Antares AutoTune Live user manual

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Now do t\fe following: 
 1.  In t\fe  edit Scale Display, click t\fe Remo\be buttons next to t\fe notes B, D, 
F# and G#. 
  2.  Play “A2-A3-A2 sweep” again. 
You will now \fear an arpeggiated A Major triad because you \fa\be remo\bed 
all t\fe ot\fer notes from t\fe scale. 
To continue: 
  1.  In t\fe  edit Scale Display, click t\fe Bypass button next to  e. 
  2.  Play “A2-A3-A2 sweep” again. 
You will now \fear t\fe effect of not correcting t\fe  e. During t\fe time t\fat 
Auto-Tune Li\be would normally be tuning t\fe input to  e, Auto-Tune Li\be 
instead enters bypass mode and passes t\fe input t\froug\f uncorrected. 
To continue: 
  1.  Set t\fe Retune Speed to about 30. 
  2.  Play “A2-A3-A2 sweep” again. Compare t\fe 30 setting to t\fe 0 setting. 
  3.  Try \barious ot\fer Speed settings. 
    T\fe setting of 0 is fast: Auto-Tune Li\be makes instantaneous pitc\f 
c\fanges. T\fe setting of 30 is slower. Auto-Tune Li\be makes gradual pitc\f 
c\fanges. T\fis parameter controls \fow rapidly t\fe pitc\f correction is 
applied to t\fe incoming pitc\f. 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 related \bolume c\fanges will 
remain). Retune \balues from 10 to 50 are typical for \bocals. 
To continue: 
  1.  Set t\fe Retune Speed to 0 
  2.  In t\fe  edit Scale Display, click t\fe Remo\be buttons next to all t\fe notes 
except F#. 
  3.  Play “A2-A3-A2 sweep” again. As t\fe sound is playing, mo\be Scale 
Detune knob. 
T\fe output pitc\f will be locked to F#, \fowe\ber, you will \fear t\fe output 
pitc\f c\fange wit\f t\fe Detune slider mo\bement. T\fis is because t\fe Detune 
knob is c\fanging t\fe pitc\f standard of t\fe scale. 
Finally: 
  1.  Select “sine wa\be” from t\fe  vibrato Type pop-up. 
  2.  Play “A2-A3-A2 sweep” again. 
  3.   e xperiment wit\f t\fe \barious \bibrato controls to \fear t\feir effects.  
						

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T\ftorial 2: 
Targeting Ignores Vibrato F\fnction
T\fis tutorial will demonstrate t\fe purpose and use of Auto-Tune Li\be’s 
Targeting Ignores vibrato function. 
Begin t\fe tutorial by doing t\fe following: 
  1.  Load or import “wide_\bibrato” into a track of your \fost program. T\fis is 
a recording of a male \boice singing a sustained “G” wit\f a pronounced 
\bibrato. Play t\fe track so t\fat you are familiar wit\f t\fe original audio. 
Despite t\fe wide \bibrato, you will notice t\fat t\fe singer’s pitc\f drifts 
alternately s\farp and flat. 
  2.  Set up Auto-Tune Li\be to be an insert effect on t\fat track. 
  3.  Set t\fe Key to “C” and t\fe Scale to “C\fromatic.” 
  4.  Set t\fe Input Type to Low Male  voice 
  5.  Set Retune Speed to a \balue of 24. 
  6.  Use your \fost program’s controls to Bypass Auto-Tune Li\be. Set 
“wide_\bibrato” to loop continuously and put your \fost program into 
Play mode. Watc\f t\fe blue Detected Pitc\f indication on Auto-Tune Li\be’s 
v irtual Keyboard. As you will see, t\fe singer’s \bibrato is so wide t\fat 
it consistently gets closer to G# and F# t\fan G, causing Auto-Tune to 
intermittently select t\fose notes as target pitc\fes. 
  7.  C\feck t\fat Targeting Ignores  vibrato is not selected and remo\be Auto-
Tune Li\be from Bypass. Watc\f t\fe Detected Pitc\f indication and listen 
to t\fe result. As you will \fear, w\fene\ber Auto-Tune Li\be t\finks G# or F# 
is t\fe target pitc\f, it will mo\be t\fe input closer to t\fose notes, in effect 
making t\fe situation worse. 
  8.   Now, lea\bing all ot\fer settings t\fe same, click Targeting Ignores  vibrato. 
Wit\f Targeting Ignores  vibrato engaged, Auto-Tune Li\be’s \bibrato 
identification algorit\fm recognizes t\fe pitc\f excursions as \bibrato and 
continues to use “G” as t\fe target pitc\f.  
						

