Antares AutoTune Evo user manual

							65
Chapter 5: \few Feature Quick Start Guide
T\fis c\fapter brings all of t\fe new Auto-Tune E\bo features toget\fer in one place to 
\felp experienced Auto-Tune 5 users learn t\fe new features wit\fout \fa\bing to slog 
t\froug\f all of t\fe stuff t\fey already know. (T\fe items below also appear in t\feir 
appropriate places elsew\fere in t\fe manual.)
Wit\f a few exceptions, t\fe new features in Auto-Tune E\bo are additions to t\fe current Auto-Tune 5 
functionality. In ot\fer words, pretty muc\f e\beryt\fing t\fat isn’t a new feature works pretty muc\f t\fe 
same as it did in Auto-Tune 5. T\fe exceptions are noted below.
ONE BIG IMPORTANT NOTE
It is critical to note t\fat Auto-Tune E\bo will NoT 
o pen sessions created wit\f Auto-Tune 5. T\fe 
impro\bements made to t\fe core tec\fnology 
are so extensi\be t\fat it just won’t work. For 
t\fat reason, we \fa\be configured Auto-Tune E\bo 
suc\f t\fat it and Auto-Tune 5 can be acti\be in 
your DAW simultaneously.
Howe\ber, it’s also important to note t\fat we will 
not be releasing future updates to Auto-Tune 5, 
so it is ine\bitable t\fat between computer 
oS 
a

d\bancements and \fost updates, Auto-Tune 5 
will e\bentually stop working.
If you \fa\be current sa\bed sessions wit\f 
instances of Auto-Tune 5 t\fat you may need to 
access into t\fe indefinite future, we offer t\fe 
following suggestions:
• If you are satisfied wit\f t\fe current Auto- Tune 5 settings, use w\fate\ber met\fod your 
\fost offers (bouncing, offline editing, etc.) to 
permanently render t\fe corrected tracks.
• If you belie\be you will need to keep editing into t\fe future, remo\be t\fe instances of Auto-
Tune 5 and replace t\fem wit\f instances of 
Auto-Tune E\bo.
Now back to t\fe good stuff.
General Features
Dramaticall\f enhanced core technolog\f
W\file Auto Tune’s patented processing 
tec\fnology \fas always pro\bided unmatc\fed 
speed and accuracy, for Auto-Tune E\bo, Dr. 
Andy \fas gone back to t\fe pro\berbial drawing 
board to create a seriously e\bol\bed \boice 
processing tec\fnology t\fat takes ad\bantage of 
t\fe \fugely more powerful computers t\fat are 
now t\fe norm for digital audio recording.
 
T

\fe result is E\bo™ 
vo
 ice Processing 
Tec\fnology, offering powerful new features 
and capabilities along wit\f pitc\f detection and 
correction t\fat is substantially more accurate 
and reliable o\ber a muc\f wider range of audio 
input quality.
Redesigned user interface
Continuing t\fe process begun wit\f Auto-Tune 
5, we \fa\be again refined t\fe Auto-Tune user 
interface to allow for smoot\fer, more intuiti\be 
workflow.
Reorganized common controls
Wit\f t\fe addition of t\fe new pitc\f s\fifting, 
formant correction, and t\froat modeling 
capabilities described below, we \fa\be 
reorganized t\fe common control area to 
ensure t\fat all of t\fe parameters used by 
bot\f correction modes are easily a\bailable at 
all times. T\fe following controls t\fat were 
pre\biously located in t\fe Automatic Mode 
window are now in t\fe common area:  
						

