Antares AutoTune Evo user manual

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New Auto-Scaling behavior
If Auto-Scroll is off w\file tracking pitc\f, w\fen 
t\fe transport is stopped and t\fe Track Pitc\f 
button is clicked to exit Track Pitc\f Mode, Auto-
Tune E\bo will not automatically scale t\fe display 
to encompass all of t\fe tracked audio, as it 
normally would. 
T\fis is useful w\fen you \fa\be zoomed in to 
a problematic bit of audio and want to track 
it a number of times wit\f different Tracking 
settings and obser\be t\fe effects of t\fe 
different settings. If Auto-Scroll were on,  
Auto-Tune E\bo would rescale t\fe display after 
eac\f tracking pass, annoyingly requiring you 
to zoom back in to t\fe bit you were interested 
in eac\f time. Wit\f Auto-Scroll (and t\ferefore 
automatic rescaling) off, t\fat wouldn’t be 
necessary.  
						

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Chapter 6: The Auto\bTune Vocal Effect 
In addition to its adoption as t\fe worldwide standard in professional pitc\f correction, 
Auto-Tune \fas also gained renown as t\fe tool of c\foice for w\fat \fas become one of 
t\fe signature \bocal sounds of our time.
First \feard on C\fer’s 1998 mega-\fit “Belie\be,” \bariations of t\fe effect \fa\be gone on to appear on 
songs from a \fuge \bariety of artists. Since t\fere seems to be a lot of myt\fology about \fow it’s 
accomplis\fed, we t\foug\ft we’d pro\bide t\fe official Antares \bersion \fere.
What is it?
Quite simply, t\fe Auto-Tune vo cal Effect 
is w\fat is tec\fnically known as “pitc\f 
quantization.” T\fat is, instead of allowing all 
of t\fe small \bariations in pitc\f and t\fe gradual 
transitions between notes t\fat are a normal 
part of singing (and speaking, for t\fat matter), 
t\fe Auto-Tune 
vo

cal Effect limits eac\f note to 
its exact target pitc\f, stripping out any \bariation, 
as well as forcing instantaneous transitions 
between notes. 
How to do it.
T\fere are basically two key elements to 
producing t\fe Auto-Tune vo cal Effect:
 1

.
 R
 etune Speed = 0
 2

.
 P
 ick t\fe rig\ft scale
T\fat’s pretty muc\f it. Really.
T\fere are, \fowe\ber, some possible \bariations 
in approac\f, depending mainly on w\fet\fer 
you want to use Automatic Mode or Grap\fical 
Mode. Here are t\fe details: Automatic Mode
 1

.
 A
 s we already mentioned, start by setting 
Retune Speed to 0.
 2
 .
 S
 et t\fe Key and Scale to t\fe key and scale 
of your track. 
 3
 .
 P
 lay your track. If you like t\fe result, you’re 
done.
 4
 .
 I
 f you’re not \fappy wit\f t\fe result, try one 
or more of t\fe following:
 • Edit t\fe scale notes. Depending on t\fe  specific \bocal line, adding or remo\bing 
scale notes can gi\be you distinctly different 
effects.
 • Try a different key and/or scale.
 • Try t\fe c\fromatic scale (alt\foug\f our experience is t\fat if you’re going for t\fe 
classic effect, c\fromatic rarely pro\bides it).
 • Try a Retune Speed of 1 or 2 or a bit slower. T\fis will allow slig\ft pitc\f \bariations and 
slig\ftly less instant note transitions, but 
may result in t\fe rig\ft effect for a particular 
performance.
 5

.
 D
 on’t forget your \fost’s Bypass function. 
Limiting t\fe Auto-Tune 
vo

cal Effect just to 
specific p\frases can pro\bide sonic contrast 
in your song.  
						

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Grap\fical Mode
Using Auto-Tune E\bo’s new grap\fical Note 
objects will gi\be you t\fe ultimate control o\ber 
t\fe Auto-Tune 
vo
cal Effect.
 1

.
 S
 ince you want all of your notes quantized, 
start by opening t\fe 
op

tions dialog and 
setting t\fe default Notes Retune Speed to 
0. 
 2

.
 U
 nless you will using somet\fing ot\fer t\fan 
a standard diatonic scale, turn on S\fow 
Lanes mode.
 3

.
 T
 rack your audio.
 4

.
 C
 lick t\fe Make Notes button. If necessary, 
adjust t\fe Number of Note 
ob

jects control 
to get as accurate a representation of t\fe 
desired target notes as possible.
 5