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T\ftorial 3:  
Nat\fral Vibrato F\fnction
T\fis tutorial will demonstrate t\fe use of t\fe Natural vibrato function using 
t\fe same audio file we used in t\fe pre\bious tutorial. 
Begin t\fe tutorial by doing t\fe following: 
  1.  Load or import “wide_\bibrato” into a track of your \fost program. T\fis is 
a recording of a male \boice singing a sustained “G” wit\f a pronounced 
\bibrato. Play t\fe track so t\fat you are familiar wit\f t\fe original audio. 
  2.  Set up Auto-Tune Li\be to be an insert effect on t\fat track. 
  3.  Set t\fe Key to “C” and t\fe Scale to “C\fromatic.” 
  4.  Set t\fe Input Type to Low Male  voice 
  5.  Set Retune Speed to a \balue of 24. 
  6.  Set “wide_\bibrato” to loop continuously and put your \fost program into 
Play mode. 
  7.  Set Natural  vibrato to 12 and note t\fe effect on t\fe \bibrato. Set Natural 
v ibrato to -12 and note t\fe effect on t\fe \bibrato. 
  8.  Set all Scale notes to Bypass to disable any pitc\f correction. Again, adjust 
Natural  vibrato as in Step 7 and note t\fat its effect is still acti\be.  
						

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I
Chapter 5: The Auto-Tune 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.
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  vocal  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  vocal  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  vocal 
e ffect:
  1.  Retune Speed = 0
  2.  Pick t\fe rig\ft scale
T\fat’s pretty muc\f it. Really.
T\fere are, \fowe\ber, some possible \bariations in approac\f. Here are t\fe 
details:
  1.  As we already mentioned, start by setting Retune Speed to 0.
  2.  Set t\fe Key and Scale to t\fe key and scale of your track. 
  3.  Play your track. If you like t\fe result, you’re done.
  4.  If you’re not \fappy wit\f t\fe result, try one or more of t\fe following:
  •  e dit 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. 
						

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 5.  Don’t forget your \fost’s Bypass function. Limiting t\fe Auto-Tune  vocal 
e ffect just to specific p\frases can pro\bide sonic contrast in your song. 
						

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T
Chapter 6: The Auto-Tune Live Scales
T\fe following are brief descriptions of t\fe scales a\bailable in   
Auto-Tune Li\be:
MOD\bRN \bQUAL T\bMP\bRAM\bNT
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.
\bq\fal Tempered chromatic:  A twel\be-tone equal tempered 
c\fromatic scale.
HISTORICAL TUNINGS
Ling L\fn:  A twel\be-tone scale dating from 2Li\be00 B.C. C\fina.
Scholar’s L\fte:  A se\ben-tone scale dating from 300 B.C. C\fina.
Greek diatonic gen\fs:  A se\ben-tone scale from ancient Greece.
Greek chromatic gen\fs:  A se\ben-tone scale from ancient Greece.
Greek enharmonic gen\fs:  A se\ben-tone scale from ancient Greece.
Pythagorean:  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.
J\fst (major chromatic):  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.
J\fst (minor chromatic):  (See Just (major c\fromatic), abo\be) 
Meantone chromatic:  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. 
						

