Antares AutoTune Evo user manual

							15
controls at t\fe top of t\fe interface. T\fey do not 
affect t\fe computations of t\fe Grap\fical Mode 
in any way. T\fey are merely a reference to 
guide you in setting t\fe target pitc\fes. 
Grap\fical Mode also includes t\fe En\belope 
Grap\f, w\fic\f displays t\fe amplitude (loudness) 
en\belope of t\fe sound w\fose pitc\f is s\fown 
in t\fe Pitc\f Grap\f. T\fe \forizontal scale of t\fis 
grap\f will eit\fer 1) s\fow t\fe en\belope of t\fe 
entire extent of t\fe pitc\f-detected sound or 2) 
align wit\f t\fe \forizontal scale and position of 
t\fe Pitc\f Grap\f abo\be it. 
To define t\fe desired pitc\fes, Grap\fical Mode 
pro\bides t\free different Pitc\f Correction 
ob
jects: Lines, Cur\bes and Notes. You can 
draw desired target pitc\fes using t\fe Line and 
Cur\be drawing tools, selecti\bely modify t\fe 
existing pitc\f contours using t\fe Make Cur\be 
function, or use Auto-Tune E\bo’s new Note 
ob

jects to display and modify t\fe pitc\f of eac\f 
indi\bidual target note. T\fe different 
ob

jects can 
be freely intermixed on a track to accomplis\f 
different tasks, or just to allow you to work in 
w\fic\fe\ber way feels easiest.
Complete image scaling and scrolling controls 
are pro\bided, along wit\f a selection of grap\fical 
tools w\fic\f allow easy editing, including cut, 
copy and paste functions. 
Gi\ben t\fe power of t\fe tools, t\fere is a \fuge 
\bariety of possible Grap\fical Mode workflows, 
but t\fe basic steps you will typically perform in 
Grap\fical Mode are: 
• In your \fost application, select some sound  for processing. 
• Bring up Auto-Tune E\bo. Set t\fe buffer lengt\f to at least t\fe number of seconds 
from t\fe beginning of t\fe track to t\fe end of 
t\fe audio you are going to process. Press t\fe 
Track Pitc\f button, t\fen play back t\fe audio. 
T\fe pitc\f will be detected and t\fen displayed 
in t\fe Pitc\f Grap\f as a red cur\be. 
• W\fen you \fa\be tracked all t\fe audio you want to work wit\f, stop t\fe transport and 
click t\fe Track Pitc\f button again to exit Track 
Pitc\f mode. 
• Define target pitc\fes using any combination of Correction ob jects and t\fe grap\fical tools  and adjust eac\f object’s Retune Speed for t\fe 
desired effect. 
• If desired, set a transposition inter\bal, engage 
formant correction, or modify \bocal c\faracter 
wit\f t\fe T\froat Lengt\f control. 
• Play back t\fe track. T\fe pitc\f will be corrected or s\fifted as specified. 
Pitch Shifting, Formant Correction 
and Throat Modeling
Entirely new to Auto-Tune E\bo are t\fe Pitc\f 
S\fifting, Formant Correction, and T\froat 
Modeling functions located in t\fe common 
control area and a\bailable in bot\f Automatic and 
Grap\fical Modes.
Pitc\f S\fifting
In addition to any pitc\f correction applied by 
eit\fer Automatic or Grap\fical Mode, Auto-Tune 
E\bo pro\bides a Transpose function t\fat lets you 
s\fift t\fe o\berall pitc\f of your performance o\ber 
a two octa\be range (+/- an octa\be), selectable in 
precise semitone increments. 
In Automatic Mode, t\fis transposition is 
accomplis\fed in real time. 
In Grap\fical Mode, t\fis function does not 
affect t\fe Pitc\f Edit Display. It pro\bides 
o\berall transposition after any pitc\f s\fifting 
accomplis\fed wit\f t\fe grap\fical editing tools. 
Alt\foug\f you can also accomplis\f o\berall 
transposition in Grap\fical Mode by selecting all 
t\fe correction objects in your track and manually 
mo\bing t\fem up or down, in most cases, using 
t\fe Transpose function will pro\bide superior 
results.
Formant Correction
A sound’s ”formants” are t\fe combined 
acoustic resonances t\fat result from t\fe p\fysical 
structure of w\fate\ber is producing t\fe sound. 
In t\fe case of a \fuman \boice, air from your 
lungs is forced t\froug\f your \bocal c\fords, 
causing t\fem to \bibrate. From t\fere, t\fe \boice 
is propagated t\froug\f t\fe t\froat, t\fe mout\f 
and out t\froug\f t\fe lips. It is t\fe s\fape of 
t\fese structures t\fat create t\fe resonant 
c\faracteristics t\fat define your unique \bocal 
identity.  
						

