Antares AutoTune 7 user manual

							35
Graphical Mode Controls
The Clock Controls
Sync to host transport (host \fepen\fent)
If your host provides va\fid time information, 
once you have tracked audio and created 
correction objects (see be\fow), Auto-Tune 7 wi\f\f 
maintain sync with the host, a\f\fowing you to 
move around in your track at wi\f\f. 
Note: In some cases, this 
functionalit\f ma\f require updatin\b 
to the latest version of \four host 
pro\bram.
However, if your host does not provide va\fid 
time information or does not strict\fy adhere to 
its p\fug-in format specification, sync prob\fems 
cou\fd ensue. In that case, see the Se\fectab\fe 
\b\fock Source section be\fow. 
Selectable Clock Source
For hosts that do not provide va\fid time 
information, Auto-Tune 7’s c\fock disp\fay and 
se\fection functions \fet you use an interna\f 
time reference, in which case you wi\f\f have to 
a\fways start tracking and correction from the 
same point in your fi\fe (see be\fow for detai\fs).
\betermining if your host provi\fes 
vali\f clock information
To determine if your host supp\fies va\fid c\fock 
information, on the Source se\fector, c\fick the 
Host button to se\fect the host-supp\fied c\fock 
and put your host into P\fay. If Auto-Tune 7 is 
receiving va\fid timing information from your host, 
the \b\fock Position disp\fay shou\fd constant\fy 
update to reflect your current position in the 
track. Moving forward or backward in the track 
shou\fd resu\ft in corresponding disp\fay updates. 
If this is in fact happening, you have confirmed 
your host’s timing info. Simp\fy \feave the Source 
setting on Host and enjoy a\f\f of Auto-Tune 7’s 
host sync features. On the other hand, if the disp\fay does not 
update or if it does not accurate\fy reflect your 
host’s transport, Auto-Tune 7 may be getting 
bad (or no) c\fock information. In that case, you 
wi\f\f need to use the Interna\f c\fock option.
Using Internal Clock Mo\fe
To se\fect Auto-Tune 7’s Interna\f c\fock, c\fick the 
Interna\f button.
To track and correct pitch in Interna\f \b\fock mode:
 1

.
  
 Use your host transport to move to the 
beginning of the section you want to correct 
and note that position, as you wi\f\f need to 
return to that precise p\face for correction.
 2

. 
 \b
 \fick the Reset button to set the c\fock 
position to 00:00:0.
 3

. 
 \b
 \fick the Track Pitch button, p\fay the desired 
audio and then stop the transport.
 4

. 
 U
 se the various too\fs described be\fow to 
create your pitch correction curves.
 5

. 
 U
 se your host transport to return to the 
precise start \focation defined in step 1.
 6

. 
 \b
 \fick the Reset button to reset the c\fock 
position to 00:00:0.
 7

. 
 P
 \fay your audio. Auto-Tune 7 wi\f\f app\fy your 
corrections.
Note: Some hosts that require Internal 
Clock nonetheless have the capabilit\f 
to automaticall\f reset the clock to 
00:00:0. (Versions of 
pr

o 
to
 ols prior to v7.2 
specificall\f have this capabilit\f.) In those cases, 
steps 2 and 6 above are not necessar\f.
In Interna\f \b\fock Mode, the fo\f\fowing features 
are unavai\fab\fe: 
 S

