Antares Auto Tune Evo TDM Owner`s Manual

Auto-Tune reborn!

Pitch Correcting Plug-in

Owner’s Manual

©2008 Antares Audio Technologies.
All rights reserved. Certified Isinglass-free.

™

All trademarks are property of their respective owners.
www.antarestech.com
Printed in USA Rev 1.0 PN P23036-0708-M01

The Obligatory Legal Mumbo-Jumbo

The Antares Auto-Tune Evo software and
this User’s Manual are protected by copyright
law. Making copies, adaptations, or derivative
works without the prior written authorization
of Antares Audio Technologies, is prohibited by
law and constitutes a punishable violation of
the law.

Antares Audio Technologies retains all
ownership rights to the Auto-Tune Evo
software and its documentation. Use of
Auto-Tune Evo is limited by the following
license agreement.

Please carefully read all the terms and
conditions of this license agreement. At the
time of installation of the Auto-Tune Evo
software you will be presented with a copy
of the agreement and asked whether or not
you agree to it. Continuing with the installation
process beyond that point constitutes such
agreement.

Auto-Tune Evo License Agreement

Antares Audio Technologies grants you a
non-transferable, non-exclusive license to use
Auto-Tune Evo under the terms and conditions
stated in this agreement. Use of Auto-Tune
Evo indicates your agreement to the following
terms and conditions.

License

You may:

1. Use Auto-Tune Evo on only one computer
at a time.

You may not:

1. Make copies of Auto-Tune Evo or of the
user manual in whole or in part except as
expressly provided for in this agreement.
Your right to copy Auto-Tune Evo and
the user manual is limited by copyright
law. Making copies, verbal or media
translations, adaptations, derivative works,
or telecommunication data transmission
of Auto-Tune Evo without prior written
authorization of Antares, is prohibited by
law and constitutes a punishable violation
of the law.

2. Make alteration or modifications to Auto­Tune Evo (or any copy) or disassemble or
de-compile Auto-Tune Evo (or any copy),
or attempt to discover the source code of
Auto-Tune Evo.

3. Sub-license, lease, lend, rent, or grant other
rights in all or any portion of Auto-Tune Evo
(or any copy) to others.

Term of the Agreement

This agreement is effective until terminated
by you or Antares. You may terminate the
agreement at any time by notifying Antares and
destroying all copies of the manual, and erasing
Auto-Tune Evo from all machine-readable
media, whether on-line or on archival copies.

In the event of breach of any of the terms of
this agreement, you shall pay the attorney’s
fees of Antares that are reasonably necessary
to enforce the agreement plus resulting
damages.

Limited Warranty And Disclaimer

AUTO-TUNE EVO AND ACCOMPANYING
MATERIALS ARE PROVIDED “AS IS”
WITHOUT WARRANTY OF ANY KIND, EITHER
EXPRESS OR IMPLIED, INCLUDING, BUT NOT
LIMITED TO, THE IMPLIED WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A
PARTICULAR PURPOSE.

Antares Audio Technologies does not warrant
that the functions contained in the program will
meet your requirements. The entire risk as to
the use, quality, and performance of Auto-Tune
Evo is with you.

SOME JURISDICTIONS DO NOT ALLOW
LIMITATIONS ON HOW LONG AN IMPLIED
WARRANTY LASTS, SO THE ABOVE
LIMITATION MAY NOT APPLY TO YOU. THIS
WARRANT Y GIVES YOU SPECIFIC LEGAL
RIGHTS. YOU MAY ALSO HAVE OTHER RIGHTS
WHICH VARY FROM JURISDICTION TO
JURISDICTION.

Limitation of Liability

IN NO EVENT WILL ANTARES BE LIABLE
FOR ANY DAMAGES, INCLUDING LOSS OF
DATA, LOST PROFITS OR OTHER SPECIAL,
INCIDENTAL, CONSEQUENTIAL OR INDIRECT
DAMAGES ARISING FROM THE USE OF AUTO­TUNE EVO OR ACCOMPANYING MATERIALS.
THIS LIMITATION WILL APPLY EVEN IF
ANTARES OR ITS AUTHORIZED AGENT HAS
BEEN ADVISED OF THE POSSIBILITY OF SUCH
DAMAGE. YOU ACKNOWLEDGE THAT THE
LICENSE FEE REFLECTS THIS ALLOCATION OF
RISK. SOME JURISDICTIONS DO NOT ALLOW
LIMITATION OR EXCLUSION OF LIABILIT Y FOR
INCIDENTAL OR CONSEQUENTIAL DAMAGES,
SO THE ABOVE LIMITATION MAY NOT APPLY
TO YOU.

Whew! Now that that’s over, let’s get on to the
good stuff.

Contents

Chapter 1 Getting Started

What’s New in Auto-Tune Evo 3
Installing and Authorizing 6
Technical Support 7

Chapter 2 Introducing Auto-Tune Evo

Some background 9
So what exactly is Auto-Tune Evo? 9
A little bit about pitch 9
How Auto-Tune Evo detects pitch 11
How Auto-Tune Evo corrects pitch 11
Automatic Mode 12
Graphical Mode 14
Pitch Shifting and Formant Correction 15

Chapter 3 Auto-Tune Evo Controls

Common Controls 17
The Options Window 21
Automatic Mode Controls 23
Graphical Mode Controls 33
Pen Tablet Input 48

Chapter 4 Auto-Tune Evo Tutorial

Tutorial 1: Automatic Mode Basics 49
Tutorial 2: Targeting Ignores Vibrato Function 51
Tutorial 3: Natural Vibrato Function 52
Tutorial 4: MIDI Functions 53
Tutorial 5: Transpose and Formant Control 54
Tutorial 6: Graphical Mode Basics 55
Tutorial 7: Precision 57
Tutorial 8: Make Curve Function 57
Tutorial 9: Import Auto Function 59
Tutorial 10: Make Notes Function 61

vi

Chapter 5 New Features Quick Start Guide 65

Chapter 6 The Auto-Tune Vocal Effect

(The Cher/T-Pain Style Effect) 77

Chapter 7 Other Creative Applications 79

Chapter 8 The Auto-Tune Evo Scales! 91

Index 83

Welcome!

On behalf of everyone at Antares Audio Technologies, we’d like to offer both our
thanks and congratulations on your decision to purchase Auto-Tune Evo, the latest
(and indisputably greatest) generation of the worldwide standard in professional
pitch correction.

