ft, you’re 
done.
 7

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 f you’re not happy with the resu\ft, simp\fy 
experiment with changing the pitch or 
\fength of individua\f Notes. The beauty of 
Note objects is that you can \fitera\f\fy scu\fpt 
any me\fodic contour to get exact\fy the 
effect you desire.
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 nce you get the effect exact\fy as you \fike 
it, Auto-Tune 7’s graphica\f Paste function 
wi\f\f a\f\fow you to copy a\f\f of the Note objects 
and paste them in subsequent verses or 
choruses or wherever e\fse in your track 
you’d \fike the same effect.  
						

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Chapter 6: The Auto\bTune 7 Scales
The fo\f\fowing are brief descriptions of the 
sca\fes avai\fab\fe in Auto-Tune 7:
Modern Equal Temperament
These first three equa\f-tempered sca\fes are the 
ubiquitous sca\fes typica\f\fy found in Western 
tona\f music:
• Major:  A seven-tone equa\f tempered major 
sca\fe.
•  Minor:  A seven-tone equa\f tempered minor 
sca\fe.
•  Equal Tempere\f chromatic:  A twe\fve-tone 
equa\f tempered chromatic sca\fe.
Historical Tunings
•  Ling Lun:  A twe\fve-tone sca\fe dating from 
2700 B.\b. \bhina.
•  Scholar’s Lute:  A seven-tone sca\fe dating 
from 300 B.\b. \bhina.
•  Greek \fiatonic genus:  A seven-tone sca\fe 
from ancient Greece.
•  Greek chromatic genus:  A seven-tone sca\fe 
from ancient Greece.
•  Greek enharmonic genus:  A seven-tone 
sca\fe from ancient Greece.
•  Pythagorean:  A twe\fve-tone sca\fe dating 
from 600 B.\b. Greece. This sca\fe is derived by 
tuning twe\fve pure perfect fifths upward and 
adjusting the octaves downward. This \feads 
to some pure interva\fs and some very impure 
interva\fs.
•  Just (major chromatic):  A twe\fve-tone 
sca\fe. Just intonation tunes the most frequent\fy 
used interva\fs to be pure (integer ratios in 
frequency). These tunings depend on the mode 
(major or minor) and the key. This sca\fe is tuned 
for major mode.
•  Just (minor chromatic):  A twe\fve-tone 
sca\fe. Just intonation tunes the most frequent\fy 
used interva\fs to be pure (integer ratios in 
frequency). These tunings depend on the mode 
(major or minor) and the key. This sca\fe is tuned 
for minor mode. 
•  Meantone chromatic:  A twe\fve-tone sca\fe. 
This tuning is a combination of Pythagorean 
and just tunings so that music in a wider variety 
of keys cou\fd be p\fayab\fe.
•  Werckmeister III:  A twe\fve-tone sca\fe. This 
sca\fe was a first attempt (about Bach’s time) to 
a\f\fow an instrument to be p\fayed in any sca\fe. It 
was in response to this sca\fe that Bach wrote 
We\f\f-Tempered \b\favier.
•  Vallotti & Young chromatic:  A twe\fve-tone 
sca\fe. Another derivative of the Pythagorean 
sca\fe designed to a\f\fow arbitrary keys.
•  Barnes-Bach (chromatic):  A twe\fve-tone 
sca\fe. A variation of the Va\f\fotti & Young sca\fe 
designed to optimize the performance of 
Bach’s We\f\f-Tempered \b\favier.
Ethnic Tunings
•  In\fian:  This 22 tone sca\fe is used in India to 
perform ragas.
•  Slen\fro:  This five-tone Indonesian sca\fe is 
p\fayed by ensemb\fes ca\f\fed game\fans.
•  Pelog:  This seven-tone Indonesian sca\fe is 
more interesting than S\fendro and is now the 
primary sca\fe in Ba\finese music.
•  Arabic 1:  This 17 tone sca\fe is the origina\f 
Arabic sca\fe adopted from the Pythagorean 
sca\fe.
•  Arabic 2 (chromatic):  This twe\fve-tone 
sca\fe is the modern version of the Arabic sca\fe 
popu\far in Arabic music today.  
						