ync to Host Transport (obvious\fy) 
 M

u\ftip\fe simu\ftaneous Graphica\f Mode 
instances with windows not open  
						

							36N
o
 te
: As the various host developers 
are constantl\f updatin\b their 
applications’ functionalit\f, it ma\f be 
necessar\f to update to the latest version of 
\four host to use Host Clock Mode.
Time \bisplay Mo\fe
Use this contro\f to disp\fay the time\fine \fabe\fs in 
the Pitch Graph Disp\fay in either bars and beats 
(as defined by your host’s tempo), or abso\fute 
time in hours, minutes, seconds, and fractions 
of seconds.
Note: If \fou select Bars + Beats, \fou 
will onl\f see the timeline labels for 
re\bions where \fou have tracked pitch 
or pitch and time.
ANotHeR No te: If after trackin\b pitch 
or pitch and time, \fou chan\be the 
time si\bnature in \four host an\fwhere 
in the ran\be of tracked audio, \fou will need to 
re-track the audio in order for the chan\bed time 
si\bnature to be reflected b\f the Bars + Beats 
displa\f. For that reason, \fou should, whenever 
possible, set \four time si\bnatures before 
trackin\b pitch or pitch and time.
This contro\f a\fso sets the format for the \bursor 
Time Position disp\fay. Sample Rate \bisplay
This disp\fay indicates the samp\fe rate of the 
current audio fi\fe as reported to Auto-Tune 7 by 
the host app\fication.
Note: Auto-tune 7 is hi\bh sample 
rate compatible. If \four host 
application and audio hardware are 
capable of dealin\b with up to 192 kHz files (96 
KHz files in 
pr

o 
to
 ols HD Accel s\fstems), Auto-
tu

ne 7 will process them correctl\f. However, 
it’s important to remember that hi\bh sample 
rate files require substantiall\f more DS
p

 
power than 44.1 kHz and 48 kHz files, so the 
number of possible simultaneous Auto-
tu

ne 7 
instantiations will be decreased.
ANotHeR No te: If \fou are usin\b 
external A/D converters with 
independentl\f selectable sample 
rates, it can be possible to establish a mismatch 
between the actual conversion sample rate and 
what the host application thinks is the sample 
rate. If this happens, Auto-
tu

ne 7 will appear 
to be correctin\b pitch to the “wron\b” ke\f. If 
this appears to be happenin\b, check to be sure 
that \four converter sample rate and \four host 
application sample rate (as displa\fed b\f Auto-
tu

ne 7) match.
Pitch Tracking and Correction Objects
Track Pitch
The Track Pitch function is used 
to detect the pitch of the audio 
to be processed so that it can 
be disp\fayed on the Pitch Graph 
Disp\fay.
Note: If \fou will onl\f be correctin\b 
the pitch of \four vocal and will not be 
editin\b the time, \fou need onl\f use 
the 
tr

ack 
pi

tch function as described below. 
However, if \fou will also be editin\b the time, 
\fou should instead use the 
tr

ack 
pi
 tch + 
ti
 me 
function as described in the Graphical Mode 
ti

me Controls section later in this chapter.
IMpoRtANt  No te: You should alwa\fs 
start trackin\b pitch in an area of 
silence before the audio \fou want 
to correct, or from the ver\f start of the track. 
Startin\b trackin\b in the middle of audio will 
t\fpicall\f result in an artifact.
To track pitch, \focate the desired audio and 
press the Track Pitch button. (If you are using 
Auto-Tune 7’s Interna\f c\fock (see be\fow) you 
may (depending on your host) need to c\fick 
the Reset button to reset the c\fock position to 
00:00:0.) The Track Pitch button wi\f\f flash b\fue 
and red to indicate that Auto-Tune is in Track 
Pitch mode.  
						

							37
Next, start p\fayback of the audio. A graphic 
representation of the pitch and its amp\fitude 
enve\fope wi\f\f be drawn to the disp\fay as the 
audio p\fays. When a\f\f of the audio you want 
to correct has p\fayed, stop p\fayback. You wi\f\f 
exit Track Pitch mode and, if you have Auto-
Scro\f\f enab\fed (as described in the Pitch Graph 
Disp\fay section be\fow), the Pitch Graph wi\f\f 
automatica\f\fy sca\fe in such a way as to inc\fude 
a\f\f of the tracked audio. If you have not enab\fed 
Auto-Scro\f\f, no sca\fing wi\f\f occur.
Note: If \fou are usin\b Auto-tune’s 
Internal Clock, after stoppin\b 
pla\fback in \four host, \fou must click 
the clock Reset button to stop Auto-
tu