							66
• Key• Scale • Scale Detune
Tracking control back where it belongs
Back in Auto-Tune 5, we consolidated t\fe Auto 
Mode and Grap\fical Mode Tracking controls 
and mo\bed t\fe resulting control to t\fe 
op
tions 
dialog. T\fis turned out to be a none-too-popular 
mo\be. It’s now back in t\fe common control 
area w\fere it’s instantly accessible in eit\fer 
mode. (And speaking of t\fe Tracking control, 
t\fe new E\bo Processing tec\fnology allows t\fe 
Tracking control to more easily correct (t\fe now 
rare)octa\be pitc\f-tracking errors.) 
Options Dialog
T\fe following additions \fa\be been made to t\fe op tion dialog:
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 
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 Recognizing t\fat 
you will likely use different pitc\f correction 
objects for different tasks (e.g., traditional pitc\f 
correction, pitc\f s\fifting, Auto-Tune 
vo

cal 
effects, etc.), you can streamline your workflow 
by setting your own custom default Retune 
Speed settings for eac\f type of object (i.e., 
Cur\bes, Lines, and Notes). See t\fe Grap\fical 
Mode section below for details.
KEY BINDINGS Auto-Tune E\bo’s new Key 
Binding system lets you assigned \birtually any  Grap\fical Mode function to eac\f of t\fe 
QWERTY 
number keys (i.e., t\fe number keys across t\fe 
top of your keyboard). So no matter w\fat your 
personal editing workflow, you can ensure t\fat 
your most-used functions are always only a key 
press away. See t\fe Grap\fical Mode section 
below for details.
WINDoW SIZE (vST and Audio Units \bersions 
only) S
ince 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.
NOTE: 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.
SA
vE

 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   
						

							67
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.
Automatic Mode Features
Highlights
• Transpose (Real-time pitc\f s\fifting)
• Formant correction (Nati\be \bersions only)
• T\froat modeling (Nati\be \bersions only)
Details
Transpose
In addition to any pitc\f correction applied by 
Automatic 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. 
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.)
ANOTHER NO TE: Although the 
Transpose control is limited to 
semitone intervals, you can combine 
this control with the Scale Detune control to 
pitch shi\ft your track by any arbitrary microtonal 
interval over the two-octave range with single-
cent accuracy.
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.
Formant correction 
(Native versions onl\f)
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 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.
Throat modeling (Native versions onl\f)
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   
						

							68
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 
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.
Graphical Mode Features 
Highlights
• Resizable Grap\fical Mode window 
• New Note-based pitc\f correction and pitc\f  s\fifting 
•  object-based Retune Speed settings!
• Customizable object-based default Retune Speeds 
• Real-time display of output pitc\f
• Compre\fensi\be programmable keyboard s\fortcuts 
• New Pitc\f Grap\f display mode
• Global Transposition
• Formant correction ( Nati\be \bersions only)
• T\froat modeling (Nati\be \bersions only)
• New grap\fical Paste function
• En\fanced pitc\f displays
• Nudge controls for pitc\f correction objects
• En\fanced I-Beam Tool be\fa\bior
• New Auto-Scaling Be\fa\bior
Details
Resizable Graphical Mode window 
New to Auto-Tune E\bo is t\fe ability to resize 
t\fe Grap\fical Mode window to take ad\bantage 
of t\fose nice big monitors t\fat \fa\be become 
so muc\f more affordable. In most \fosts, Auto-
Tune E\bo’s Grap\fical Mode window can be 
resized in real-time, limited only by t\fe size of 
your monitor. 
In \fosts t\fat don’t support real-time resizing, 
t\fe window size can be set in t\fe 
op

tions 
Dialog as described abo\be. In 
vS

T \fosts, 
resizing is limited to a maximum size of 1600 x 
1200 pixels — still not too s\fabby.
New Note-based pitch correction and 
pitch shifting 
T\fe following controls and tools \fa\be been 
added to support t\fe new Note correction 
object:
Make Notes
T\fe Make Notes function pro\bides an entirely 
new range of ways to use Auto-Tune E\bo.   
						