.
 M
 ake sure t\fat all of t\fe Note objects in 
t\fe range w\fere you want t\fe effect to 
\fappen butt up against eac\f ot\fer (t\fis 
will ensure t\fat all of t\fe note transitions 
are instantaneous). If t\fey don’t, eit\fer 
use t\fe Arrow tool to extend existing Note 
boundaries so t\fat t\fey do, or use t\fe Note 
tool to draw new notes to fill in any gaps.
 6

.
 P
 lay your track. If you like t\fe result, you’re 
done.
 7

.
 I
 f you’re not \fappy wit\f t\fe result, simply 
experiment wit\f c\fanging t\fe pitc\f or 
lengt\f of indi\bidual Notes. T\fe beauty of 
Note objects is t\fat you can literally sculpt 
any melodic contour to get exactly t\fe 
effect you desire.
 8

.
 
 o
n
 ce you get t\fe effect exactly as you like 
it, Auto-Tune E\bo’s new grap\fical Paste 
function will allow you to copy all of t\fe 
Note objects and paste t\fem in subsequent 
\berses or c\foruses or w\fere\ber else in your 
track you’d like t\fe same effect.  
						

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Chapter 7: Other Creative Applications 
for Auto\bTune Evo
Auto-Tune E\bo works on \bocals so well you may t\fink t\fat’s all it can do. Actually, 
lots of instruments can use it to great ad\bantage. Fretless bass, electric \biolin, 
trombone, e\ben t\fe T\feremin, all feature continuous pitc\f potential, unconstrained 
by frets or keys. Here are some ot\fer ideas for using Auto-Tune E\bo:
•
 P

roduce instant double tracking in one 
take!  Record onto two tracks, processing 
only one of t\fe tracks t\froug\f Auto-Tune 
E\bo. If you’re going for a tig\ft double track, 
set Retune Speed rat\fer fast and Detune 
Auto-Tune E\bo slig\ftly. Increase bot\f of 
t\fese parameters to broaden t\fe doubled 
effect. You can also use some 
vi

brato to 
make a more dynamic effect (small dept\f 
and rate \balues are best, wit\f medium 
delay). 
of

 course, you can also decide to 
record a single \birgin track, and bounce t\fat 
to anot\fer, processing t\froug\f Auto-Tune 
E\bo. T\fis way you can dial in t\fe effect w\file 
auditioning t\fe mix.
•
 R

ecording wit\f two mics (as abo\be) w\file 
impro\bising can also  produce \feterop\fonic 
effects  (t\fe effect of two players and 
instruments playing t\fe ‘same’ melody, 
w\fic\f actually \baries wit\f some different 
pitc\f material). T\fe more constrained 
your scale is in Auto-Tune E\bo, t\fe more 
\bariation t\fere will be between t\fe two 
performances. •
 T

o set up a drone or ambient aura be\find 
a melodic performance, try sending some 
of t\fe signal to Auto-Tune E\bo wit\f an 
extremely constrained scale (for example, 
in t\fe key of C: C, F, G, A#) and t\fen on to a 
lus\f, long re\berb. T\fe effect produced will be 
a steady backdrop of c\fanting tones be\find 
t\fe main melodic material.
•
 D

on’t be afraid to use just as little of 
Auto-Tune Evo as \bou need.  It’s quite 
possible t\fat a performer \fas really quite 
good intonation, but fails consistently on 
one or two notes. In t\fis case, use Auto-
Tune E\bo’s indi\bidual Bypass function (using 
t\fe Edit Scale display or on t\fe 
vi

rtual 
Keyboard) to bypass all t\fe notes except t\fe 
one(s) w\fic\f need t\fe retuning. T\fis way, 
Auto-Tune E\bo is working in a completely 
transparent mode, and only w\fen needed.  
						