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Contemporar\f Tunings
Equa\f tempered sca\fes with a \farge number 
of tones are typica\f\fy used to p\fay common 
tona\f harmony with greater purity of interva\fs 
and chords. The typica\f approach is to ana\fyze 
a passage (or \fess) of music and se\fect tones 
from a sca\fe that wi\f\f best approximate the 
desired pure interva\fs.
• 19 Tone:  This sca\fe has greater purity of 
minor thirds and major thirds (and converse\fy, 
minor and major sixths) than twe\fve-tone equa\f 
temperament. A disadvantage is that perfect 
fifths are narrower than those found in twe\fve-
tone equa\f temperament.
•  24 Tone:  A\fso know as the quarter tone 
sca\fe, this sca\fe is used for variety but has 
no advantage in terms of ratios that better 
approximate pure interva\fs.
•  31 Tone:  In addition to interva\fs that better 
approximate pure interva\fs, this sca\fe a\fso 
contains good approximations to Indonesian 
pe\fog and s\fendro sca\fes.
•  53 Tone:  Re\fated mathematica\f\fy to the cyc\fe 
of fifths, the 53-tone sca\fe has very pure major 
and minor thirds, and fifths and fourths.
•  Partch:  Harry Partch is considered the 
father of modern microtona\fity. This sca\fe was 
devised by him and used in instrument bui\fding 
and performances.
•  Carlos Alpha:  Wendy \bar\fos performed 
extensive computer ana\fysis to devise a 
number of equa\f tempered sca\fes with good 
approximations for the primary harmonic 
interva\fs and their inversions. This sca\fe is good 
at approximating the primary interva\fs inc\fuding 
7/4. This sca\fe divides the octave into 15.385 
steps forming interva\fs of 78.0 cents.
•  Carlos Beta:  This sca\fe divides the octave 
into 18.809 steps forming interva\fs of 63.8 
cents.
•  Carlos Gamma:  This sca\fe achieves perfect 
purity of the primary interva\fs 3/2, 4/3 and 5/4. 
This sca\fe divides the octave into 34.188 steps 
forming interva\fs of 35.1 cents.
•  Harmonic (chromatic):  This twe\fve-tone 
sca\fe is created in the partia\fs in the fifth octave 
of the harmonic series. The sca\fe degrees that 
correspond to the c\fassic just interva\fs are the 
major second, major third, perfect fifth and 
major seventh.  
						

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Index
A
Adjust Vibrato  41
A\f\f/ Tie Buttons  46
Amp\fitude Amount  33
Antares Audio Techno\fogies  ii, 1
Antares On\fine \bommunity  6
Arrow Too\f  48
Authorizing Auto-Tune 7  6
Automatic Mode  10\borrection examp\fe  11
Retune Speed  11
Sca\fes  10
Vibrato  11
Automatic Mode \bontro\fs  24 \breate Vibrato  32
MIDI Functions  30
Pitch \bhange Meter  34
Pitch \borrection Functions  24
The Edit Sca\fe Disp\fay  26
Virtua\f Keyboard  28
Auto Scro\f\f  46
Auto-Tune 5  3
Auto-Tune Evo  3
Auto-Tune Voca\f Effect  77
B
background information  7
BIG IMPORTANT NOTE  3
Bypass  24, 26
Bypass A\f\f  27
C
\bents  27
\b\fear A\f\f Button  51, 56
\b\fock \bontro\fs  35 Determining if your host provides   va\fid c\fock information  35
Samp\fe Rate Disp\fay  36
Se\fectab\fe \b\fock Source  35 Sync to host transport (host dependent)  35
Time Disp\fay Mode  36
Using Interna\f \b\fock Mode  35
\bommon \bontro\fs  17 Bypass  24
\borrection Mode  20
Formant \borrection  20
Input Type  17
Key Se\fection  18
Options  21
Sca\fe Detune  19
Sca\fe Se\fection  18
Se\fect Pitch Reference  18
Throat Length  19
Tracking  17
Transpose  19
\bontemporary Tunings  80
\bontinuous \bontro\fs  17
\borrection Mode  20
\borrect Pitch  37
\breate Vibrato  32 Amp\fitude Amount  33
Formant Amount  33
Onset De\fay  32
Onset Rate  32
Pitch Amount  33
Rate  32
Shape  32
Variation  32
\bursor Time Position Disp\fay  45
\burve Too\f  47
\but And \bopy Buttons  51
D
Data Error Indicator  53
Data Fi\fe Management Button  59
Data Fi\fe Management Dia\fog  59
De\fete A\f\f Data Fi\fes  61
Detected Pitch Disp\fay  45
Determining if your host provides   va\fid c\fock information  35  
						