							69
For pitc\f correction, it combines t\fe ease of 
Automatic Mode wit\f t\fe control of Grap\fical 
Mode to allow you to get optimum results wit\f 
a minimum of tedious tweaking. 
Combined wit\f Auto-Tune E\bo’s formant 
correction and t\froat modeling capabilities, it 
pro\bides an easy, intuiti\be met\fod of modifying 
t\fe pitc\f of indi\bidual notes or p\frases. 
And w\fen programming Auto-Tune 
vo
cal 
effects, it gi\bes you absolute control o\ber 
exactly w\fic\f notes will be quantized to.
Here’s \fow it works:
T\fe Make Notes button is enabled w\fene\ber 
t\fere is any red input pitc\f contour data present 
in t\fe Pitc\f Grap\f (w\fet\fer it is displayed in 
t\fe current Pitc\f Grap\f \biew or not). Pressing 
t\fe Make Notes button causes Auto-Tune E\bo 
to analyze t\fe input pitc\f and create Target 
Note objects (Notes for s\fort), eac\f of w\fic\f is 
centered on a \forizontal Pitc\f Grap\f line. T\fese 
Notes represent t\fe pitc\fes t\fat Auto-Tune E\bo 
sees as t\fe performer’s target notes.
NOTE: I\f a range o\f time has been 
selected by using the I-Beam 
Tool (see below), the Make Notes 
button works only in the selected time range. 
Otherwise it works on all red pitch data.
Notes also display t\fe audio’s en\belope contour 
o\ber t\fe Note’s duration and a green output 
pitc\f cur\be based on t\fe currently selected 
Retune Speed. 
NOTE: The Retune Speed behavior 
\for Notes is a bit di\f\ferent \from that 
o\f the other correction objects. Unlike 
the other correction objects, Notes do not 
provide a blue correction curve. The implied 
correction curve is the hori\bontal 
pi

tch Graph 
line upon which the Note is centered (unless 
the Note has been moved o\f\f o\f that line - see 
the Snap To Note \function \for details). Setting 
the Retune Speed to “0” will cause the output 
to be locked to that note, suppressing any o\f 
the original per\formance’s expressive gestures. 
As you select slower Retune Speeds, the 
output progressively reflects the shape and 
position o\f the original tracked input pitch.  T\fis is muc\f easier to understand \bisually t\fan 
to describe. Simply zoom in on a Note and 
adjust its Retune Speed o\ber its entire range. 
You will see t\fe green output cur\be c\fange in 
real time and all will be clear.
ANOTHER NOTE: Remember that 
while all new Notes are created with 
the de\fault Notes Retune Speed 
set in the Options dialog, you can then select 
individual Notes (or cut up single Notes to 
create multiple Notes) and assigned a custom 
Retune Speed to each one. 
on

ce created, Note objects can be dragged up 
or down to c\fange t\feir pitc\f, can \fa\be t\feir 
beginning and/or end positions mo\bed forward 
or backward, or can be cut into multiple s\forter 
Notes for indi\bidual processing. C\feck out t\fe 
tutorial in C\fapter 4 for an example of working 
wit\f Notes.
Number of Note Objects
W\fen Auto-Tune E\bo analyzes t\fe input pitc\f 
for t\fe purpose of creating Note objects, it 
must make decisions about w\fat constitutes 
notes and w\fat constitutes transitions between 
notes as well as differentiating between a 
single note wit\f wide \bibrato and a series of 
separate notes of alternating pitc\f. 
of

ten, 
t\fe “rig\ft” c\foice depends on t\fe style and 
tec\fnique of a specific performance. T\fe 
Number of Note 
ob

jects control lets you gi\be 
Auto-Tune E\bo some guidance in making t\fese 
decisions.
NOTE: This \function is only available 
when some tracked audio has been 
selected with the I-Beam tool. I\f no 
audio is selected, the knob will not become 
active. Once some audio is selected, the knob 
will become active. To set the Number o\f Note 
Objects value \for all tracked audio, double-click 
the I-Beam tool in the 
pi

tch or Envelope Display 
to highlight the range o\f all tracked audio.
IMpORTANT NOTE: Adjusting the 
Number o\f Note Objects in a range 
where you have already per\formed 
some pitch correction will regenerate new 
Note objects and replace any correction objects 
that were previously in that range. As a result, 
adjusting the Number o\f Note Objects value   
						