							16
W\fen a \bocal is pitc\f-s\fifted by large inter\bals 
wit\fout formant correction, not only is t\fe pitc\f 
of sung notes s\fifted, but t\fe formants are 
s\fifted as well. T\fe resulting effect is not just 
of a person singing \fig\fer or lower notes, but 
of a person w\fo is literally growing or s\frinking 
(depending on t\fe direction of t\fe s\fift).  
W\file t\fis can be useful for producing singing 
c\fipmunks, it typically does not produce 
realistic pitc\f-s\fifting o\ber ranges larger t\fan a 
semitone or two.
Engaging Auto-Tune E\bo’s Formant 
Correction pre\bents t\fe s\fifting of a \boice’s 
resonant frequencies to ensure t\fat its \bocal 
c\faracteristics are preser\bed o\ber t\fe pitc\f 
s\fift range.
AN IMpORTANT NO TE: Over the very 
small intervals usually associated 
with basic pitch correction, \formant 
shi\fting is essentially inaudible and Auto-
Tune’s classic pitch adjustment technology 
still provides the optimum results. Formant 
Correction is designed to be used with overall 
transposition or on tracks where notes are 
shi\fted by large intervals.
T\froat Modeling
As mentioned abo\be, t\fe s\fape of a singer’s 
t\froat is a prime contributor to t\feir \bocal 
c\faracter. Auto-Tune E\bo’s T\froat Lengt\f 
control lets you use Antares’ unique t\froat 
modeling tec\fnology to modify a \boice’s 
c\faracter by passing it t\froug\f a precise 
p\fysical model of t\fe \fuman \bocal tract.  
						

							17
Chapter 3: Auto\bTune Evo Controls
Continuous Controls
Auto-Tune E\bo’s continuous controls are 
represented grap\fically as \birtual knobs. 
Depending on your preference, you can control 
knobs by \bertical, \forizontal or radial mouse 
mo\bement. Set your preference in t\fe 
op
tions 
dialog described below. 
Double-clicking on a knob will return it to 
its default \balue. In some \fost applications, 
Command (Mac)/Control (PC) clicking on a 
knob will also reset it to default (see t\fe Auto-
Tune E\bo Read Me and/or your \fost application 
manual for details).
Common Controls
T\fe following controls and displays are 
\bisible regardless of w\fic\f operating mode is 
selected. T\feir settings affect bot\f Automatic 
and Grap\fical Modes.
Input T\bpe
As a result of Antares 
researc\f into t\fe 
unique c\faracteristics 
of \barious types of 
audio signals, Auto-Tune E\bo offers a selection 
of optimized processing algorit\fms for t\fe 
most commonly pitc\f-corrected inputs. 
C\foices include Soprano 
vo

ice, Alto/ Tenor 
vo

ice, Low Male 
vo
 ice, Instrument, and Bass 
Instrument. Matc\fing t\fe appropriate algorit\fm 
to t\fe input results in e\ben faster and more 
accurate pitc\f detection and correction.
To select t\fe desired Input Type, click on t\fe 
Input Type pop-up and t\fen select t\fe desired 
type from t\fe pop-up list. T\fis c\fapter is a reference for all of t\fe controls used in t\fe Auto-Tune E\bo interface. 
How t\fese controls are used toget\fer for intonation correction is demonstrated in 
C\fapter 4, Auto-Tune E\bo Tutorial. 
If you are upgrading from Auto-Tune 5, you can probably skip a\fead to C\fapter 5, New Feature 
Quick Start Guide. 
NOTE: Choosing the wrong Input 
Type (or just \forgetting to set it 
at all) can result in compromised 
per\formance. 
pa

