Antares AutoTune user manual
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Auto-Tune UserÕs Manual31 Lesson 5: Using the Make Curve Button 5. Press the Zoom/Select tool and drag out a box on the pitch view that encloses the red curve for the Ò-getherÓ part of the last word, Òto-getherÓ. You will see the following: 6. Use the zoom/select tool and drag out a selection of Ò-getherÓ in the Envelope Graph. You will see the following: 7. Press the Make Curve button. Auto-Tune will compute a new curve object from the existing pitch data. The new curve may be difÞcult to see at Þrst because it will exactly overlay the red curve. 8. Both ends of the new curve will be selected. Use the pointer tool and click on the white space of the Pitch Graph. That will cause no points to be selected.
Auto-Tune Tutorial 32Auto-Tune UserÕs Manual 9. Use the Pointer tool again and click precisely on the left end of the curve. Drag this straight up, stretching the curve so it falls along the D3 tone. 10.Grab the curve by clicking on it and drag it straight down so it falls on the C3 line.The Pitch Graph should now appear: 11.Set the Retune slider to 0, press Correct Pitch and play back the sound. I canÕt say much for her voice in this segment, but at least this one note is a little better in tune. An alternative approach is given next:
Auto-Tune UserÕs Manual33 Lesson 5: Using the Make Curve Button 1. Use the line tool to draw a horizontal tine as shown below. 2. Set the Retune slider to 20, press Correct Pitch and play back the sound. Vibratos and other pitch gestures occur with related loudness gestures. Spe- ciÞcally, with vibratos, some vocalists produce mostly pitch variations and little loudness variations while others produce small pitch variations and a lot of loudness variations. (Some have called the latter a Tremolo.) Nonethe- less, almost all voices seem to produce a combination of both pitch and related loudness variations. Therefore, trying to take an existing vibrato and change it (say speed it up) sometimes sounds unnatural because the new pitch variation does not correspond to the old loudness variation. These considerations are also important when correcting pitch. It isnÕt always best to draw in a different pitch gesture at the desired pitch even though that gesture may have worked well elsewhere. The following techniques usually work well in this regard: ¥The Þrst technique uses the Make Curve button to create a curve of the existing pitch and drag that curve up or down, or stretch it by dragging one end vertically. The Retune slider can then be set very fast (0 to 5). This will force a precise re-tuning, but it will sound very natural since the target pitch curve will follow the original loudness gestures of the voice.
Auto-Tune Tutorial 34Auto-Tune UserÕs Manual ¥The second technique is to draw a ßat line segment across the duration of a tone at the desired pitch and then use the Retune slider set in the range 20 to 40. This has the effect of gently moving the pitch downwards the desired pitch. The slower values of 20 to 40 will let through a vibrato but still draw the overall pitch closer to being in tune. The average pitch will eventually settle to the given line and the pitch gestures will occur both sharper and ßatter than that line. The settling time is about twice the Retune slider time. 20 to 40 will let through about one-half of a typi- cal vibrato. Slower settings will let through more vibrato but will cause the new pitch to be reached more slowly. Lesson 6: Using the Make Auto Button The make auto button allows you to create pitch corrections that occur in the Automatic Mode. 1. Select ÒCrowd AllÓ . 2. In the Mixing board Window, assign Auto-Tune as a new insert to the desired track. 3. Press the Graphical Mode button. 4. Press the Track Pitch button. 5. Play the ÒCrowd AllÓ Þle.