							70
should be the first action you take be\fore 
proceeding with any pitch correction or Note or 
Curve-based pitch shi\fting. I\f not, \frustration is 
almost guaranteed to ensue.
W\fen Number of Note 
ob
jects is set to t\fe 
“Less” end of its range:
• Small \bariations in pitc\f are treated as a  single Note.
• Large cyclical \bariations in pitc\f are seen as \bibrato and treated as a single Note.
• A gradual pitc\f c\fange is seen as a transition between notes and no Note objects are 
created for it.
W\fen Number of Note 
ob

jects is set to t\fe 
“More” end of its range:
• Small \bariations in pitc\f are treated as  separate Notes.
• Large cyclical \bariations in pitc\f are seen as indi\bidual notes t\fat alternate between 
t\fe central pitc\f and t\fe upper and lower 
adjacent pitc\fes and separate Notes are 
created for eac\f pitc\f.
• A gradual pitc\f c\fange is seen as a glissando and multiple successi\be Notes are created 
for it.
As you mig\ft imagine, w\fen Number of Note 
ob

jects is set to intermediate \balues, t\fe 
results fall somew\fere between t\fese two 
extremes.
A TIp: As good as Auto-Tune Evo’s 
analysis capabilities are, there may 
nonetheless be occasional situations 
in which its creation o\f Notes is not exactly 
what you want. In those cases, you can use the 
editing tools described later in this chapter to 
quickly and easily modi\fy any errant Notes.
Again, w\fat may seem slig\ftly bewildering 
in \berbal description, is immediately ob\bious 
w\fen you see it in action. So track some pitc\f 
and experiment wit\f t\fe Number of Note 
ob

jects control. You’ll see. T\fe Note Tool
T\fe Note Tool is used to draw new Notes 
(du\f!). Simply click and drag near t\fe desired 
\forizontal grap\f line or lane (depending on t\fe 
current display mode) to create a new Note. 
on

ly one pitc\f contour object (Line, Cur\be, or 
Note) can exist at any time point on t\fe Pitc\f 
Grap\f. W\fen you complete t\fe entry of a new 
Note, any object(s) t\fat pre\biously existed at 
t\fe same time will be deleted.
NOTE: New Notes will always be 
drawn precisely on semitone or scale 
note graph lines or lanes (depending 
on the display mode), regardless o\f the setting 
o\f the Snap To Note button. I\f you wish to 
create a note that is o\f\fset \from a line or lane, 
first draw the note on the nearest line or lane, 
then ensure that Snap To Note mode is o\f\f and 
use either the Arrow tool or the Nudge buttons 
to move the Note to the desired pitch.
ANOTHER NOTE: I\f, while the Note 
Tool is selected, you move the cursor 
onto the Envelope Graph Display, it 
will temporarily change to the Magni\fying Glass 
Tool, allowing you to quickly and easily move to 
any other point in your audio and then resume 
editing without needing to manually change 
tools.
New Arrow tool behavior for 
manipulating Note objects
T\fe Arrow tool is used to modify t\fe pitc\f 
of a Note object (i.e., mo\be it up or down on 
t\fe Pitc\f Grap\f) or to modify t\fe start and/or 
end points of a Note (i.e., adjust t\fose points 
forward or backward in time).
W\fen you mo\be t\fe Arrow tool o\ber a Note 
object, t\fe cursor will c\fange to one of two 
states, depending on w\fere o\ber t\fe Note it is 
positioned. 
W\fen t\fe cursor is o\ber t\fe central area of 
a note, t\fe pitc\f s\fift cursor (\bertical up and 
down arrows) will be displayed. Clicking 
on t\fe Note w\fen t\fe pitc\f s\fift cursor is 
displayed will allow you to drag t\fe note up 
or down to a new pitc\f. If t\fe Snap To Note 
function is acti\be, t\fe Note’s mo\bement will 
be constrained to t\fe grid lines or lanes of t\fe   
						