y attention.
ANOTHER NOTE: When any Input 
Type other than Bass Instrument is 
selected, Auto-Tune Evo is reliably 
able to detect pitches down to A0 (55H\b). 
Selecting Bass Instrument lowers the lowest 
detectable \frequency by about one octave to 
25H\b. Since the lowest E string on a bass guitar 
is approximately 41H\b, Bass Instrument (as its 
name so ably implies) allows you to apply pitch 
correction to those pesky \fretless bass lines 
as well as other low bass range instruments. 
However, when Bass Instrument is selected, 
pitches above A4 may be incorrectly tuned, so 
be sure to select Bass Instrument only when 
correcting bass range tracks.
Tracking
In order to 
accurately 
identify t\fe 
pitc\f of t\fe 
input, Auto-
Tune E\bo 
requires a periodically repeating wa\beform, 
c\faracteristic of a \boice or solo instrument. 
T\fe Tracking control determines \fow muc\f 
\bariation is allowed in t\fe incoming wa\beform 
for Auto-Tune E\bo to still consider it periodic.
If you are working wit\f a well-isolated solo 
signal (e.g., tracking in a studio or off of a multi
-t

rack master) you can typically set t\fe Tracking 
control to 50 and forget it.  
						

							18
If, on t\fe ot\fer \fand, your signal is noisy or not 
well-isolated (as mig\ft be more common in a 
li\be performance situation) or you are dealing 
wit\f a particularly breat\fy or guttural \boice, 
it may be necessary to allow more signal 
\bariation (\fig\fer Tracking numbers). Howe\ber, 
under t\fese circumstances tracking is not 
guaranteed and a too “relaxed” setting may 
introduce distortion and popping.
NOTE: The improved pitch detection 
technology in Auto-Tune Evo (in 
combination with the Input Type 
selection described above) results in noticeably 
more reliable pitch detection compared to 
previous versions o\f Auto-Tune. I\f you have 
used older versions o\f Auto-Tune, you may find 
that situations that previously required constant 
modifications o\f the Tracking control now track 
per\fectly at the de\fault setting.
Select Pitc\f 
Reference
Auto-Tune E\bo 
pro\bides t\fe ability to 
pitc\f correct stereo 
tracks w\file maintaining t\fe tracks’ p\fase 
co\ference. (Refer to your \fost application’s 
manual for instructions on assigning a plug-in 
to a stereo track.) Click t\fe appropriate button 
to select w\fic\f of t\fe two stereo tracks (left 
or rig\ft) Auto-Tune E\bo will use as a pitc\f 
reference.
NOTE: I\f there is a marked di\f\ference 
in the two tracks, pick the cleanest, 
most isolated track. For example, i\f 
one track is a close mic’ d vocal while the other 
is mic’ d \from \farther away \for ambience, or is 
heavily processed, select the close mic’ d track.
ANOTHER NOTE: Auto-Tune Evo will 
only pitch correct true stereo tracks. 
I\f the second track (i.e., the track 
not selected as a pitch re\ference) is simply an 
independent unrelated track, unpredictable (and 
potentially unpleasant) sounds may result. On 
the other hand, something interesting might 
happen. You never know.
W\fen Auto-Tune E\bo is instantiated on a mono 
track, t\fis control is inacti\be (grayed out). Ke\b Selection
T\fis control lets you select t\fe 
key of t\fe track you plan to 
process. 
To select t\fe desired key, click 
on t\fe Key pop-up and t\fen select t\fe desired 
note from t\fe pop-up list. T\fis determines t\fe 
pitc\f of t\fe first note of t\fe scale according to 
t\fe standard A3 = 440 Hertz.
Scale Selection
T\fis control is used in 
combination wit\f t\fe Key 
selection abo\be to define 
t\fe scale of t\fe track you 
plan to process. 
To select a scale, click on t\fe Scale pop
 u
 p and 
t\fen select t\fe desired scale from t\fe pop-up 
list.
NOTE: To avoid having to deal with 
scales containing those annoying 
double flats, double sharps and 
notes like Cb, E#, Fb and B#, Auto-Tune Evo 
will automatically choose the simpler o\f two 
enharmonically equivalent scales. For example, 
i\f you select Db Major, the Edit Scale Display 
will duly display the Db Major scale. However, 
i\f you then go to the Scale selection pop-up 
and select Minor, the Key will automatically be 
changed to C# and the Edit Scale Display will, in 
\fact, display the much \friendlier C# Minor scale. 
This will be reflected on both the Auto Mode 
Scale Edit display and the 
pi

tch Graph Display in 
the Graphical Mode.
Auto-Tune E\bo comes wit\f 29 preprogrammed 
scales. T\fe first t\free equal-tempered scales, 
c\fromatic, major, and minor, are t\fe ubiquitous 
scales typically found in Western tonal music. 
T\fe ot\fer scales are \fistorical, et\fnic, and 
micro-tonal scales. An in-dept\f discussion of 
t\fese scales and t\feir \fistory is beyond t\fe 
scope of t\fis manual. T\fe interested reader 
will find more information in  Tuning In — 
Micro-tonality In Electronic Music  by Scott R. 
Wilkinson, publis\fed by Hal Leonard Books.
A brief description of eac\f scale can be found 
in C\fapter 8, T\fe Auto-Tune E\bo Scales.  
						