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Vallotti & Yo\fng chromatic: A twel\be-tone scale. Anot\fer deri\bati\be of t\fe 
Pyt\fagorean scale designed to allow arbitrary keys.
Barnes-Bach (chromatic):  A twel\be-tone scale. A \bariation of t\fe  vallotti 
& Young scale designed to optimize t\fe performance of Bac\f’s Well-
Tempered Cla\bier.
\bTHNIC 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 (chromatic):  T\fis twel\be-tone scale is t\fe modern \bersion of 
t\fe Arabic scale popular in Arabic music today.
CONT\bMPORARY TUNINGS
e qual 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.
Partch:  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. 
						

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Carlos Alpha: 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 Li\be/4. T\fis scale di\bides t\fe 
octa\be into 15.385 steps forming inter\bals of Li\be8.0 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 (chromatic):  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. 
						

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Index
A
Amplitude Amount  \c38
Antares Audio Tec\fnologies  2
Auto-Tune vocal effect  44
B
Bypass  25, 29
W\fy set Scale notes\c to “Bypass?”  29
Bypass All  31
C
Cents  30
Continuous Controls  18
Controls Bypass  25
Continuous Controls  18
edit Scale Display  \c28
Formant Correction  22
Input Type  19
Key Selection  20
options  23
Pitc\f Correction Functions  25
Sample Rate Displa\cy  33
Scale Detune  21
Scale Selection  20\c
Select Pitc\f Reference  20
Targeting Ignores vibrato  27
T\froat Lengt\f  21
Tracking  19
virtual Keyboard  31
copyrig\ft  3 Create vibrato Functions  36
Amplitude Amount  \c38
Formant Amount  38
onset Delay  37
onset Rate  37
Pitc\f Amount  38
Rate  37
S\fape  36
variation  37
\b
edit Scale Display  \c28
Bypass  29
Bypass All  31
Cents  30
Remo\be  29
Remo\be All  31
Set All  31
Set Major/Set Minor  30
F
Formant Amount  38
Formant Correction  22
H
Hold Button  39
How Auto-Tune Li\be corrects pitc\f  14
How Auto-Tune Li\be detects pi\ctc\f  13
Humanize  26
I
Input Type  19
Instance ID  34
K
Keyboard e dit  32
Keyboard Mode  32
Key Selection  20
Knob Control  24 
						

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L
Latency  17
Learn Scale From MIDI  34
M
MIDI Control Assignments  24
MIDI Functions  33Instance ID  34
Learn Scale From MIDI  34
octa\be As Played/All octa\bes  36
Target Notes via MIDI  35
MIDI Input C\fannel  25
N
Natural vibrato  26
O
octa\be As Played/All octa\bes  36
onset Delay  37
onset Rate  37
options  23 Knob Control  24
MIDI Control Assignments  24
MIDI Input C\fannel  25
Sa\be as default  25\c
P
Pitc\f Amount  38
Pitc\f C\fange Amount \cIndicator  39
Pitc\f C\fange Meter  \c39Hold Button  39
Pitc\f C\fange Amount \cIndicator  39
Pitc\f Correction Basics  40
Pitc\f Correction Functions  25 Humanize  26
Natural vibrato  26
Retune Speed  25
R
Rate  37
Remo\be  29W\fy set Scale notes\c to “Remo\be?”  29
Remo\be All  31
Retune Speed  25
S
Sample Rate Displa\cy  33
Sa\be as default  25\c
Scale Detune  21
Scales  46
Scale Selection  20\c
Select Pitc\f Reference  20
serial number  6
Set All  31
Set Major/Set Minor  30
S\fape  36
T
Targeting Ignores vibrato  27
Targeting Ignores vibrato Function  42
Target Notes via MIDI  35
T\froat Lengt\f  21
Tracking  19
Tutorials  40 Natural vibrato Function  43
Pitc\f Correction Basics  40
Targeting Ignores vibrato Function   42
V
variation  37
virtual Keyboard  31 Keyboard e dit  32
Keyboard Mode  32
key colors  31