Auto-Tune UserÕs Manual35 Lesson 6: Using the Make Auto Button 6. Press the Zoom/Select tool and drag out a box on the pitch view that encloses the red curve for the Òcrowd all rushedÓ words. You will see the following: 7. Use the zoom/select tool and drag out a selection in the Envelope Graph, as shown:
Auto-Tune Tutorial 36Auto-Tune UserÕs Manual 8. Press the Make Auto button. Auto-Tune will compute a new curve object from the existing pitch data: Assuming this entire phrase is at the pitch E3, then there are several prob- lem spots, indicated above, where the pitch is being incorrectly adjusted towards neighboring tones. 9. To hear the processed sound that would produced in Automatic Mode, set the Graphical Mode Retune Slider to 0, (fast), press Correct Pitch and play back the sound.. 10.Switch to the Automatic Mode and press the Edit Scale button. Press the mouse when the cursor is under the ÒremoveÓ column so that the ÒchkÓ symbol appears next to the tones C, D and F. 11.Switch to the Graphical Mode and use the zoom/select tool to drag out a selection in the Envelope Graph, as in Step 8. 12.Press the Make Auto button. Auto-Tune will compute a new curve object from the existing pitch data: Note how the pitch deviations from Step 9 have been removed. Also, note the Òraised pitchÓ indicated above. This occurs because the Automatic Mode Retune slider value of 20 is slow compared to the rapidly increasing pitch that is occurring at that point in time. Even with the raised pitch, the average output pitch is centered on E3. pitch drawn to neighboring tone
Auto-Tune UserÕs Manual37 More Information and Usage Tips More Information and Usage Tips The decision to use the Graphical Mode instead of the Automatic Mode is taken when the Automatic Mode doesnt achieve the desired result. This is most often the case when pitch errors cross the boundary from one tone to another and you dont want to mess with continually adding and removing tones from the scale. In Graphical Mode, correcting pitch involves listening to a short passage and making several attempts at a correction. The time-of-day limitation forces you to always start playback at the same point. Hence, Auto-Tune is best used like an editor: Fix a spot, bounce it to another track with process- ing applied, and move on. The Auto-Tune settings, including all the scale edit data, the input sound pitch, input sound envelope and target pitch data are saved with the project settings. Finally, expect some strange results. I have one example where the singer relaxes at the end of a phrase. The pitch drops a minor third, which is easily corrected by a short, ßat line segment and a small Retune value. But, in addition to the pitch dropping, the tone quality of the voice also softens. Getting the pitch right still leaves this strange sound... raised pitch
Auto-Tune UserÕs Manual39 CHAPTER 4Auto-Tune Controls ÒJust the facts, MaÕamÓ - Bill Gannon, Dragnet This chapter is reference text for all of the controls used in the Auto-Tune interface. This chapter simply describes the function of each control. How these controls are used together for intonation correction is described in Chapter 3, Auto-Tune Tutorial. Much of the information in this chapter is also presented in Chapter 3. However, some of the less important controls are only explained here. Automatic Mode Controls The Scale popup The Scale popup selects the scale that is used. The Þrst three scales are equal tempered. These are the ubiquitous scales currently found in Western tonal music. The other scales are historical, ethnic, and microtonal scales. An in- depth discussion of these scales and their history is beyond the scope of this manual. The interested reader will Þnd more information in ÒTuning In - Microtonality In Electronic MusicÓ by Scott R. Wilkinson, published by Hal Leonard Books. The following is a brief synopsis of the scales: Modern equal temperament: ¥major: a seven-tone equal tempered major scale. ¥minor: a seven-tone equal tempered minor scale. ¥Equal Tempered chrom.: a twelve-tone equal tempered chromatic scale.
Auto-Tune Controls 40Auto-Tune UserÕs Manual Historical tunings: ¥Ling Lun: a twelve-tone scale dating from 2700 B.C. China. ¥Scholars Lute: a seven-tone scale dating from 300 B.C. China. ¥Greek diatonic genus: a seven-tone scale from ancient Greece. ¥Greek chromatic genus: a seven-tone scale from ancient Greece. ¥Greek enharmonic genus: a seven-tone scale from ancient Greece. ¥Pythagorean: a twelve-tone scale dating from 600 B.C. Greece. This scale is derived by tuning twelve pure perfect Þfths upward and adjusting the octaves downward. This leads to some pure intervals and some very impure intervals. ¥Just (major chromatic): a twelve-tone scale. Just intonation tunes the most frequently used intervals to be pure (integer ratios in frequency). These tunings depend on the mode (major or minor) and the key. This scale is tuned for major mode. ¥Just (minor chromatic): (See Just (major chromatic), above) ¥Meantone chrom.: a twelve-tone scale. This tuning is a combination of Pythagorean and just tunings so that music in a wider variety of keys could be usable. ¥Werckmeister III chrom.: a twelve-tone scale. This scale was a Þrst attempt (about BachÕs time) to allow an instrument to played in any scale. It was in response to this scale that Bach wrote Well-Tempered Cla- vier. ¥Vallotti & Young chrom.: a twelve-tone scale. Another derivative of the Pythagorean scale designed to allow arbitrary keys. ¥Barnes-Bach (chromatic): a twelve-tone scale. A variation of the Vallotti & Young scale designed to optimize the performance of BachÕs Well-Tem- pered Clavier. Ethnic Tunings: ¥Indian: This 22 tone scale is used in India to perform ragas. ¥Slendro: This Þve-tone Indonesian scale is played by ensembles called gamelans.