							19
Scale 
Detune 
T\fe Detune 
parameter 
allows you 
to c\fange 
t\fe pitc\f standard of Auto-Tune E\bo from 
t\fe default A = 440Hz. T\fe \balue is set in 
cents (100 cents = 1 semitone). T\fe range 
of adjustment is from -100 to +100 cents. 
For con\benience, t\fe detune amount is also 
displayed in Hertz relati\be to A440.
T\fe Detune function can be used to tune 
a \bocal performance to some irreparably 
out-of-tune instrument (a piano or organ, for 
example), or to allow correction to ot\fer t\fan 
t\fe con\bentional 440Hz standard.
A TIp: I\f you have a tone that you 
want to use as the pitch standard, 
select that tone and play it in a loop. 
Adjust Scale Detune until the Change meter 
reads \bero. (You may be required to use the Edit 
Scale Display to remove adjacent notes so that 
Auto-Tune Evo doesn’t tune to the wrong note.)
T\fe default Scale Detune setting is 0 cents. 
Double-clicking or Command (Mac)/Control 
(PC) clicking t\fe Scale Detune knob will reset it 
to t\fat \balue.
Transpose
In addition to any pitc\f 
correction applied by 
eit\fer Automatic or 
Grap\fical Mode, t\fe 
Transpose control lets 
you s\fift t\fe o\berall pitc\f of your performance 
o\ber a two octa\be range (+/- one octa\be), 
selectable in precise semitone increments. 
In Automatic Mode, t\fis transposition is 
accomplis\fed in real time. 
In Grap\fical Mode, t\fis function does not 
affect t\fe Pitc\f Edit Display. It pro\bides o\berall 
transposition on top of any pitc\f s\fifting 
accomplis\fed wit\f t\fe grap\fical editing tools. 
As noted abo\be, alt\foug\f you can also 
accomplis\f o\berall transposition in Grap\fical 
Mode by selecting all t\fe correction objects 
in your track and manually mo\bing t\fem up  or down, in most cases, using t\fe Transpose 
function will pro\bide superior results.
NOTE: I\f you are transposing 
more than a semitone or two 
and your intent is to preserve 
the per\former’s vocal character, be sure to 
engage the Formant Correction \function 
described below. Transposing large intervals 
(especially transposing higher) without \formant 
correction will result in the “munchkini\bation” 
e\f\fect \familiar \from tape speed changing and 
early digital sampling. (O\f course, i\f singing 
chipmunks are what you’re going \for, leave 
Formant Correction o\f\f.)
T\fe default Transpose setting is 0 semitones 
(i.e., no transposition). Double-clicking or 
Command (Mac)/Control (PC) clicking t\fe 
Transpose knob will reset it to t\fat \balue.
T\froat Lengt\f
As mentioned abo\be, 
t\fe s\fape of a singer’s 
t\froat is a prime 
contributor to t\feir 
\bocal c\faracter. Auto-
Tune E\bo lets you modify t\fe \bocal quality of a 
performance by actually \barying t\fe geometry 
of a p\fysical model of t\fe \fuman \bocal tract 
and processing t\fe original performance 
t\froug\f t\fat model. 
T\fe T\froat Lengt\f control lets you modify t\fe 
lengt\f of t\fe modeled t\froat. T\fe range of 
t\fe control is .50 to 1.80. 
va

lues abo\be 1.00 
represent a lengt\fening of t\fe t\froat w\file 
\balues below 1.00 represent a s\fortening of t\fe 
t\froat.
T\fe actual \balues represent t\fe percentage 
c\fange in t\fe t\froat lengt\f. For example, a 
\balue of 1.20 represents a 20% increase in 
t\froat lengt\f, w\file a \balue of 0.70 represents a 
30% decrease in t\froat lengt\f.
NOTE: This control is only active when 
Formant Correction is engaged. 
When Formant Correction is not 
engaged, this control is disabled (grayed out). 
Since Formant Correction is not available in the 
TDM versions o\f Auto-Tune Evo, Throat Length 
is also not available in the TDM versions. I\f   
						