Before you proceed any farther, we’d like to strongly encourage you to register and authorize your
copy of Auto-Tune Evo. (You can skip ahead to the Authorization and Installation instructions on
page 5. We’ll wait.) Also, if you’re planning on discarding that lovely Auto-Tune Evo box, it’s probably
a good idea to write down the serial number that appears on the bottom of the box for future
reference. (The inside cover of this manual would be a good place.)

At Antares, we are committed to excellence in quality, customer service, and technological
innovation. With your purchase of Auto-Tune Evo, you have created a relationship with Antares
which we hope will be long and gratifying. Let us know what you think. You can count on us to
listen.

Again, thanks.

The Whole Antares Crew

1

2

Chapter 1: Getting Started

Auto-Tune Evo represents the most substantial advancement in power and ease of
use since Auto-Tune’s original introduction in 1997.

If you are new to Auto-Tune, we encourage you to read this manual and work
through the tutorials in Chapter 4. It’s the quickest way to become familiar with

what Auto-Tune Evo does and how it does it.

If you are upgrading from a previous version of Auto-Tune, you will find that most of what you’re
already doing will continue to work in Auto-Tune Evo, only better. However, there’s more new stuff
in Auto-Tune Evo than in any previous Auto-Tune update. To get up to speed quickly, just check out
the new feature overview below and then refer to the detailed New Feature Quick Start Guide in
Chapter 5, which will tell you everything you need to know to make use of Auto-Tune Evo’s new
capabilities.

3

ONE BIG IMPORTANT NOTE

It is critical to note that Auto-Tune Evo will NOT
open sessions created with Auto-Tune 5. The
improvements made to the core technology
are so extensive that it just won’t work. For
that reason, we have configured Auto-Tune Evo
such that it and Auto-Tune 5 can be active in
your DAW simultaneously.

However, it’s also important to note that we will
not be releasing future updates to Auto-Tune 5,
so it is inevitable that between computer OS
advancements and host updates, Auto-Tune 5
will eventually stop working.

If you have current saved sessions with
instances of Auto-Tune 5 that you may need to
access into the indefinite future, we offer the
following suggestions:

•

If you are satisfied with the current Auto-

Tune 5 settings, use whatever method your
host offers (bouncing, offline editing, etc.) to
permanently render the corrected tracks.

•

If you believe you will need to keep editing

into the future, remove the instances of Auto­Tune 5 and replace them with instances of
Auto-Tune Evo.

What’s new in Auto-Tune Evo

The following are the key new features that
have been added in Auto-Tune Evo:

General Features

• Dramatically enhanced core technology:

While Auto Tune’s patented processing
technology has always provided unmatched
speed and accuracy, for Auto-Tune Evo,
Dr. Andy has gone back to the proverbial
drawing board to create a seriously evolved
voice processing technology that takes
advantage of the hugely more powerful
computers that are now the norm for digital
audio recording.

The result is Evo™ Voice Processing

Technology, offering powerful new features
and capabilities along with pitch detection
and correction that is substantially more
accurate and reliable over a much wider
range of audio input quality.

• Redesigned user interface: Continuing the

process begun with Auto-Tune 5, we have
again refined the Auto-Tune user interface to
allow for smoother, more intuitive workflow.

• Reorganized common controls: With the

addition of the new pitch shifting, formant
correction, and throat modeling capabilities
described below, we have reorganized the

4

common control area to ensure that all of
the parameters used by both Automatic
and Graphical correction modes are easily
available at all times.

• Tracking control back where it belongs:

Back in Auto-Tune 5, we consolidated the
Auto Mode and Graphical Mode Tracking
controls and moved the resulting control to
the Options dialog. This turned out to be a
none-too-popular move. It’s now back in the
common control area where it’s instantly
accessible in either mode. (And speaking of
the Tracking control, the new Evo Processing
technology allows the Tracking control to
more easily correct (the now rare) octave
pitch-tracking errors.)

Automatic Mode Features

• Real-time pitch shifting: Auto-Tune Evo’s
new Transpose control provides extremely
high-quality real-time pitch shifting over a
two-octave range (+/- one octave in semi­tone increments).

• Formant correction (Native versions
only): While Auto-Tune’s classic pitch

adjustment technology still provides the
optimum results for the very small intervals
typical of conventional pitch correction, for
larger intervals or outright pitch-shifting,
engaging Auto-Tune Evo’s Formant
Correction function preserves vocal character
over a much wider pitch-shift range.

• Throat modeling (Native versions only):
Utilizing the latest incarnation of Antares’
unique throat modeling technology, the new
Throat Length control actually allows you to
modify vocal character by passing it through
a variable-length physical model of the
human vocal tract.

(Throat modeling is only available when

Formant Correction is engaged.)

Graphical Mode Features

• Resizable Graphical Mode window: In
most hosts, Auto-Tune Evo’s Graphical Mode
window can be resized in real-time, limited
only by the size of your monitor. (In hosts that
don’t support real-time resizing, the window
size can be set in the Options dialog. In VST
hosts, resizing is limited to a maximum size
of 1600 x 1200 pixels — still not too shabby.)

• New Note-based pitch correction
and pitch shifting: In addition to Lines and

Curves, Auto-Tune Evo introduces an entirely
new method of pitch editing: Note Objects.
Clicking the Make Notes button will cause
Auto-Tune Evo to analyze the tracked audio
and create graphic representations of the
target notes (which can be fine-tuned with
the Number of Note Objects control). These
objects can then easily be edited, shifted
in pitch, and individually pitch corrected or
retuned. New Note Objects can be drawn
with the new Notes Tool, and the transitions
between Notes can easily be customized
with the Curve Tool.

Like Auto-Tune Evo’s other editing

techniques, Note Objects can be employed
in selected parts of your track and intermixed
with the other techniques. You are always
free to select whichever method (Notes,
Curves or Lines) is most effective for each
particular editing task.

• Object-based Retune Speed settings! In
one of Auto-Tune Evo’s initially less obvious,
but functionally most powerful changes,
Retune Speed is now an independent
property of each individual correction object
(Curve, Line or Note).

Since each object can have its own Retune

Speed setting, you will no longer need to
automate Retune Speed to get the optimum
rate for each note of a performance.
(Because of this, the Retune Speed knob is
only active when one or more objects are
selected.)