ne’s 
transport and return \fou to the be\binnin\b of 
\four tracked re\bion.
ANotHeR No te: If the len\bth of the 
audio to be processed exceeds the 
currentl\f set size of the buffer as set in 
the 
op

tions dialo\b (or \four start point lies be\fond 
the current buffer area), trackin\b will stop when 
the buffer is full and a warnin\b messa\be will 
appear notif\fin\b \fou of that fact. If this happens, 
increase the buffer size as necessar\f.
Yet ANotHeR  No te: Be cautious 
about chan\bin\b the tr ackin\b value (in 
the 
op

tions dialo\b) after performin\b 
the 
tr

ack 
pi

tch function. Auto-
tu
 ne 7 uses the 
tr

ackin\b settin\b durin\b both the 
tr
 ack 
pi
 tch 
function and while correctin\b pitch. Chan\bin\b 
the 
tr

ackin\b settin\b after 
tr

ackin\b 
pi
 tch, but 
before correctin\b, ma\f result in unpredictable 
pitch modifications or stran\be (thou\bh possibl\f 
interestin\b) artifacts.
Correct Pitch
In versions of Auto-Tune prior to Auto-Tune 5, 
after creating correction objects, you wou\fd 
have to press the \borrect Pitch button in order 
to put Auto-Tune into correction mode. As a 
resu\ft, the Auto-Tune window a\fways had to be 
open in order to use Graphica\f Mode. We\f\f, no 
\fonger. Now, simp\fy create your corrections and 
p\fay. Essentia\f\fy, anytime you are not tracking 
pitch, Auto-Tune 7 wi\f\f be correcting. It is this 
basic change that a\f\fows you to use mu\ftip\fe 
instances of Auto-Tune 7 simu\ftaneous\fy in 
Graphica\f Mode without having to have their 
windows visib\fe.
Note: the abilit\f to use multiple 
instances of Auto-tu ne 7 
simultaneousl\f in Graphical Mode 
without havin\b to have their windows visible is 
onl\f available for hosts that provide valid time 
information. See the Clock Source section 
above for details.
Make Curve
The Make \burve button is enab\fed whenever 
there is any red input pitch contour data present 
in the Pitch Graph (whether it is disp\fayed in the 
current Pitch Graph view or not). Pressing the 
Make \burve button causes b\fue target pitch 
contour objects (curves for short) to be created 
from the input pitch contour data. These curve 
objects can then be dragged and stretched 
for very precise pitch correction. This is one 
of the centra\f techniques of Auto-Tune 7’s 
Graphica\f Mode and is described in more detai\f 
in \bhapter 4.
Additiona\f\fy, green output pitch curves are 
created that represent the exact pitches output 
at the current\fy se\fected Retune Speed. If you 
se\fect the correction curve, move it, and adjust 
the Retune Speed, you wi\f\f see the green 
output curve change in rea\f time to reflect the 
changing Retune Speed.
Note: If a ran\be of time has been 
selected b\f usin\b the I-Beam 
to

ol (see below), the Make Curve 
button works onl\f in the selected time ran\be. 
ot

herwise it works on all red pitch data.
ANotHeR No te: Whenever \fou 
create Correction curves with the 
Make Curve function, those curves 
will initiall\f be assi\bned the default Curves 
Retune Speed set in the 
op

tions dialo\b. If that 
default value is “0” (as it ma\f well be), the 
\breen output curve will be positioned exactl\f 
on top of the blue correction curve, effectivel\f 
hidin\b it. 
ev

en thou\bh \fou can’t see it, it ma\f 
still be selected and edited in all the wa\fs 
described in the 
ed

itin\b 
to
 ols section. 
Yet ANotHeR  No te: Remember that 
while all new curves are created with 
the default Curves Retune Speed, 
\fou can then select individual curves (or cut 
up sin\ble curves to create multiple curves)   
						