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E
Edit Buttons  51\b\fear A\f\f Button  51
\but And \bopy Buttons  51
Nudge Buttons  52
Paste Button  51
Redo Button  51
Se\fect A\f\f Button  51
Snap To Note Button  51
Undo Button  51
Edit Functions  23
Editing Moda\fity  46
Editing Too\fs  46
Edit Sca\fe Disp\fay Bypass  26
Bypass A\f\f  27
\bents  27
Remove  27
Remove A\f\f  27
Set A\f\f  27
Set Major/Set Minor  27
Enab\fe Button  55
Enve\fope Graph Disp\fay  45, 55
Equa\f Tempered Sca\fe  8
Ethnic Tunings  79
Evo™ Voice Processing Techno\fogy  4
F
Facebook  6
Find Data Fo\fder…  60, 61
Formant Amount  33
Formant \borrection  20
G
Graphica\f Mode  12 Pitch Shifting, Formant \borrection and Throat  Mode\fing  13
Time Shifting and \borrection  14
Graphica\f Mode \bontro\fs  35 \b\fock \bontro\fs  35
Edit Buttons  51
Editing Too\fs  46
MIDI Functions  42
Pen Tab\fet Input  52
Pitch and Enve\fope Graph Disp\fays  44 Pitch Shifting, Formant \borrection and Throat 
Mode\fing  52
Pitch Tracking and \borrection Objects  36
Graphica\f Too\fs Arrow Too\f  48
\burve Too\f  47
Hand Too\f  50
I-Beam Too\f  50
Line Too\f  47
Magnifying G\fass  50
Note Too\f  48
Scissors Too\f  50
Graphic Too\fs  22
H
Hand Too\f  50
Historica\f Tunings  79
Ho\fd Button  34
Humanize  24
I
I-Beam Too\f  50
Import Auto  38
Input Type  17
Insta\f\fing Auto-Tune 7  6
Instance ID  30
K
Keyboard Equiva\fents  52
Key Se\fection  18
know\fedgebase  6
L
Learn Sca\fe From MIDI  30
License Agreement  iii
Line Too\f  47
M
Magnifying G\fass  50
Make \burve  37
Make Notes  38
Make Notes From MIDI  43
MIDI  4  
						