5

• Customizable object-based default
Retune Speeds: Since you will typically use

different pitch correction objects for different
tasks (e.g., traditional pitch correction, pitch
shifting, T-Pain-style effects, etc.), you can
streamline your workflow by setting your
own custom default Retune Speeds for each
type of object (i.e., Curves, Lines, and Notes)
in the Options dialog.

• Real-time display of output pitch: In
addition to Auto-Tune’s traditional Tracked
Pitch, Line and Curve plots, Auto-Tune Evo
provides a new Output Pitch curve that
displays the exact output pitch based on the
current Retune Speed. This curve updates
in real time as you adjust the Retune Speed,
so there’s never any doubt about the precise
effect of each setting.

• Comprehensive programmable keyboard
shortcuts: Auto-Tune Evo’s new Key

Binding system (located in the Options
dialog) lets you assign virtually any Graphical
Mode function to each of the QWERTY
number keys (i.e., the number keys across
the top of your keyboard). So no matter what
your personal editing workflow, you can
ensure that your most-used functions are
always only a key press away.

• New Pitch Graph display mode: Clicking
the Show Lanes button will switch the Pitch
display to the new “Lanes” display mode.
This is particularly useful when using Note
Objects for pitch correction or pitch-shifting
individual notes.

• Global Transposition: As with Auto Mode,
Auto-Tune Evo’s Transpose control provides
extremely high-quality pitch shifting over a
four-octave range (+/- one octave in semi­tone increments).

Although you can also accomplish overall

transposition in Graphical Mode by selecting
all the correction objects in your track and
manually moving them up or down, in most
cases, using the Transpose function will
provide superior results.

Note that this control does not affect the

Pitch Graph Display. It provides overall
transposition on top of any pitch shifting
accomplished with the graphical editing
tools.

• Formant correction (Native versions
only): Again, as described above for Auto

Mode, Auto-Tune Evo’s Formant Correction
function helps to preserve vocal character
when a voice is shifted up or down more
than a semitone or two.

• Throat modeling (Native versions only):
And yes, it’s just as described above in Auto
Mode. Perfect for subtle modification of
vocal character, or at more radical settings,
for dramatic special effects.

(Available only when Formant Correction is

engaged.)

• New graphical Paste function: The
revised Paste function displays a graphic
representation of your copied data and lets
you visually place it at the desired destination
before finalizing the Paste. (Perfect for
copying Note Object-based edits to other
parts of a track.)

• Enhanced pitch displays: Auto-Tune Evo
provides simultaneous displays of Tracked
Pitch, Correction Object Pitch, and the
resulting Output Pitch at the current cursor
location.

• Nudge controls for pitch correction
objects: To aid precise editing, the new

Nudge controls let you move selected
object(s) up or down in precise one pixel
increments. (The actual pitch increments
depend on the current zoom value of the edit
window.)

• Enhanced I-Beam Tool behavior: Double-
click with the I-Beam in the Pitch Edit or
Envelope display to instantly highlight the
entire range of tracked pitch.

6

How to use this manual

If this is your first experience of Auto-Tune,
you will find that Auto-Tune Evo has a very
friendly user-interface and is extraordinarily
easy to use. However, because Auto-Tune Evo
does things that have never been done before,
some aspects of the user-interface may not be
immediately obvious. You should at least read
either Chapter 3, Auto-Tune Evo Controls, or
Chapter 4, Auto-Tune Evo Tutorial, to learn the
essential information you will need to operate
Auto-Tune Evo.

And as we mentioned above, if you are
upgrading from Auto-Tune 5, go straight to
Chapter 5, the New Feature Quick Start Guide,
to learn everything you need to know (about
Auto-Tune’s new features, anyway).

The contents of this manual

Chapter 1: Getting Started

The chapter you are reading.

Chapter 2: Introducing Auto-Tune Evo

This chapter presents some basic facts about
pitch and how Auto-Tune Evo functions to
correct pitch errors. The basic functionality of
Auto-Tune Evo is discussed, and information
you need in order to use it effectively is
provided.

Chapter 3: Auto-Tune Evo Controls

This chapter is reference information for all
of the controls used in the Auto-Tune Evo
interface.

Chapter 4: Auto-Tune Evo Tutorial

This chapter introduces you to details of how
Auto-Tune Evo works by guiding you through
several tutorials. The tutorials will give you
insight into how and when to use each of Auto­Tune Evo’s key functions.

Chapter 5: New Feature Quick Start Guide

This chapter contains detailed information
about each of Auto-Tune Evo’s new features.
All of this information is also included in Chapter
3, but is presented here to allow experienced

Auto-Tune 5 users to quickly come up to speed
on the enhancements and new capabilities in
Auto-Tune Evo.

Chapter 6: The Auto-Tune Vocal Effect (i.e.,
the Cher/T-Pain style effect)

What it is. How to do it.

Chapter 7: Other Creative Applications for
Auto-Tune Evo

Some cool, but not-so-obvious stuff you can do
with Auto-Tune Evo.

Chapter 8: The Auto-Tune Evo Scales

Brief descriptions of the various scales available
in Auto-Tune Evo.

Installing Auto-Tune Evo

Any unique instructions for installing Auto-Tune
Evo for your specific host or plug-in format
are located in the Auto-Tune Evo Read Me file
that accompanies the plug-in. This file may
also contain any last-minute Auto-Tune Evo
information that didn’t make it into this manual.

Auto-Tune Evo is designed to work with a wide
variety of digital audio applications. Please refer
to your host application’s user manual for more
information on installing and using plug-ins.

Authorizing Auto-Tune Evo

Authorization is the process by which Auto­Tune Evo is allowed to permanently run on your
computer. Detailed instructions covering the
available authorization options will be found
in the file “Authorization Read Me” which is
included on the installation DVD ROM or with
your software download.

NOTE: When initially installed, this

software will run for ten days without
authorization.

So even if you can‘t authorize it right away you
can still use your software in the meantime.
(During this period, click the “Continue”
button whenever you are presented with
the Trial Period screen at launch.) But don’t
procrastinate too long. After those ten days are
up you will no longer be able to launch Auto­Tune Evo until it’s authorized.