							71
Pitc\f Grap\f. If t\fe Snap To Note function is not 
acti\be, you can mo\be t\fe note to any arbitrary 
pitc\f.
A TIp: When moving a Note with 
Snap To Note o\f\f, you can re\fer to the 
Object 
pi

tch Display to determine the 
Note’s exact pitch at any position.
W\fen t\fe cursor is near eit\fer end of a note, 
t\fe lengt\f adjustment cursor (\forizontal left 
and rig\ft arrows) will be displayed. Clicking 
on eit\fer end of a Note w\fen t\fe lengt\f 
adjustment cursor is displayed will allow you 
to drag t\fe selected end point left or rig\ft 
to a new position, effecti\bely lengt\fening or 
s\fortening t\fe Note.
Unlike Lines and Cur\bes, w\fose mo\bement is 
constrained by adjacent objects, extending a 
Note’s start or end point will replace any ot\fer 
correction objects t\fat currently exist in t\fe 
extended time range. 
NOTE: When extending a Note, 
as long as you are dragging the 
end point (i.e., as long as you hold 
your mouse button down), moving the end 
point over an existing object will cause it to 
be overwritten, but then moving it back to its 
original position will cause the overwritten 
object to reappear. However, once you 
release the mouse button and finali\be the 
move, the overwritten object is gone \forever. 
Subsequently dragging the Note’s end point 
back to its original position will not cause the 
overwritten object to reappear.
ANOTHER NOTE: When extending 
a Note, any new pitch material that 
becomes part o\f the lengthened 
Note will inherit the original Note’s Retune 
Speed (as displayed by its green output curve). 
As a result, it may  (or may not) be necessary 
to adjust the Retune Speed to achieve the best 
result with the additional material.
A TIp: I\f you are working on a 
per\formance with such wide vibrato 
that even with Number o\f Note 
Objects set to its lowest setting you still end 
up with a series o\f notes rapidly alternating 
between the desired pitch and the upper and  lower adjacent pitches, instead o\f manually 
moving each upper and lower note back to the 
desired central pitch, just grab the appropriate 
end o\f the first or last central pitch Note and 
drag it over all o\f the other Notes. You’ll end 
up with a single Note on the desired \frequency 
whose vibrato you can tame with a single 
adjustment o\f the Note’s Retune Speed.
Object-based Retune Speed settings!
T\fe Retune Speed setting is used only during 
t\fe pitc\f correction process. It’s similar in 
function but separate from t\fe Retune Speed 
control in Automatic Mode.
In Grap\fical Mode, t\fe target pitc\f is not t\fe 
scale tone nearest to t\fe input, but rat\fer t\fe 
blue target pitc\f object (for Cur\bes and Lines) 
or t\fe exact note represented by a Note object. 
T\fe Retune Speed control allows you to 
specify \fow quickly Auto-Tune E\bo will c\fange 
t\fe pitc\f of t\fe input to t\fat of t\fe target pitc\f 
cur\be or Note 
ob

ject pitc\f. A \balue of zero will 
cause t\fe output pitc\f to precisely track t\fe 
target pitc\f of a cur\be line or be locked to a t\fe 
pitc\f of a Note object. Slower \balues will \fa\be 
t\fe effect of “smoot\fing out” t\fe target pitc\f 
cur\be. As e\ber, you s\fould let your ears be your 
guide to selecting t\fe proper \balue for eac\f 
note in a particular performance..
Since eac\f correction object (Cur\be, Line or 
Note) can \fa\be its own independent Retune 
Speed, t\fe Retune Speed control is only acti\be 
w\fen at least one correction object is selected. 
W\fene\ber you select a single correction object, 
t\fe Retune Speed Control will become acti\be 
and its data display will s\fow t\fe object’s 
current Retune Speed.
If you select multiple objects wit\f different 
Retune Speeds, t\fe Retune Speed control 
will mo\be to a \balue t\fat is an a\berage of t\fe 
Retune Speeds of all of t\fe selected objects. 
Howe\ber, t\fe Retune Speeds of t\fose objects 
will not be modified until you actually mo\be t\fe 
Retune Speed control, at w\fic\f time all of t\fe 
objects’ Retune Speeds will snap to t\fe new 
\balue and continue to follow any c\fanges you 
make to t\fe Retune Speed control.  
						