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MIDI Functions  30, 42Instance ID  30
Learn Sca\fe From MIDI  30
Make Notes From MIDI  43
Octave As P\fayed/A\f\f Octaves  31
Recording MIDI Information  42
Show MIDI  43
Target Notes Via MIDI  31
Modern Equa\f Temperament  79
Move Data Fi\fes…  60
Move Point Too\f  56
Move Region Too\f  57
\f
Natura\f Vibrato  25
Note Too\f  48
Nudge Buttons  52
Number of Note Objects  39
O
Object Pitch Disp\fay  45
Octave As P\fayed/A\f\f Octaves  31
Onset De\fay  32
Onset Rate  32
Options  21
Output Pitch Disp\fay  45
P
Paste Button  51
Pen Tab\fet Input  52
Pitch  7, 8, 9 Equa\f Tempered Sca\fe  8
Pitch Amount  33
Pitch and Enve\fope Graph Disp\fays  44 A\f\f/ Tie Buttons  46
Auto Scro\f\f  46
\bursor Time Position Disp\fay  45
Detected Pitch Disp\fay  45
Enve\fope Graph Disp\fay  45
Object Pitch Disp\fay  45
Output Pitch Disp\fay  45
Pitch Graph Disp\fay  44
Pitch Graph Sca\fe  45
Show Lanes  44
Pitch \bhange Amount Indicator  34 Pitch \bhange Meter  34
Ho\fd Button  34
Pitch \bhange Amount Indicator  34
Pitch \borrection Functions  24 Humanize  24
Natura\f Vibrato  25
Retune Speed  24
Targeting Ignores Vibrato  25
Pitch Graph Disp\fay  44, 55
Pitch Graph Sca\fe  45
Pitch Shifting, Formant \borrection and Throat  Mode\fing  13, 52
Formant \borrection  14
Pitch Shifting  13
Throat Mode\fing  14
Pitch Tracking and \borrection Objects  36 Adjust Vibrato  41
\borrect Pitch  37
Import Auto  38
Make \burve  37
Make Notes  38
Number of Note Objects  39
Retune Speed  41
Throat Length Adjust  42
Track Pitch  36
Q
quantization  77
R
Rate  32
Recording MIDI Information  42
Redo Button  51, 55
Remove  27
Remove A\f\f  27
Rename Fo\fder  60
Retune Speed  11, 41
S
Samp\fe Rate Disp\fay  29, 36
Sca\fe Detune  19
Sca\fes  10, 79\bontemporary Tunings  80
Ethnic Tunings  79
Historica\f Tunings  79
Modern Equa\f Temperament  79  
						

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Sca\fe Se\fection  18
Scissors Too\f  50
Se\fectab\fe \b\fock Source  35
Se\fect A\f\f Button  51
Se\fect Pitch Reference  18
seria\f number  1
Set A\f\f  27
Set Major/Set Minor  27
Setup Fo\fder Location…  62
Shape  32
Show Lanes  44
Show MIDI  43
Snap To Note Button  51
Sync to host transport (host dependent)  35
T
Targeting Ignores Vibrato  25
Target Notes Via MIDI  31
Technica\f Support  6
The Edit Sca\fe Disp\fay  26
Throat Length  19
Throat Length Adjust  42
Time \bontro\f Functions  55\b\fear A\f\f Button  56
Enab\fe Button  55
Redo Button  55
Undo Button  55
Time Disp\fay Mode  36
Time Edit Too\fs  56 Move Point Too\f  56
Move Region Too\f  57
Time Shifting and \borrection  14 Enhanced Amp\fitude Enve\fope Disp\fay  15
Non-destructive Editing  15
Time Too\fs  14
Time Tracking  14
Tracked Data Management  58
Time Too\fs Enve\fope Graph Disp\fay  55
Pitch Graph Disp\fay  55
Time \bontro\f Functions  55
Track Pitch + Time  54
Tracked Data Management  58 Data Fi\fe Management Button  59
Data Fi\fe Management Dia\fog  59
De\fete A\f\f Data Fi\fes  61
Find Data Fo\fder…  60, 61
Move Data Fi\fes…  60 Rename Fo\fder  60
Setup Fo\fder Location…  62
Tracking  17
Track Pitch  36
Track Pitch + Time  54
Transpose  19
Tutoria\fs  63 1: Automatic Mode Basics  63
2: Targeting Ignores   Vibrato Function  64
3: Natura\f Vibrato Function  65
4: Using the Automatic Mode MIDI Functions   65
5: Transpose and   Formant \bontro\f  66
6: Graphica\f Mode Basics  67
7: Precision  68
8: Make \burve Function  69
9: Import Auto Function  70
10: Make Notes Function  72
11: Time: Error \borrection  74
12: Time: \breative Editing  75
Twitter  6
U
Undo Button  51, 55
upgrading  3
Using Interna\f \b\fock Mode  35
V
Variation  32
Vibrato  11
Virtua\f Keyboard  28 Keyboard Edit  28
Keyboard Mode  29
Samp\fe Rate Disp\fay  29
W
What’s new  4