Technical Support

In the unlikely event that you experience a
problem using Auto-Tune Evo, try the following:

1. Make sure you have the latest version of
the plug-in. You can download and install
the latest version of Auto-Tune Evo from
the following web page:

http://www.antarestech.com/download/

update.shtml

2. If you are having problems authorizing
your software, be sure that you have the
latest version of the PACE Interlok drivers.
You can download and install the latest
version for your operating system from the
following web page:

http://portal.knowledgebase.net/article.

asp?article=174703&p=5764

If your problem is not resolved after taking the
above actions, try the following:

1. Make another quick scan through this
manual. Who knows? You may have
stumbled onto some feature that you didn’t
notice the first time through.

2. Consult our searchable knowledgebase at:

http://www.antarestech.com/support/

index.html

3. Check our web page for tips, techniques, or
any late-breaking information:

http://www.antarestech.com

4. Ask that guy down the street. (You know.
The one who lives in his mom’s basement
and spends his days playing World of
Warcraft™. He’ll know.)

7

8

Chapter 2: Introducing Auto-Tune Evo

Some background

In 1997, Antares Audio Technologies first introduced the ground-breaking Auto-Tune

Pitch Correcting Plug-In. Auto-Tune was a tool that actually corrected the pitch of
vocals and other solo instruments, in real time, without distortion or artifacts, while preserving all of
the expressive nuance of the original performance. Recording Magazine called Auto-Tune the “holy
grail of recording.” And went on to say, “Bottom line, Auto-Tune is amazing… Everyone with a Mac
should have this program.” (In fact, we know of quite a few people back then who bought kilo-buck
Pro Tools™ systems just to be able to run Auto-Tune.)

In the intervening years, Auto-Tune has established itself as the worldwide standard in professional
pitch correction. Today, it’s used daily by tens of thousands of audio professionals to save studio
and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime
performance, or to create signature vocal effects for artists like Cher, Madonna, T-Pain, and many,
many others.

9

Auto-Tune is, in fact, the world’s largest-selling
audio plug-in.

Now, over a decade later, recognizing the
enormous increase in the power of the
computers we all use for audio recording,
we’ve evolved Auto-Tune to the next level of
performance. With Evo™ Vocal Processing
Technology’s dramatically enhanced pitch
detection and correction performance, a
plethora of new capabilities and productivity
features, and a refined interface designed for
functionality and ease-of use, Auto-Tune Evo is,
indeed, Auto-Tune reborn.

So what exactly is Auto-Tune Evo?

Auto-Tune Evo is a precision tool for correcting
intonation errors or creatively modifying
the intonation of a performance. Auto-Tune
Evo employs state-of-the-art digital signal
processing algorithms (many, interestingly
enough, drawn from the geophysical industry)
to continuously detect the pitch of a periodic
input signal (typically a solo voice or instrument)
and instantly and seamlessly change it to a
desired pitch (defined by any of a number of
user-programmable scales, MIDI input, or
through the use of graphical editing tools).

To take maximum advantage of the power
of Auto-Tune Evo, you should have a basic
understanding of pitch and how Auto-Tune Evo
functions to correct pitch errors. This chapter
presents basic terminology and introduces
Auto-Tune Evo’s operating paradigm, giving you
the background you need to use it effectively.

A little bit about pitch

Pitch is traditionally associated with our
perception of the “highness” or “lowness”
of a particular sound. Our perception of pitch
ranges from the very general (the high pitch of
hissing steam, the low pitch of the rumble of
Godzilla’s enormous footsteps as he stomps
his way through Tokyo) to the very specific (the
exact pitch of a solo singer or violinist). There
is, of course, a wide range of variation in the
middle. A symphony orchestra playing a scale
in unison, for example, results in an extremely
complex waveform, yet you are still able to
easily sense the pitch.

The vocalists and the solo instruments that
Auto-Tune Evo is designed to process have a
very clearly defined quality of pitch. The sound
generating mechanism of these sources is a
vibrating element (vocal chords, a string, an air

10

column, etc.). The sound that is thus generated
can be graphically represented as a waveform
(a graph of the sound’s pressure over time)
that is periodic. This means that each cycle
of waveform repeats itself fairly exactly, as in
the periodic waveform shown in the diagram
below:

Because of its periodic nature, this sound’s
pitch can be easily identified and processed by
Auto-Tune Evo.

Other sounds are more complex. This
waveform:

is of a violin section playing a single note in
unison. Our ears still sense a specific pitch,
but the waveform does not repeat itself. This
waveform is a summation of a number of
individually periodic violins. The summation is
non-periodic because the individual violins are
slightly out of tune with respect to one another.
Because of this lack of periodicity, Auto-Tune
Evo would not be able to process this sound.

tone Equal Tempered Scale that is used (or
rather approximated) in 99.9% of all Western
tonal music consists of tones that are, by
definition, 100 cents apart. This interval of 100
cents is called a semitone.

The twelve equally-spaced tones of the Equal
Tempered Scale happen to contain a number
of intervals that approximate integer ratios
in pitch. The following table shows these
approximations:

INTERVAL CENTS NEARBY RATIO IN
RATIO CENTS

minor second 100 16/15 111.75

major second 200 9/8 203.91

minor third 300 6/5 315.64

major third 400 5/4 386.31

perfect fourth 500 4/3 498.04

tritone 600

perfect fifth 700 3/2 701.65

minor sixth 800 8/5 813.69

major sixth 900 5/3 884.36

minor seventh 1000 16/9 996.09

major seventh 1100 15/8 1088.27

octave 1200 2 1200.00

Some pitch terminology

The pitch of a periodic waveform is defined
as the number of times the periodic element
repeats in one second. This is measured in
Hertz (abbreviated Hz.). For example, the
pitch of A3 (the A above middle C on a piano)
is traditionally 440Hz (although that standard
varies by a few Hz. in various parts of the
world).

Pitches are often described relative to one
another as intervals, or ratios of frequency. For
example, two pitches are said to be one octave
apart if their frequencies differ by a factor of
two. Pitch ratios are measured in units called
cents. There are 1200 cents per octave. For
example, two tones that are 2400 cents apart
are two octaves apart. The traditional twelve-

As you can see, the intervals in the Equal
Tempered Scale are NOT equal to the
harmonious integer ratios. Rather, the Equal
Tempered Scale is a compromise. It became
widely used because once a harpsichord or
piano is tuned to that scale, any composition
in any key could be played and no one chord
would sound better or worse than that same
chord in another key.