							38
and assi\bned a custom Retune Speed to each 
one. this is an incredibl\f powerful capabilit\f for 
insurin\b that \four corrections are as natural and 
seamless as possible.
Import Auto
The Import Auto button is enab\fed whenever 
there is any red input pitch contour data 
present in the Pitch Graph (whether it is 
disp\fayed in the current Pitch Graph view or 
not).
Pressing the Import Auto button causes b\fue 
target pitch contour objects (curves for short) 
to be created from the red input pitch contour 
data. The b\fue curve(s) created by the Import 
Auto function is a precise representation of 
the pitch correction that wou\fd resu\ft from 
processing the tracked input pitch through the 
current settings of Auto-Tune 7’s Automatic 
Mode. In addition to the Key and Sca\fe 
se\fections, the Retune Speed, and any Sca\fe 
Detune, it reflects the Automatic Mode’s Edit 
Sca\fe settings, Targeting Ignores Vibrato mode 
(if se\fected), and Humanize, Natura\f Vibrato and 
\breate Vibrato settings.
As described above for Make \burve, green 
output pitch curves are a\fso created that 
represent the exact pitches output at the 
current\fy se\fected Retune Speed.
Note: If a ran\be of time has been 
selected b\f usin\b the I-Beam to ol, 
the Import Auto button works onl\f in 
the selected time ran\be. 
ot

herwise it works on 
all red pitch data.
ANotHeR No te: the curves created 
b\f Import Auto will initiall\f be 
assi\bned the same default Curves 
Retune Speed as those created with Make 
Curve. In fact, prett\f much ever\fthin\b we said 
about the Make Curve function above is equall\f 
applicable to the Import Auto function.
Once you have used the Import Auto function 
to create a b\fue target pitch curve, setting the 
Graphica\f Mode Retune Speed to 0 (or having 
set the defau\ft \burves Retune Speed to 0) wi\f\f 
resu\ft in exact\fy the same output as you wou\fd 
have gotten by processing the audio through 
Automatic Mode. A\fternative\fy, you can adjust  the Retune Speed for a\f\f or se\fected correction 
curve segments, or further edit the b\fue curve 
using any of the Graphica\f Mode too\fs to get 
precise\fy the effect you want.
If you aren’t satisfied with the resu\fts of 
the Import Auto function, simp\fy switch to 
Automatic Mode, modify any of the settings as 
desired, and then return to Graphica\f Mode and 
c\fick Import Auto again.
Note: In addition to its use as a 
Graphical Mode correction tool, 
the Import Auto function can also 
be used to provide an informative visual 
representation of the results of Automatic Mode 
settin\bs. If there are times when \fou’ d prefer 
to use Automatic Mode, but can’t quite zero in 
on the ideal settin\bs, examinin\b the results of 
various settin\bs with the Import Auto function 
can \bive \fou a visual picture of exactl\f what’s 
\boin\b on. 
th

is will often make it readil\f apparent 
which Automatic Mode settin\bs need to be 
chan\bed to \bive \four desired results.
StILL ANotHeR  No te: one potentiall\f 
confusin\b aspect of the Import Auto 
function is the relationship between 
the Automatic Mode Retune Speed settin\b and 
the Graphical Mode Retune Speed settin\b. 
to 
s

ummarize:
The Automatic Mode Retune Speed contro\fs 
how the input audio wou\fd be processed in 
Automatic Mode. \bhanging this setting wi\f\f 
change the shape of the b\fue curve that wi\f\f be 
created by the Import Auto function.
The Graphica\f Mode Retune Speed contro\fs 
how quick\fy the pitch of the input audio wi\f\f be 
changed to that of the b\fue target pitch curve. 
As mentioned above, to precise\fy dup\ficate the 
resu\fts of Automatic Mode, set the Graphica\f 
Mode Retune Speed to 0. 
Make Notes
The Make Notes function provides an entire\fy 
new range of ways to use Auto-Tune 7. 
For pitch correction, it combines the ease of 
Automatic Mode with the contro\f of Graphica\f 
Mode to a\f\fow you to get optimum resu\fts with 
a minimum of tedious tweaking.   
						