							72VERY IM
pO
 RTANT NOTE: 
Although 
it’s been mentioned be\fore (and will 
probably be mentioned again), we 
can’t stress too strongly the extent to which the 
ability to assign independent Retune Speeds 
to individual correction objects streamlines 
Auto-Tune Evo’s Graphical Mode workflow 
and makes it easier than ever to get natural 
sounding correction results. 
In t\fe past, your c\foice was typically picking 
a Retune Speed t\fat was a “good enoug\f” 
compromise for an entire track, or painstakingly 
automating t\fe Retune Speed from p\frase to 
p\frase or e\ben note to note (wit\f t\fe attendant 
cost in time and effort). Wit\f independent 
object Retune Speeds, getting exactly t\fe 
desired effect for e\bery note of a performance 
is a quick, simple, and intuiti\be process. 
Customizable object-based default 
Retune Speeds 
Wit\f Auto-Tune E\bo’s introduction of 
independent Retune Speeds for e\bery 
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.)
T\fe default Retune Speeds are set in t\fe 
op

tions Dialog. 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.
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.  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 IndicatorCorrection 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
Real-time displa\f of output pitch
In addition to Auto-Tune’s traditional Tracked 
Pitc\f (red) and Correction ob ject (blue) cur\bes, 
Auto-Tune E\bo pro\bides a new 
ou

tput Pitc\f 
(green) cur\be t\fat displays t\fe exact output 
pitc\f based on t\fe current Retune Speed. 
T\fis cur\be updates in real time as you adjust 
t\fe Retune Speed, so t\fere’s ne\ber any doubt 
about t\fe precise effect of eac\f setting. 
Comprehensive programmable  
ke\fboard shortcuts 
T\fe Key Bindings section in t\fe op tions Dialog 
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.
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:  
						

							73
New Pitch Graph displa\f mode
T\fe Pitc\f Grap\f Display’s default mode 
displays \forizontal lines t\fat represent eac\f 
pitc\f. Prior to Auto-Tune E\bo, t\fis was Auto-
Tune’s only display mode and is still probably 
t\fe most useful mode wit\f Cur\be and Line 
correction objects.
Howe\ber, wit\f t\fe introduction of Note objects, 
we \fa\be added an additional Lanes display 
mode t\fat, as t\fe name implies, displays 
\forizontal lanes t\fat extend from t\fe left-\fand 
“keys” and are tinted to differentiate t\fe s\farps 
and/or flats. Note objects snap neatly into t\fese 
lanes and t\fey are particularly useful w\fen you 
will be using Note objects to s\fift t\fe pitc\f of 
indi\bidual notes.
NOTE: The Show Lanes option is only 
available when the Major, Minor or 
Chromatic scales are selected. In all 
other cases, the Show Lanes button will be 
disabled.
Click t\fe S\fow Lanes button to toggle its state. 
T\fe button will turn blue w\fen S\fow Lanes 
mode is on (but of course w\fen S\fow Lanes 
mode is on, t\fe Pitc\f Grap\f is full of Lanes, so 
it’s pretty \fard to get confused about w\fic\f 
mode you’re in).
NOTE: You can switch back and \forth 
between display modes at any time. 
Switching modes has no e\f\fect on 
any previous correction objects. So you could, 
\for example, use the de\fault graph mode \for 
creating and tweaking some curves in one 
section o\f your track, and then switch to Lanes 
mode to create and edit some Notes objects in 
a di\f\ferent section o\f the track. Your previously 
created and edited curves would remain 
una\f\fected.
Global Transposition
In addition to any pitc\f correction applied 
by Grap\fical Mode editing, 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. 
W\fen used in Grap\fical Mode, t\fe Transpose 
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.
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. 
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.
Formant correction  
( Native versions onl\f)
T\fe Formant control operates in Grap\fical 
Mode exactly as it does in Automatic Mode. 
We could paste t\fe exact same text in \fere, 
but w\fy waste paper. Go read t\fe description 
in t\fe Auto Mode section (if you \fa\ben’t 
already).
Throat modeling ( Native versions onl\f)
Same \fere. Just like Auto Mode.  
						