11

How Auto-Tune Evo detects pitch

In order for Auto-Tune Evo to automatically
correct pitch, it must first detect the pitch of the
input sound. Calculating the pitch of a periodic
waveform is a straightforward process. Simply
measure the time between repetitions of the
waveform. Divide this time into one, and you
have the frequency in Hertz. Auto-Tune Evo
does exactly this: It looks for a periodically
repeating waveform and calculates the time
interval between repetitions.

The pitch detection algorithm in Auto-Tune
Evo is virtually instantaneous. It can recognize
the repetition in a periodic sound within a few
cycles. This usually occurs before the sound
has sufficient amplitude to be heard. Used in
combination with a slight processing delay, the
output pitch can be detected and corrected
without artifacts in a seamless and continuous
fashion. (Although it must be kept in mind that
some plug-in protocols introduce a certain
amount of inherent and unpredictable delay.)

Auto-Tune Evo was designed to detect and
correct pitches up to the pitch C6. (If the
input pitch is higher than C6, Auto-Tune Evo
will occasionally interpret the pitch an octave
lower. This is because it interprets a two cycle
repetition as a one cycle repetition.) On the
low end, Auto-Tune Evo will detect pitches
as low as 25Hz (when the Bass Input Type
is selected). This range of pitches allows
intonation correction to be performed on
virtually all vocals and instruments.

Of course, Auto-Tune Evo will not detect pitch
when the input waveform is not periodic.
As demonstrated above, Auto-Tune Evo will
fail to tune up even a unison violin section.
But this can also occasionally be a problem
with solo voice and solo instruments as well.
Consider, for example, an exceptionally breathy
voice, or a voice recorded in an unavoidably
noisy environment. The added signal is non­periodic, and Auto-Tune Evo will have difficulty
determining the pitch of the composite (voice
+ noise) sound. Luckily, there is a control
(the Tracking control, discussed in Chapter

3) that will let Auto-Tune Evo be a bit more
casual about what it considers “periodic.”

Experimenting with this setting will often allow
Auto-Tune Evo to track even noisy signals.

A NOTE: The above description has

been in pretty much every Auto-Tune

manual since the beginning. While it
is still definitely true in the general case, it must
be noted that Auto-Tune Evo will do a much
better job than any prior version of Auto-Tune
with borderline troublesome material.

How Auto-Tune Evo corrects pitch

Auto-Tune Evo provides two separate and
distinct ways to approach pitch correction:
Automatic Mode and Graphical Mode. The
basic functionality of each is described on the
following pages.

12

Automatic Mode

Auto-Tune Evo’s Automatic Mode works by
continuously tracking the pitch of an input
sound and comparing it to a user-defined
scale. The scale tone closest to the input
is continuously identified. If the input pitch
exactly matches the scale tone, no correction
is applied. If the input pitch varies from the
desired scale tone, an output pitch is generated
which is closer to the scale tone than the
input pitch. (The exact amount of correction is
controlled by the Retune Speed and Humanize
settings, described below and in Chapter 3.)

Scales

The heart of Automatic Mode pitch correction
is the Scale. Auto-Tune Evo lets you choose
from major, minor, chromatic or 26 historical,
ethnic and micro-tonal scales. Individual scale
notes can be bypassed, resulting in no pitch
correction when the input is near those notes.
Individual scale notes can also be removed,
allowing a wider range of pitch correction for
neighboring pitches. The scale can be detuned,
allowing pitch correction to any pitch center.

For added flexibility, you can also select the
target pitches in real time via MIDI from a MIDI
keyboard or a pre-recorded sequencer track.

13

10.0 10.5 11.0

D3

B2

ORIGINAL
PERFORMANCE

CORRECTED BY
AUTO-TUNE EVO

C#3

Retune Speed

Auto-Tune Evo also gives you control over how
rapidly, in time, the pitch adjustment is made
toward the scale tone. This is set with the
Retune Speed control (see Chapter 3 for more
details).

Fast Speed settings are appropriate for short
duration notes and for mechanical instruments,
like oboe or clarinet, whose pitch typically
changes almost instantly. A fast enough setting
will also minimize or completely remove a
vibrato, as well as produce the infamous “Cher
effect.”

Slow Speed settings, on the other hand, are
appropriate for longer notes where you want
expressive pitch gestures (like vibrato) to
come through at the output and for vocal and
instrumental styles that are typified by gradual
slides (portamento) between pitches. An
appropriately selected slow setting can leave
expressive gestures intact while moving the
average pitch to the correct tonal center.

Vibrato

Auto-Tune Evo allows real-time adjustment of
the depth of any natural vibrato present in the
input.

Auto-Tune Evo can also add a vibrato to an input
that does not naturally exhibit one. You can
program the vibrato rate along with individual
vibrato depths for pitch, amplitude (loudness)
and formant (resonant frequencies). You can
also specify delayed vibrato with independently
programmable onset delay and onset rate.

By combining a fast Retune Speed setting with
Auto-Tune Evo’s Vibrato settings, you can even
remove a performer’s own vibrato and replace
it with Auto-Tune Evo’s programmed vibrato,
all in real time. Also, unusual combinations of
Vibrato Waveform, Rate and Depth settings can
be used for some interesting special effects.

An Example of Automatic Mode Correction

As an example, consider this before-and­after graphic representation of the pitch of a
vocal phrase that contains both vibrato and
expressive gestures.

In the original performance, we can see that
although the final note should be centered
around D, the vocalist allowed the tail of the
note to fall nearly three semitones flat. The
“after” plot is the result of passing this phrase
through Auto-Tune Evo’s Automatic Mode
programmed to a D Major Scale (with C# and B
set to ”Remove”) and a Retune Speed setting
of 25. That Retune Speed causes the pitch
center to be moved to D, while still retaining the
vibrato and expressive gestures. (Setting C#
and B to ”Remove” is necessary to keep Auto­Tune Evo from trying to correct the seriously
flat tail of the last note to those pitches. See
Chapter 3 for more details.)

14

Graphical Mode

The Graphical Mode is similar to the Automatic
Mode in that it also continuously tracks the
pitch of the incoming sound and modifies the
output pitch to be closer to a desired pitch. But
in the Graphical Mode, the desired pitch is not a
predefined scale tone, but rather is a graphical
representation of your desired pitch (called a
“correction object”).