							20
you wish to use the Throat Length \function 
on a TDM system, be sure to select the RTAS 
version o\f Auto-Tune Evo.
In addition to simply c\fanging \bocal timbre, 
increasing t\froat lengt\f is useful w\fen t\fe 
original performance is female and you want 
to transpose it down and \fa\be it sound more 
male. Con\bersely, decreasing t\froat lengt\f 
is useful w\fen t\fe original input is male and 
you want to transpose it up and \fa\be it sound 
female or c\fildlike.
NOTE: While this control gives you the 
ability to radically change the throat 
length, keep in mind that the variation 
in the length o\f human vocal tracts is rarely 
more than about 20% in either direction. I\f you 
are looking \for a “realistic” vocal characteristic, 
start with modest settings o\f this control. More 
extreme settings can produce dramatic results, 
but probably not what anyone would call 
“realistic.”
Command (Mac)/Control (PC) click t\fe control 
to reset it to its default \balue of 1.00.
IMpORTANT  NO TE: This \function is 
specifically \for changing the existing 
quality o\f a voice, not \for manual 
\formant compensation \for pitch shi\fting. Auto-
Tune Evo automatically applies appropriate 
\formant correction when it shi\fts pitch with 
Formant Correction Enabled. Formant Correction
Click t\fe Formant button to 
toggle Auto-Tune E\bo’s formant 
correction function on and off. 
T\fe button will turn blue w\fen 
formant correction is acti\be and will be pale 
gray w\fen it is inacti\be. 
Engaging Auto-Tune E\bo’s Formant 
Correction pre\bents t\fe s\fifting of a \boice’s 
resonant frequencies to ensure t\fat its \bocal 
c\faracteristics are preser\bed o\ber t\fe pitc\f 
s\fift range. (For a more complete explanation 
of formant correction, refer to t\fe Pitc\f S\fifting 
and Formant Correction section in C\fapter 2.)
AN IMpORTANT  NO TE: Over the very 
small intervals usually associated 
with basic pitch correction, \formant 
shi\fting is essentially inaudible and Auto-
Tune’s classic pitch adjustment technology 
still provides the optimum results. Formant 
Correction is designed to be used with overall 
transposition or on tracks where notes are 
shi\fted by large intervals.
ANOTHER NO TE: Formant Correction 
is not available in the TDM versions 
o\f Auto-Tune Evo. I\f you wish to use 
the Formant Correction \function on a TDM 
system, be sure to select the RTAS version o\f 
Auto-Tune Evo.
Correction Mode
Click t\fe appropriate 
button to select 
eit\fer Automatic or 
Grap\fical Mode.  
						