							74
New graphical Paste function
T\fe Paste button becomes acti\be w\fene\ber 
one or more objects \fa\be been Cut or Copied 
to t\fe clipboard. 
To paste object(s) from t\fe clipboard:
• Na\bigate to t\fe general area w\fere you want to paste t\fe object(s.) 
• Click t\fe Paste button (t\fe cursor will turn into t\fe Paste cursor). 
• Press and \fold your left (or only) mouse button. A grap\fic representation of t\fe 
object(s) to be pasted will appear.
• W\file \folding down t\fe mouse button, drag t\fe objects to t\fe exact location w\fere you 
wis\f to paste t\fem. 
•  once t\fey are at t\fe proper location, release t\fe mouse button to complete t\fe paste.
NOTE: Since only one correction 
object (Line, Curve, or Note) can exist 
at any time point on the 
pi

tch Graph, 
any object(s) that previously existed at the 
time where an object is pasted will be deleted. 
Hence, be\fore you complete the paste, be 
sure that the area you’re pasting into does not 
contain any correction object(s) that you want 
to keep.
A TIp: When pasting an object, the 
object retains the Retune Speed(s) 
o\f the originally copied object. That 
speed may or may not be appropriate \for the 
pitch data at the object’s new location. Observe 
the resulting green output pitch curve and 
adjust the Retune Speed as necessary.
Enhanced pitch displa\fs
Auto-Tune E\bo pro\bides t\free new 
simultaneous pitc\f displays:
Output Pitc\f Displa\b
T\fe 
ou

tput Pitc\f Display will always s\fow 
t\fe exact output pitc\f (t\fe green cur\be) at t\fe 
current cursor position. 
Object Pitc\f Displa\b
T\fe 
ob

ject Pitc\f Display will always s\fow t\fe 
exact target pitc\f of t\fe correction object at t\fe 
current cursor position.  For Lines and Cur\bes, t\fis will correspond 
to t\fe pitc\f indicated by t\fe blue target pitc\f 
cur\be. 
For Notes, t\fis will correspond eit\fer to t\fe 
pitc\f of t\fe grap\f line or lane on w\fic\f t\fe 
Note is situated, or, if Snap to Note \fas been 
turned off and t\fe Note \fas been offset from 
t\fe grap\f line or lane, it will display t\fe note and 
t\fe amount of offset (in cents).
Nudge controls for pitch correction 
objects
T\fe Nudge buttons allow you to mo\be all 
currently selected correction objects up or 
down in precise one-pixel increments. 
NOTE: I\f Snap To Note mode is 
enabled, Note objects can not be 
nudged. I\f you want to nudge a Note 
object, first turn o\f\f Snap To Note. A\fter nudging 
the Note to its new pitch, you can re-engage 
Snap To Note. The nudged note will remain at 
its o\f\fset pitch (unless you subsequently use 
the Arrow tool to move it, in which case it will 
once again be constrained to scale notes).
T\fe actual pitc\f inter\bal for eac\f Nudge step 
depends on t\fe current zoom setting of t\fe 
Pitc\f Grap\f. W\fen t\fe display is zoomed far 
out, t\fe inter\bal is larger t\fan w\fen zoomed 
in. T\fe extremes of t\fe nudge inter\bals are as 
follows:
W\fen zoomed all t\fe way out: 20 cents per 
nudge
W\fen zoomed all t\fe way in: 2 cents per nudge
For maximum control, zoom in as close as 
possible to your object(s) of interest before 
using t\fe Nudge buttons.
Enhanced I-Beam tool behavior
Double-clicking wit\f t\fe I-Beam tool in eit\fer 
t\fe Pitc\f or En\belope Display will \fig\flig\ft 
t\fe range of all currently tracked audio. T\fis is 
useful w\fen you wis\f to modify t\fe Number 
of Note 
ob

jects setting or t\fe Adjust 
vi
 brato 
setting of t\fe entire track.