As in Automatic Mode, the rate of change
towards the desired pitch is controlled by the
Retune Speed control, but in Graphical Mode
you can assign a different Retune Speed to
each individual correction object, ensuring that
any pitch change is as natural (or as wacky) as
you desire.

The key feature of Graphical Mode is the Pitch
Graph display. On this display, the vertical axis

represents pitch (with higher notes towards the
top) while the horizontal axis represents time.
Depending on you host, you can resize the
Graphical Mode window up to the limit of your
monitor size.

On the Pitch Graph, the red curve represents
the original pitch contour of the input track,
while the desired target pitch or pitch contour
(as defined by one of the three possible
Correction Objects described below) is
indicated in blue. The green curve displays the
exact output pitch based on the current setting
of the Retune Speed for each correction object.

The horizontal grid lines (or Lanes, when Show
Lanes in selected) represent scale pitches. The
key annotation, scale name, and scale detune
value are those defined by the common area

15

controls at the top of the interface. They do not
affect the computations of the Graphical Mode
in any way. They are merely a reference to
guide you in setting the target pitches.

Graphical Mode also includes the Envelope
Graph, which displays the amplitude (loudness)
envelope of the sound whose pitch is shown
in the Pitch Graph. The horizontal scale of this
graph will either 1) show the envelope of the
entire extent of the pitch-detected sound or 2)
align with the horizontal scale and position of
the Pitch Graph above it.

To define the desired pitches, Graphical Mode
provides three different Pitch Correction
Objects: Lines, Curves and Notes. You can
draw desired target pitches using the Line and
Curve drawing tools, selectively modify the
existing pitch contours using the Make Curve
function, or use Auto-Tune Evo’s new Note
Objects to display and modify the pitch of each
individual target note. The different Objects can
be freely intermixed on a track to accomplish
different tasks, or just to allow you to work in
whichever way feels easiest.

Complete image scaling and scrolling controls
are provided, along with a selection of graphical
tools which allow easy editing, including cut,
copy and paste functions.

Given the power of the tools, there is a huge
variety of possible Graphical Mode workflows,
but the basic steps you will typically perform in
Graphical Mode are:

•

In your host application, select some sound

for processing.

•

Bring up Auto-Tune Evo. Set the buffer

length to at least the number of seconds
from the beginning of the track to the end of
the audio you are going to process. Press the
Track Pitch button, then play back the audio.
The pitch will be detected and then displayed
in the Pitch Graph as a red curve.

•

When you have tracked all the audio you

want to work with, stop the transport and
click the Track Pitch button again to exit Track
Pitch mode.

•

Define target pitches using any combination

of Correction Objects and the graphical tools

and adjust each object’s Retune Speed for the
desired effect.

•

If desired, set a transposition interval, engage

formant correction, or modify vocal character
with the Throat Length control.

•

Play back the track. The pitch will be corrected

or shifted as specified.

Pitch Shifting, Formant Correction and Throat Modeling

Entirely new to Auto-Tune Evo are the Pitch
Shifting, Formant Correction, and Throat
Modeling functions located in the common
control area and available in both Automatic and
Graphical Modes.

Pitch Shifting

In addition to any pitch correction applied by
either Automatic or Graphical Mode, Auto-Tune
Evo provides a Transpose function that lets you
shift the overall pitch of your performance over
a two octave range (+/- an octave), selectable in
precise semitone increments.

In Automatic Mode, this transposition is
accomplished in real time.

In Graphical Mode, this function does not
affect the Pitch Edit Display. It provides
overall transposition after any pitch shifting
accomplished with the graphical editing tools.

Although you can also accomplish overall
transposition in Graphical Mode by selecting all
the correction objects in your track and manually
moving them up or down, in most cases, using
the Transpose function will provide superior
results.

Formant Correction

A sound’s ”formants” are the combined
acoustic resonances that result from the physical
structure of whatever is producing the sound.

In the case of a human voice, air from your
lungs is forced through your vocal chords,
causing them to vibrate. From there, the voice
is propagated through the throat, the mouth
and out through the lips. It is the shape of
these structures that create the resonant
characteristics that define your unique vocal
identit y.

16

When a vocal is pitch-shifted by large intervals
without formant correction, not only is the pitch
of sung notes shifted, but the formants are
shifted as well. The resulting effect is not just
of a person singing higher or lower notes, but
of a person who is literally growing or shrinking
(depending on the direction of the shift).
While this can be useful for producing singing
chipmunks, it typically does not produce
realistic pitch-shifting over ranges larger than a
semitone or two.

Engaging Auto-Tune Evo’s Formant
Correction prevents the shifting of a voice’s
resonant frequencies to ensure that its vocal
characteristics are preserved over the pitch
shift range.

AN IMPORTANT NOTE: Over the very

small intervals usually associated

with basic pitch correction, formant
shifting is essentially inaudible and Auto­Tune’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
shifted by large intervals.

Throat Modeling

As mentioned above, the shape of a singer’s
throat is a prime contributor to their vocal
character. Auto-Tune Evo’s Throat Length
control lets you use Antares’ unique throat
modeling technology to modify a voice’s
character by passing it through a precise
physical model of the human vocal tract.

Chapter 3: Auto-Tune Evo Controls

This chapter is a reference for all of the controls used in the Auto-Tune Evo interface.
How these controls are used together for intonation correction is demonstrated in
Chapter 4, Auto-Tune Evo Tutorial.

If you are upgrading from Auto-Tune 5, you can probably skip ahead to Chapter 5, New Feature
Quick Start Guide.

Continuous Controls

Auto-Tune Evo’s continuous controls are
represented graphically as virtual knobs.
Depending on your preference, you can control
knobs by vertical, horizontal or radial mouse
movement. Set your preference in the Options
dialog described below.

Double-clicking on a knob will return it to
its default value. In some host applications,
Command (Mac)/Control (PC) clicking on a
knob will also reset it to default (see the Auto­Tune Evo Read Me and/or your host application
manual for details).

Common Controls

The following controls and displays are
visible regardless of which operating mode is
selected. Their settings affect both Automatic
and Graphical Modes.

Input Type

As a result of Antares
research into the
unique characteristics

of various types of
audio signals, Auto-Tune Evo offers a selection
of optimized processing algorithms for the
most commonly pitch-corrected inputs.
Choices include Soprano Voice, Alto/Tenor
Voice, Low Male Voice, Instrument, and Bass
Instrument. Matching the appropriate algorithm
to the input results in even faster and more
accurate pitch detection and correction.