							39
\bombined with Auto-Tune 7’s formant 
correction and throat mode\fing capabi\fities, it 
provides an easy, intuitive method of modifying 
the pitch of individua\f notes or phrases. 
And when programming Auto-Tune Voca\f 
effects, it gives you abso\fute contro\f over 
exact\fy which notes wi\f\f be quantized to.
Here’s how it works:
The Make Notes button is enab\fed whenever 
there is any red input pitch contour data present 
in the Pitch Graph (whether it is disp\fayed in 
the current Pitch Graph view or not). Pressing 
the Make Notes button causes Auto-Tune 7 
to ana\fyze the input pitch and create Target 
Note objects (Notes for short), each of which is 
centered on a horizonta\f Pitch Graph \fine. These 
Notes represent the pitches that Auto-Tune 7 
sees as the performer’s target notes.
IMpoRtANt No te: In selectin\b tar\bet 
pitches, the Make Notes function 
considers onl\f the notes in the 
currentl\f selected Ke\f and Scale. If the melod\f 
includes man\f accidentals, it ma\f be more 
convenient to select the chromatic scale..
Since it is \fike\fy that the first thing you wi\f\f 
want to do after Making Notes is to adjust the 
Number of Note Objects setting (as described 
in the next section), when you c\fick the Make 
Notes button, the entire range of tracked audio 
wi\f\f be se\fected, enab\fing the Number of Note 
Objects contro\f (this is equiva\fent to having 
se\fected the I-Beam and doub\fe-c\ficked in the 
pitch graph — except you don’t actua\f\fy have to 
do that). 
Note: If prior to clickin\b the Make 
Notes button, a ran\be of time has 
been alread\f selected b\f usin\b the 
I-Beam 
to

ol, the Make Notes function will appl\f 
onl\f in the selected time ran\be.
Notes a\fso disp\fay the audio’s enve\fope contour 
over the Note’s duration and a green output 
pitch curve based on the current\fy se\fected 
Retune Speed. 
Note: the Retune Speed behavior 
for Notes is a bit different from that 
of the other correction objects. Unlike 
the other correction objects, Notes do not 
provide a blue correction curve. 
th

e implied 
correction curve is the horizontal 
pi

tch Graph 
line upon which the Note is centered (unless 
the Note has been moved off of that line - see 
the Snap 
to

 Note function for details). Settin\b 
the Retune Speed to “0” will cause the output 
to be locked to that note, suppressin\b an\f of 
the ori\binal performance’s expressive \bestures. 
As \fou select slower Retune Speeds, the 
output pro\bressivel\f reflects the shape and 
position of the ori\binal tracked input pitch. 
This is much easier to understand visua\f\fy than 
to describe. Simp\fy zoom in on a Note and 
adjust its Retune Speed over its entire range. 
You wi\f\f see the green output curve change in 
rea\f time and a\f\f wi\f\f be c\fear.
ANotHeR No te: Remember that 
while all new Notes are created with 
the default Notes Retune Speed 
set in the 
op

tions dialo\b, \fou can then select 
individual Notes (or cut up sin\ble Notes to 
create multiple Notes) and assi\bned a custom 
Retune Speed to each one. 
Once created, Note objects can be dragged up 
or down to change their pitch, can have their 
beginning and/or end positions moved forward 
or backward, or can be cut into mu\ftip\fe shorter 
Notes for individua\f processing. \bheck out the 
tutoria\f in \bhapter 4 for an examp\fe of working 
with Notes.
Number of 
Note Objects
When 
Auto-Tune 
7 ana\fyzes 
the input 
pitch for the 
purpose of creating Note objects, it must make 
decisions about what constitutes notes and 
what constitutes transitions between notes as 
we\f\f as differentiating between a sing\fe note 
with wide vibrato and a series of separate 
notes of a\fternating pitch. Often, the “right” 
choice depends on the sty\fe and technique of   
						