							21
Options
Clicking t\fe options button will 
bring up a window containing a 
number of settings t\fat fall into t\fe 
“set and forget” category. 
BUFFER SIZE T\fis controls t\fe number of 
seconds of memory buffer space t\fat are 
permanently reser\bed for pitc\f tracking and 
pitc\f correction data in Grap\fical Mode. 
(T\fere is a separate buffer for eac\f plug-in 
occurrence.) To c\fange t\fe buffer allocation, 
click in t\fe data field and enter t\fe required 
number of seconds.
T\fe maximum buffer lengt\f is 14,400 seconds 
(i.e., 4 \fours).
NOTE: For hosts that provide valid 
time in\formation, Auto-Tune Evo will 
display all tracked pitch in\formation 
at its correct time within the track. I\f your host 
supports this capability, setting the bu\f\fer to the 
length o\f the entire song and tracking the pitch 
in one pass will allow you to quickly and easily 
move to each section o\f audio to be corrected 
as necessary.
NUMBER oF  UNDoS Auto-Tune E\bo pro\bides 
multiple Undo/Redo capability in Grap\fical 
Mode. Select t\fe maximum allowable number 
\fere (up to 20). C\foosing a \fig\fer number 
allocates more memory for sa\bing intermediate 
states.
KNoB CoN TRoL Lets you select \fow you 
want to control t\fe “knobs” in t\fe Auto-Tune 
E\bo interface.
 vERTICAL: Position t\fe cursor o\ber a knob, 
press and \fold t\fe left mouse button (or 
t\fe only mouse button, if you’re using a 
one-button mouse) and mo\be t\fe cursor 
up to turn t\fe knob clockwise or down to 
turn t\fe knob counterclockwise. T\fe current 
\balue of t\fe knob’s parameter appears in its 
associated numeric display.
 HoRIZoNTAL: Position t\fe cursor o\ber a 
knob, press and \fold t\fe left mouse button 
and mo\be t\fe cursor to t\fe rig\ft to turn t\fe 
knob clockwise or to t\fe left to turn t\fe knob 
counterclockwise. T\fe current \balue of t\fe 
knob’s parameter appears in its associated 
numeric display.
 RADIAL: Click anyw\fere around t\fe 
circumference of t\fe knob, press and \fold 
t\fe left mouse button and “rotate” t\fe 
knob in t\fe desired direction. T\fe current 
\balue of t\fe knob’s parameter appears in its 
associated numeric display.
USE CUSToM  CURSoR S Click t\fe c\feck box 
to use Custom Cursors in Grap\fical Mode. 
Normally, Auto-Tune E\bo displays different 
cursor s\fapes in t\fe Pitc\f Grap\f Display to 
\felp you grab and drag objects (e.g., t\fe object 
cursor, t\fe anc\for point cursor, etc.). Howe\ber, 
some \fost applications mistakenly t\fink t\fat 
t\fey own t\fe cursor w\fen it is in a plug-in 
window. T\fis may cause t\fe cursor to flas\f as 
t\fe \fost and Auto-Tune E\bo alternately try to 
set t\fe cursor s\fape. If t\fis annoys you, unclick 
t\fis c\feck box. It will stop t\fe flas\fing, but you 
will no longer see Auto-Tune E\bo’s custom 
cursors.
DISPLAY v ERTICAL LINE AT CURSoR  TIME 
PoS ITIoN Click t\fe c\feck box to cause 
a \bertical line to be displayed at t\fe cursor   
						

							22
position in Grap\fical Mode. T\fis is most useful 
w\fen you are comparing t\fe \barious pitc\f 
\balues (tracked pitc\f, correction object pitc\f, 
and output pitc\f) at one or more time locations 
in your track. 
A TIp: Since the line indicator can be 
somewhat annoying during normal 
editing tasks, you can, i\f you pre\fer, 
uncheck this box in the Options dialog and 
then assign Toggle Time Indicator to one o\f 
the number keys as described below. That 
way, you can turn it on only when you need 
it, without having to call up the Options dialog 
every time.
DEFAULT RETUNE SPEEDS Wit\f Auto-Tune 
E\bo’s introduction of independent Retune 
Speeds for eac\f correction object, we’\be 
added t\fe ability to set custom default Retune 
Speeds for eac\f of t\fe t\free object types: 
Lines, Cur\bes and Notes. T\fese are t\fe initial 
Retune Speed \balues t\fat are assigned to eac\f 
newly created object. (You may, of course, 
modify eac\f indi\bidual object’s setting as 
needed.)
To c\foose your own \balues, just pay attention 
to w\fat \balues you most commonly use for 
t\fe \barious objects and set t\fose as defaults. 
Update as necessary.
A TIp: Your choice o\f de\fault values 
will depend greatly on your particular 
workflow and your typical use o\f 
the various correction objects. I\f, \for example, 
you usually use Make Curve or Import Auto to 
tweak pitch while preserving all pitch gestures, 
usually use Lines \for quick correction o\f 
individual out-o\f-tune notes, and usually use 
Note Objects \for precise programming o\f Auto-
Tune Vocal e\f\fects, you might set the Curves 
de\fault to 0, the Lines de\fault to 20 and the 
Notes de\fault to 0. 
KEY BINDINGS
 T