To select the desired Input Type, click on the
Input Type pop-up and then select the desired
type from the pop-up list.

able to detect pitches down to A0 (55Hz).
Selecting Bass Instrument lowers the lowest
detectable frequency by about one octave to
25Hz. Since the lowest E string on a bass guitar
is approximately 41Hz, 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.

requires a periodically repeating waveform,
characteristic of a voice or solo instrument.
The Tracking control determines how much
variation is allowed in the incoming waveform
for Auto-Tune Evo to still consider it periodic.

If you are working with a well-isolated solo
signal (e.g., tracking in a studio or off of a multi­track master) you can typically set the Tracking
control to 50 and forget it.

NOTE: Choosing the wrong Input

Type (or just forgetting to set it
at all) can result in compromised
performance. Pay attention.

ANOTHER NOTE: When any Input

Type other than Bass Instrument is
selected, Auto-Tune Evo is reliably

Tracking

In order to
accurately
identify the
pitch of the
input, Auto­Tune Evo

17

18

If, on the other hand, your signal is noisy or not
well-isolated (as might be more common in a
live performance situation) or you are dealing
with a particularly breathy or guttural voice,
it may be necessary to allow more signal
variation (higher Tracking numbers). However,
under these 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 of Auto-Tune. If you have
used older versions of Auto-Tune, you may find
that situations that previously required constant
modifications of the Tracking control now track
perfectly at the default setting.

Select Pitch
Reference

Auto-Tune Evo
provides the ability to

pitch correct stereo
tracks while maintaining the tracks’ phase
coherence. (Refer to your host application’s
manual for instructions on assigning a plug-in
to a stereo track.) Click the appropriate button
to select which of the two stereo tracks (left
or right) Auto-Tune Evo will use as a pitch
reference.

NOTE: If there is a marked difference

in the two tracks, pick the cleanest,

most isolated track. For example, if
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.

AN OTHER N OTE: Auto-Tune Evo will

only pitch correct true stereo tracks.

If the second track (i.e., the track
not selected as a pitch reference) is simply an
independent unrelated track, unpredictable (and
potentially unpleasant) sounds may result. On
the other hand, something interesting might
happen. You never know.

When Auto-Tune Evo is instantiated on a mono
track, this control is inactive (grayed out).

Key Selection

This control lets you select the
key of the track you plan to
process.

To select the desired key, click
on the Key pop-up and then select the desired
note from the pop-up list. This determines the
pitch of the first note of the scale according to
the standard A3 = 440 Hertz.

Scale Selection

This control is used in
combination with the Key
selection above to define
the scale of the track you
plan to process.

To select a scale, click on the Scale pop up and
then select the desired scale from the 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 of two
enharmonically equivalent scales. For example,
if you select Db Major, the Edit Scale Display
will duly display the Db Major scale. However,
if 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 Pitch Graph Display in
the Graphical Mode.

Auto-Tune Evo comes with 29 preprogrammed
scales. The first three equal-tempered scales,
chromatic, major, and minor, are the ubiquitous
scales typically found in Western tonal music.
The other scales are historical, ethnic, and
micro-tonal scales. An in-depth discussion of
these scales and their history is beyond the
scope of this manual. The interested reader
will find more information in Tuning In —
Micro-tonality In Electronic Music by Scott R.
Wilkinson, published by Hal Leonard Books.

A brief description of each scale can be found
in Chapter 8, The Auto-Tune Evo Scales.

19

Scale
Detune

The Detune
parameter
allows you

to change
the pitch standard of Auto-Tune Evo from
the default A = 440Hz. The value is set in
cents (100 cents = 1 semitone). The range
of adjustment is from -100 to +100 cents.
For convenience, the detune amount is also
displayed in Hertz relative to A440.

The Detune function can be used to tune
a vocal performance to some irreparably
out-of-tune instrument (a piano or organ, for
example), or to allow correction to other than
the conventional 440Hz standard.

A TIP: If 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 zero. (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.)

The default Scale Detune setting is 0 cents.
Double-clicking or Command (Mac)/Control
(PC) clicking the Scale Detune knob will reset it
to that value.

Transpose

In addition to any pitch
correction applied by
either Automatic or
Graphical Mode, the

Transpose control lets
you shift the overall pitch of your performance
over a two octave range (+/- one octave),
selectable in precise semitone increments.

In Automatic Mode, this transposition is
accomplished in real time.

In Graphical Mode, this function does not
affect the Pitch Edit Display. It provides overall
transposition on top of any pitch shifting
accomplished with the graphical editing tools.

As noted above, although you can also
accomplish overall transposition in Graphical
Mode by selecting all the correction objects
in your track and manually moving them up

or down, in most cases, using the Transpose
function will provide superior results.

NOTE: If you are transposing

more than a semitone or two

and your intent is to preserve
the performer’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 “munchkinization”
effect familiar from tape speed changing and
early digital sampling. (Of course, if singing
chipmunks are what you’re going for, leave
Formant Correction off.)

The default Transpose setting is 0 semitones
(i.e., no transposition). Double-clicking or
Command (Mac)/Control (PC) clicking the
Transpose knob will reset it to that value.

Throat Length

As mentioned above,
the shape of a singer’s
throat is a prime
contributor to their

vocal character. Auto­Tune Evo lets you modify the vocal quality of a
performance by actually varying the geometry
of a physical model of the human vocal tract
and processing the original performance
through that model.

The Throat Length control lets you modify the
length of the modeled throat. The range of
the control is .50 to 1.80. Values above 1.00
represent a lengthening of the throat while
values below 1.00 represent a shortening of the
throat.

The actual values represent the percentage
change in the throat length. For example, a
value of 1.20 represents a 20% increase in
throat length, while a value of 0.70 represents a
30% decrease in throat length.

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 of Auto-Tune Evo, Throat Length
is also not available in the TDM versions. If

20

you wish to use the Throat Length function
on a TDM system, be sure to select the RTAS
version of Auto-Tune Evo.

In addition to simply changing vocal timbre,
increasing throat length is useful when the
original performance is female and you want
to transpose it down and have it sound more
male. Conversely, decreasing throat length
is useful when the original input is male and
you want to transpose it up and have it sound
female or childlike.