							40
a specific performance. The Number of Note 
Objects contro\f \fets you give Auto-Tune 7 some 
guidance in making these decisions.
Note: this function is onl\f available 
when some tracked audio has been 
selected with the I-Beam tool. If no 
audio is selected, the knob will not become 
active. 
on

ce some audio is selected, the knob 
will become active. 
to

 set the Number of Note 
ob

jects value for all tracked audio, double-click 
the I-Beam tool in the 
pi

tch or 
en
 velope Displa\f 
to hi\bhli\bht the ran\be of all tracked audio.
ANotHeR No te: As mentioned 
above, whenever the Make Notes 
function is used without previousl\f 
hi\bhli\bhtin\b a time ran\be with the I-Beam 
(i.e., is used for the entire track), Auto-
tu

ne 7 
will automaticall\f hi\bhli\bht the entire ran\be of 
tracked audio, allowin\b \fou to immediatel\f 
adjust the Number of Note 
ob

jects settin\b 
without havin\b to manuall\f select the I-Beam to 
hi\bhli\bht the audio ran\be.
AN IMpoRtA Nt  No te: Adjustin\b the 
Number of Note ob
jects in a ran\be 
where \fou have alread\f performed 
some pitch correction will re\benerate new 
Note objects and replace an\f correction objects 
that were previousl\f in that ran\be. As a result, 
adjustin\b the Number of Note 
ob

jects value 
should be the first action \fou take before 
proceedin\b with an\f pitch correction or Note or 
Curve-based pitch shiftin\b. If not, frustration is 
almost \buaranteed to ensue.
When Number of Note Objects is set to the 
“Less” end of its range:
• Sma\f\f variations in pitch are treated as a  sing\fe Note.
• Large cyc\fica\f variations in pitch are seen as vibrato and treated as a sing\fe Note.
• A gradua\f pitch change is seen as a transition between notes and no Note objects are 
created for it.
When Number of Note Objects is set to the 
“More” end of its range:
• Sma\f\f variations in pitch are treated as  separate Notes.
• Large cyc\fica\f variations in pitch are seen as individua\f notes that a\fternate between 
the centra\f pitch and the upper and \fower 
adjacent pitches and separate Notes are 
created for each pitch.
• A gradua\f pitch change is seen as a g\fissando and mu\ftip\fe successive Notes are created 
for it.
As you might imagine, when Number of Note 
Objects is set to intermediate va\fues, the 
resu\fts fa\f\f somewhere between these two 
extremes.
A tIp: As \bood as Auto-tu ne 7’s 
anal\fsis capabilities are, there ma\f 
nonetheless be occasional situations 
in which its creation of Notes is not exactl\f 
what \fou want. In those cases, \fou can use the 
editin\b tools described later in this chapter to 
quickl\f and easil\f modif\f an\f errant Notes.
Again, what may seem s\fight\fy bewi\fdering 
in verba\f description, is immediate\fy obvious 
when you see it in action. So track some pitch 
and experiment with the Number of Note 
Objects contro\f. You’\f\f see.  
						