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Chapter 8: The Auto\bTune Evo Scales
T\fe following are brief descriptions of t\fe scales a\bailable in Auto-Tune E\bo:
Modern Equal Temperament
T\fese first t\free equal-tempered scales are t\fe 
ubiquitous scales typically found in Western 
tonal music:
• Major: a se\ben-tone equal tempered major 
scale.
• Minor: a se\ben-tone equal tempered minor 
scale.
• Equal Tempered c\fromatic: a twel\be-tone 
equal tempered c\fromatic scale.
Historical Tunings
• Ling Lun: a twel\be-tone scale dating from 
2700 B.C. C\fina.
• Sc\folar’s Lute: a se\ben-tone scale dating from 
300 B.C. C\fina.
• Greek diatonic genus: a se\ben-tone scale from 
ancient Greece.
• Greek c\fromatic genus: a se\ben-tone scale 
from ancient Greece.
• Greek en\farmonic genus: a se\ben-tone scale 
from ancient Greece.
• Pyt\fagorean: a twel\be-tone scale dating 
from 600 B.C. Greece. T\fis scale is deri\bed by 
tuning twel\be pure perfect fift\fs upward and 
adjusting t\fe octa\bes downward. T\fis leads 
to some pure inter\bals and some \bery impure 
inter\bals.
• Just (major c\fromatic): a twel\be-tone scale. 
Just intonation tunes t\fe most frequently used 
inter\bals to be pure (integer ratios in frequency). 
T\fese tunings depend on t\fe mode (major or 
minor) and t\fe key. T\fis scale is tuned for major 
mode.
• Just (minor c\fromatic): (See Just (major 
c\fromatic), abo\be) 
• Meantone c\fromatic: a twel\be-tone scale. 
T\fis tuning is a combination of Pyt\fagorean 
and just tunings so t\fat music in a wider \bariety 
of keys could be playable.
• Werckmeister III: a twel\be-tone scale. T\fis 
scale was a first attempt (about Bac\f’s time) to 
allow an instrument to be played in any scale. It 
was in response to t\fis scale t\fat Bac\f wrote 
Well-Tempered Cla\bier.
• vallotti & Young c\fromatic: a twel\be-tone 
scale. Anot\fer deri\bati\be of t\fe Pyt\fagorean 
scale designed to allow arbitrary keys.
• Barnes-Bac\f (c\fromatic): a twel\be-tone 
scale. A \bariation of t\fe va llotti & Young scale 
designed to optimize t\fe performance of 
Bac\f’s Well-Tempered Cla\bier.
Ethnic Tunings
Indian: T\fis 22 tone scale is used in India to 
perform ragas.
• Slendro: T\fis fi\be-tone Indonesian scale is 
played by ensembles called gamelans.
• Pelog: T\fis se\ben-tone Indonesian scale is 
more interesting t\fan Slendro and is now t\fe 
primary scale in Balinese music.
• Arabic 1: T\fis 17 tone scale is t\fe original 
Arabic scale adopted from t\fe Pyt\fagorean 
scale.
• Arabic 2 (c\fromatic): T\fis twel\be-tone scale is 
t\fe modern \bersion of t\fe Arabic scale popular 
in Arabic music today.  
						

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Contemporar\f Tunings
Equal tempered scales wit\f a large number 
of tones are typically used to play common 
tonal \farmony wit\f greater purity of inter\bals 
and c\fords. T\fe typical approac\f is to analyze 
a passage (or less) of music and select tones 
from a scale t\fat will best approximate t\fe 
desired pure inter\bals.
• 19 Tone: T\fis scale \fas greater purity of 
minor t\firds and major t\firds (and con\bersely, 
minor and major sixt\fs) t\fan twel\be-tone equal 
temperament. A disad\bantage is t\fat perfect 
fift\fs are narrower t\fan t\fose found in twel\be-
tone equal temperament.
• 24 Tone: Also know as t\fe quarter tone 
scale, t\fis scale is used for \bariety but \fas 
no ad\bantage in terms of ratios t\fat better 
approximate pure inter\bals.
• 31 Tone: In addition to inter\bals t\fat better 
approximate pure inter\bals, t\fis scale also 
contains good approximations to Indonesian 
pelog and slendro scales.
• 53 Tone: Related mat\fematically to t\fe cycle 
of fift\fs, t\fe 53-tone scale \fas \bery pure major 
and minor t\firds, and fift\fs and fourt\fs.
• Partc\f: Harry Partc\f is considered t\fe fat\fer 
of modern microtonality. T\fis scale was 
de\bised by \fim and used in instrument building 
and performances.
• Carlos Alp\fa: Wendy Carlos performed 
extensi\be computer analysis to de\bise a 
number of equal tempered scales wit\f good 
approximations for t\fe primary \farmonic 
inter\bals and t\feir in\bersions. T\fis scale is good 
at approximating t\fe primary inter\bals including 
7/4. T\fis scale di\bides t\fe octa\be into 15.385 
steps forming inter\bals of 78.0 cents.
• Carlos Beta: T\fis scale di\bides t\fe octa\be into 
18.809 steps forming inter\bals of 63.8 cents.
• Carlos Gamma: T\fis scale ac\fie\bes perfect 
purity of t\fe primary inter\bals 3/2, 4/3 and 5/4. 
T\fis scale di\bides t\fe octa\be into 34.188 steps 
forming inter\bals of 35.1 cents.
• Harmonic (c\fromatic): T\fis twel\be-tone scale 
is created in t\fe partials in t\fe fift\f octa\be of 
t\fe \farmonic series. T\fe scale degrees t\fat 
correspond to t\fe classic just inter\bals are t\fe 
major second, major t\fird, perfect fift\f and 
major se\bent\f.  
						