NOTE: While this control gives you the

ability to radically change the throat

length, keep in mind that the variation
in the length of human vocal tracts is rarely
more than about 20% in either direction. If you
are looking for a “realistic” vocal characteristic,
start with modest settings of this control. More
extreme settings can produce dramatic results,
but probably not what anyone would call
“realistic.”

Command (Mac)/Control (PC) click the control
to reset it to its default value of 1.00.

IMPORTANT NOTE: This function is

specifically for changing the existing

quality of a voice, not for manual
formant compensation for pitch shifting. Auto­Tune Evo automatically applies appropriate
formant correction when it shifts pitch with
Formant Correction Enabled.

Formant Correction

Click the Formant button to
toggle Auto-Tune Evo’s formant
correction function on and off.

The button will turn blue when
formant correction is active and will be pale
gray when it is inactive.

Engaging Auto-Tune Evo’s Formant
Correction prevents the shifting of a voice’s
resonant frequencies to ensure that its vocal
characteristics are preserved over the pitch
shift range. (For a more complete explanation
of formant correction, refer to the Pitch Shifting
and Formant Correction section in Chapter 2.)

AN IMPORTANT NOTE: Over the very

small intervals usually associated

with basic pitch correction, formant
shifting is essentially inaudible and Auto­Tune’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
shifted by large intervals.

AN OTHER N OTE: Formant Correction

is not available in the TDM versions

of Auto-Tune Evo. If you wish to use
the Formant Correction function on a TDM
system, be sure to select the RTAS version of
Auto-Tune Evo.

Correction Mode

Click the appropriate
button to select
either Automatic or
Graphical Mode.

21

Options

Clicking the Options button will
bring up a window containing a
number of settings that fall into the
“set and forget” category.

BUFFER SIZE This controls the number of

seconds of memory buffer space that are
permanently reserved for pitch tracking and
pitch correction data in Graphical Mode.
(There is a separate buffer for each plug-in
occurrence.) To change the buffer allocation,
click in the data field and enter the required
number of seconds.

The maximum buffer length is 14,400 seconds
(i.e., 4 hours).

NOTE: For hosts that provide valid

time information, Auto-Tune Evo will

display all tracked pitch information
at its correct time within the track. If your host
supports this capability, setting the buffer to the
length of the entire song and tracking the pitch
in one pass will allow you to quickly and easily
move to each section of audio to be corrected
as necessary.

NUMBER OF UNDOS Auto-Tune Evo provides

multiple Undo/Redo capability in Graphical
Mode. Select the maximum allowable number
here (up to 20). Choosing a higher number
allocates more memory for saving intermediate
states.

KNOB CONTROL Lets you select how you

want to control the “knobs” in the Auto-Tune
Evo interface.

VERTICAL: Position the cursor over a knob,

press and hold the left mouse button (or
the only mouse button, if you’re using a
one-button mouse) and move the cursor
up to turn the knob clockwise or down to
turn the knob counterclockwise. The current
value of the knob’s parameter appears in its
associated numeric display.

HORIZONTAL: Position the cursor over a

knob, press and hold the left mouse button
and move the cursor to the right to turn the
knob clockwise or to the left to turn the knob
counterclockwise. The current value of the
knob’s parameter appears in its associated
numeric display.

RADIAL: Click anywhere around the

circumference of the knob, press and hold
the left mouse button and “rotate” the
knob in the desired direction. The current
value of the knob’s parameter appears in its
associated numeric display.

USE CUSTOM CURSORS Click the check box

to use Custom Cursors in Graphical Mode.
Normally, Auto-Tune Evo displays different
cursor shapes in the Pitch Graph Display to
help you grab and drag objects (e.g., the object
cursor, the anchor point cursor, etc.). However,
some host applications mistakenly think that
they own the cursor when it is in a plug-in
window. This may cause the cursor to flash as
the host and Auto-Tune Evo alternately try to
set the cursor shape. If this annoys you, unclick
this check box. It will stop the flashing, but you
will no longer see Auto-Tune Evo’s custom
cursors.

DISPL AY VERTICAL LINE AT CURSOR TIME
POSITION

Click the check box to cause

a vertical line to be displayed at the cursor

22

position in Graphical Mode. This is most useful
when you are comparing the various pitch
values (tracked pitch, correction object pitch,
and output pitch) 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, if you prefer,
uncheck this box in the Options dialog and
then assign Toggle Time Indicator to one of
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 With Auto-Tune

Evo’s introduction of independent Retune
Speeds for each correction object, we’ve
added the ability to set custom default Retune
Speeds for each of the three object types:
Lines, Curves and Notes. These are the initial
Retune Speed values that are assigned to each
newly created object. ( You may, of course,
modify each individual object’s setting as
needed.)

To choose your own values, just pay attention
to what values you most commonly use for
the various objects and set those as defaults.
Update as necessary.

A TIP: Your choice of default values

will depend greatly on your particular

workflow and your typical use of
the various correction objects. If, for example,
you usually use Make Curve or Import Auto
to tweak pitch while preserving all pitch
gestures, usually use Lines for quick correction
of individual out-of-tune notes, and usually
use Note Objects for precise programming of
Cher or T-Pain-style effects, you might set the
Curves default to 0, the Lines default to 20 and
the Notes default to 0.

KEY BINDINGS The Key Bindings section
allows you to assign your most commonly used
Graphical Mode tools and controls to the 10
number keys that appear above the letter keys
on the

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 of
your keyboard.

The following functions are available for
assignment:

Graphic Tools

Line
Curve
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
Show Lanes
Track Pitch
Display Time Indicator

Correction Objects

Make Curves
Import Auto
Make Notes

Other Controls

Nudge Up
Nudge Down
Zoom In Horizontal
Zoom Out Horizontal
Zoom In Vertical
Zoom Out Vertical
Retune Speed Faster
Retune Speed Slower

WINDOW SIZE (VST and Audio Units versions

only): Since some hosts and/or plug-in formats
do not support real-time plug-in window
resizing (i.e., dragging on the corner of the
window), the Window Size controls allow you
to select among three preset sizes or specify a
custom size of your choice.

The preset sizes (measured in pixels) are:
Normal: 850 wide by 600 high
Wide: 1600 wide by 600 high
Large: 1600 wide by 1100 high

Clicking any of the Preset buttons will enter
those dimensions in the Width and Height data
entry fields. To enter a custom size, simply click
in the desired field and enter the value of your
choice.

The new size will take affect when you click the
Save button.