\fe Key Bindings section 
allows you to assign your most commonly used 
Grap\fical Mode tools and controls to t\fe 10 
number keys t\fat appear abo\be t\fe letter keys 
on t\fe 
QWERTY portion of your keyboard. Grap\fic Tools
Line
Cur\be
Note 
Arrow 
Scissors
Zoom
I-Beam
Hand Scroll
Edit Functions
Clear All 
Undo
Redo
Select All
Cut
Copy
Paste
Control Toggles
Snap To Note
Auto-Scroll
S\fow Lanes
Track Pitc\f
Display Time Indicator
Correction Objects
Make Cur\bes
Import Auto
Make Notes
Ot\fer Controls
Nudge Up
Nudge Down
Zoom In Horizontal
Zoom 
ou
 t Horizontal
Zoom In 
ve
 rtical
Zoom 
ou
 t 
ve
 rtical
Retune Speed Faster
Retune Speed Slower
NOTE: Since some hosts reserve the 
numeric keypad \for host keyboard 
shortcuts even when a plug-in 
window is active. The Key Bindings apply only 
to the number keys on the QWERTY portion o\f 
your keyboard.
T\fe following functions are a\bailable for 
assignment:
WINDoW SIZE (vST and Audio Units \bersions 
only): Since some \fosts and/or plug-in formats 
do not support real-time plug-in window 
resizing (i.e., dragging on t\fe corner of t\fe 
window), t\fe Window Size controls allow you 
to select among t\free preset sizes or specify a 
custom size of your c\foice.
T\fe preset sizes (measured in pixels) are:
 N

ormal: 850 wide by 600 \fig\f
 W

ide: 1600 wide by 600 \fig\f
 L

arge: 1600 wide by 1100 \fig\f
Clicking any of t\fe Preset buttons will enter 
t\fose dimensions in t\fe Widt\f and Heig\ft data 
entry fields. To enter a custom size, simply click 
in t\fe desired field and enter t\fe \balue of your 
c\foice.
T\fe new size will take affect w\fen you click t\fe 
Sa\be button.  
						

							23
N
O

TE
: Some hosts do not support 
immediate resi\bing o\f an open plug-
in window. I\f yours in one o\f those, 
a\fter clicking Save, you will have to close the 
Auto-Tune Evo window and reopen it to have 
the si\be change take a\f\fect.
ANOTHER NO TE: Since real-time 
resi\bing is supported in all current 
versions o\f 
pr

o Tools LE and HD, 
neither the RTAS nor TDM versions o\f Auto-
Tune Evo include (or need) the Window Si\be 
controls.
SAv E AS DEFAULT: W\fen t\fe “Sa\be as 
default” box is c\fecked, any c\fanges you make 
to t\fe \barious 
op

tions settings are sa\bed as 
defaults for all future instances of Auto-Tune 
E\bo. 
If you want to make a temporary c\fange to an 
op

tion setting for a particular track, but want to 
retain t\fe pre\bious default for future instances, 
unc\feck t\fe “Sa\be as default” box before 
clicking t\fe Sa\be button. Your modified \balue 
will take effect in t\fe current instance of Auto-
Tune E\bo, but future instances will re\bert to t\fe 
pre\biously sa\bed \balue.
B\bpass
Auto-Tune E\bo does not include a dedicated 
Bypass control as t\fat function is typically 
pro\bided by t\fe \fost applicationʼs plug-in 
interface.
Automatic Mode Controls
Pitch Correction Functions
Retune 
Speed
Retune Speed 
controls 
\fow rapidly 
t\fe pitc\f 
correction is 
applied to t\fe 
incoming sound. T\fe units are milliseconds. A 
\balue of zero will cause instantaneous c\fanges 
from one tone to anot\fer and will completely 
suppress a \bibrato (note t\fat any related 
\bolume c\fanges will remain). 
va

lues from 
10 to 50 are typical for \bocals (unless you’re 
going for t\fe now-infamous Auto-Tune 
vo

cal 
Effect, in w\fic\f case use 0). Larger \balues let 
t\froug\f more \bibrato and ot\fer interpretati\be 
pitc\f gestures but also slow down \fow rapidly 
pitc\f corrections are made. Alt\foug\f t\fe abo\be 
suggestions can be used as starting points, 
finding t\fe correct Retune Speed setting for 
a particular performance is largely a matter of 
trial-and-error and depends on suc\f attributes 
as song tempo, note duration and \bocal style, 
among ot\fers. As always, let your ears be your 
guide.
T\fe default Retune Speed \balue is 20. Double-
clicking or Command (Mac)/Control (PC) 
clicking t\fe Retune Speed knob will reset it to 
t\fat \balue.
Humanize
on

e tuning 
situation t\fat can 
be problematic is a 
performance t\fat 
includes bot\f \bery 
s\fort notes and 
longer sustained 
notes. T\fe 
problem is t\fat in order to get t\fe s\fort notes 
in tune, you’d \fa\be to set a fast Retune Speed, 
w\fic\f would t\fen make any sustained notes 
sound unnaturally static. Luckily, t\fe Humanize 
easily sol\bes t\fis problem.
T\fe Humanize function differentiates between 
s\fort and sustained notes and lets you apply   
						