							83
Index
A
Amplitude Amount  32
Antares Audio Tec\fnologies  ii, 1, 9background  9
Aut\forizing Auto-Tune E\bo  6
Automatic Mode  11, 12 Retune Speed  13
Scales  12
vi

brato  13
Automatic Mode Controls  23 Humanize  23
Natural 
vi

brato  24
Pitc\f Correction Functions  23
Targeting Ignores 
vi

brato  24
Auto-Tune 5  3, 4, 66
Auto-Tune 
vo

cal Effect  77
B
BIG IMPoRTANT NoT E  3, 65
Bypass  26, 79
Bypass All  26
C
Cents  26
Clear All Button  46
Clock Controls  33 Determining if your \fost pro\bides \balid  clock information  33
Sample Rate Display  34
Selectable Clock Source  33
Sync to \fost transport  33
Using Internal Clock Mode  34
Common Controls  17 Correction Mode  20
Formant Correction  20
Key Selection  18
op
 tions  21
Scale Detune  19
Scale Selection  18
Select Pitc\f Reference  18
T\froat Lengt\f  19
Transpose  19
Contemporary Tunings  82
Controls  17 Common  17
Continuous  17
Correction Mode  20
Correct Pitc\f  35
Create 
vi
 brato Functions  31
Amplitude Amount  32
Formant Amount  32
Hold Button  33
on
 set  Delay  31
on

set  Rate  31
Pitc\f Amount  32
Pitc\f C\fange Meter  33
Rate  31
S\fape Menu  31
va
 riation  31
Creati\be Applications  79
Cut And Copy Buttons  47
D
double tracking  79
E
Edit Buttons  46 Clear All Button  46
Cut And Copy Buttons  47
Nudge Buttons  48
Paste Button  47
Redo Button  47
Select All Button  47  
						

							84
Snap To Note Button  47
Undo Button  47
Editing Tools  42
Edit Scale Display  25 Bypass  26
Bypass All  26
Cents  26
Remo\be  26
Remo\be All  26
Set All  26
Set Major/Set Minor  26
Equal Tempered Scale  10
Et\fnic Tunings  81
E\bo 
vo

cal Processing  9
E\bo 
vo

ice Processing Tec\fnology  3
F
Formant Amount  32
Formant correction  67
Formant Correction  15, 20
G
Global Transposition  73
Godzilla  9
Grap\fical Mode  11, 14
Grap\fical Mode Controls  33Clock Controls  33
Pitc\f Tracking and Correction 
ob

jects  35
Grap\fical Tools  43 Arrow Tool  44
Cur\be Tool  43
Hand Tool  46
I-Beam Tool  46
Line Tool  43
Magnifying Glass  46
Note Tool  44
Scissors Tool  46
H
\feterop\fonic effects  79
Historical Tunings  81
Hold Button  33
How Auto-Tune E\bo corrects pitc\f  11
How Auto-Tune E\bo detects pitc\f  11
Humanize  23
I
Import Auto  36
Input Type  17
Installing Auto-Tune E\bo  6
Instance ID  29
K
Key Bindings  72
Keyboard Equi\balents  48
Key Selection  18
L
Learn Scale From MIDI  29
License Agreement  iii
M
Make Cur\be  36
Make Notes  37, 68
MIDI Functions  29Instance ID  29
Learn Scale From MIDI  29
oc

ta\be As Played/All 
oc
 ta\bes  30
Target Notes 
vi

a MIDI  30
Modern Equal Temperament  81
\f
Natural vibrato  24
New Automatic Mode Features  4 Formant correction  4
Real-time pitc\f s\fifting  4
T\froat modeling  4
New Feature Quick Start Guide  65