							24
a slower Retune Speed just to t\fe sustained 
notes. T\fus, t\fe s\fort notes are in tune and t\fe 
sustained notes still allow t\fe natural \bariations 
of t\fe original performance.
Here’s \fow it works:
Start by setting Humanize to 0 and adjusting 
t\fe Retune Speed until t\fe s\fortest problem 
notes in t\fe performance are in tune. At 
t\fis point, any sustained notes may sound 
unnaturally static. If so, start ad\bancing t\fe 
Humanize control. T\fe \fig\fer t\fe Humanize 
setting, t\fe more t\fe Retune Speed is slowed 
for sustained notes. T\fe goal is to find t\fe 
point w\fere t\fe sustained notes are also in 
tune and just enoug\f of t\fe natural \bariation 
in t\fe performance is present in t\fe sustained 
notes to sound natural and realistic. (If you set 
Humanize too \fig\f, any problem sustained 
notes may not be fully corrected.)
T\fis is one of t\fose settings w\fere you 
\fa\be to let your ears be your guide. T\fe 
optimum Humanize setting for any particular 
performance will depend on t\fe performance 
style, t\fe ot\fer Automatic Mode settings and 
t\fe specific effect you desire.
T\fe default Humanize setting is 0. Double-
clicking or Command (Mac)/Control (PC) 
clicking t\fe Humanize knob will reset it to t\fat 
\balue.Natural 
Vibrato
T\fe Natural 
vi

brato 
function 
allows 
real-time 
modification 
(eit\fer 
increase or decrease) of t\fe dept\f of any 
\bibrato present in t\fe input audio w\file 
preser\bing t\fe original s\fape and c\faracter of 
t\fe \bibrato.
T\fis function uses t\fe same Stoc\fastic 
op

timal 
Linear Estimation T\feory as t\fe Targeting 
Ignores 
vi

brato function (described below) to 
differentiate between \bibrato and intended 
pitc\f c\fanges, adjusting t\fe \bibrato dept\f w\file 
lea\bing intended pitc\f c\fanges intact. T\fe Natural vi
brato function acts independently 
of t\fe pitc\f correction functions. of  particular 
note is t\fe fact t\fat setting a scale note or 
notes to Bypass still allows \bibrato adjustment 
for t\fose notes. So, if you want to adjust a 
performance’s \bibrato w\file making no ot\fer 
pitc\f c\fanges, you can simply set all scale 
notes to Bypass and still use t\fe Natural 
vi

brato 
function to adjust \bibrato dept\f.
NOTE: This \function acts only on 
vibrato present in the original 
per\formance. I\f the original 
per\formance does not contain vibrato, this 
control will have no audible e\f\fect.
ANOTHER NOTE: Natural Vibrato 
adjustments \function independently 
o\f the Create Vibrato \functions 
described below. However, since both 
\functions can operate simultaneously, they can 
interact in ways that may or may not be use\ful, 
depending on your intent. In most cases, you 
should probably use one or the other.
T\fe default Natural 
vi

brato setting is 0. Double-
clicking or Command (Mac)/Control (PC) 
clicking t\fe Natural 
vi

brato knob will reset it to 
t\fat \balue.
Targeting Ignores 
Vibrato
Target note identification 
is t\fe process by w\fic\f 
Auto-Tune decides 
w\fic\f note is t\fe note 
t\fe performer intended 
to sing or play, so t\fat it may re-tune any pitc\f 
errors closer to t\fat note. Normally, t\fe target 
note is t\fe nearest acti\be scale note to t\fe 
current input pitc\f.
T\fe Targeting Ignores 
vi

brato feature is 
designed to \felp wit\f target note identification 
w\fen t\fe performance includes \bibrato so 
wide t\fat it approac\fes adjacent scale notes. 
T\fe most common symptom of t\fis problem 
is a pronounced “warbling” as t\fe input is 
alternately tuned to eac\f of t\fe upper and 
lower adjacent notes.
W\fen t\fis function is ”
on

,“ Auto-Tune E\bo 
uses t\fe impressi\bely named Stoc\fastic 
op

timal Linear Estimation T\feory to attempt