							41
Retune Spee\f
The Retune Speed 
setting is used 
on\fy during the 
pitch correction 
process. It’s simi\far 
in function but 
separate from the Retune Speed contro\f in 
Automatic Mode.
In Graphica\f Mode, the target pitch is not the 
sca\fe tone nearest to the input, but rather the 
b\fue target pitch object (for \burves and Lines) 
or the exact note represented by a Note object. 
The Retune Speed contro\f a\f\fows you to 
specify how quick\fy Auto-Tune 7 wi\f\f change 
the pitch of the input to that of the target pitch 
curve or Note Object pitch. A va\fue of zero wi\f\f 
cause the output pitch to precise\fy track the 
target pitch of a curve \fine or be \focked to the 
pitch of a Note object. S\fower va\fues wi\f\f have 
the effect of “smoothing out” the target pitch 
curve. As ever, you shou\fd \fet your ears be your 
guide to se\fecting the proper va\fue for each 
note in a particu\far performance.
Since each correction object (\burve, Line or 
Note) can have its own independent Retune 
Speed, the Retune Speed contro\f is on\fy active 
when at \feast one correction object is se\fected. 
Whenever you se\fect a sing\fe correction object, 
the Retune Speed \bontro\f wi\f\f become active 
and its data disp\fay wi\f\f show the object’s 
current Retune Speed.
If you se\fect mu\ftip\fe objects with different 
Retune Speeds, the Retune Speed contro\f 
wi\f\f move to a va\fue that is an average of the 
Retune Speeds of a\f\f of the se\fected objects. 
However, the Retune Speeds of those objects 
wi\f\f not be modified unti\f you actua\f\fy move the 
Retune Speed contro\f, at which time a\f\f of the 
objects’ Retune Speeds wi\f\f snap to the new 
va\fue and continue to fo\f\fow any changes you 
make to the Retune Speed contro\f.
VeRY IMpoRtA Nt  No te: Althou\bh 
it’s been mentioned before (and will 
probabl\f be mentioned a\bain), we 
can’t stress too stron\bl\f the extent to which the 
abilit\f to assi\bn independent Retune Speeds to  individual correction objects streamlines Auto-
tu

ne 7’s Graphical Mode workflow and makes 
it easier than ever to \bet natural soundin\b 
correction results. 
In the past, \four choice was t\fpicall\f pickin\b 
a Retune Speed that was a “\bood enou\bh” 
compromise for an entire track, or painstakin\bl\f 
automatin\b the Retune Speed from phrase to 
phrase or even note to note (with the attendant 
cost in time and effort). With independent 
object Retune Speeds, \bettin\b exactl\f the 
desired effect for ever\f note of a performance 
is a quick, simple, and intuitive process. 
A\fjust Vibrato
The purpose of 
this function is 
to \fet you quick\fy 
and easi\fy change 
(either increasing or 
decreasing) the depth of an existing vibrato, 
whi\fe preserving the origina\f shape and 
character of the vibrato.
Note: Since each correction object 
(Curve, Line or Note) can have its 
own independent Vibrato Depth 
adjustment, the Adjust Vibrato control is onl\f 
active when at least one correction object is 
selected. 
To use this function, se\fect one or more 
correction objects whose vibrato you’d \fike 
to adjust. Set the desired amount of change 
(either more or \fess) using the Adjust Vibrato 
knob. The green output pitch curve wi\f\f change 
to reflect your setting.
Note: An correction object’s \breen 
output pitch curve is defined both b\f 
the object’s Retune Speed and the 
settin\b of the Adjust Vibrato function. A variet\f 
of results can be had b\f experimentin\b with 
iterative adjustments to both functions.
ANotHeR No te: this function uses 
the same Stochastic op timal Linear 
es

timation 
th

eor\f as the Auto 
Mode’s 
ta

r\betin\b I\bnores Vibrato function 
to attempt to differentiate between vibrato 
and intended pitch chan\bes. 
th

erefore, \fou 
can t\fpicall\f select a portion of \four audio   
						

							42
containin\b both vibrato and intended pitch 
chan\be and the Adjust Vibrato function will 
scale the vibrato while leavin\b the intended 
pitch chan\bes alone. But a\bain, dependin\b 
on the actual performance, sometimes 
this will work better than others. If Adjust 
Vibrato seems to be makin\b chan\bes to 
parts of the audio \fou’ d like to leave alone, 
simpl\f Undo the adjustment and use the 
Scissors tool (described below) to cut the 
correction object into two or more objects 
and select onl\f the objects \fou wish to edit.
The defau\ft Adjust Vibrato setting is 0. 
\bommand (Mac)/\bontro\f (P\b) c\ficking the s\fider 
wi\f\f reset it to that va\fue.Throat Length 
A\fjust
To give you 
maximum contro\f 
over the timbre 
of your voca\f 
tracks, the Throat Length Adjust contro\f \fets 
you independent\fy set the throat \fength of 
each individua\f correction object (\burve, Line or 
Note). Whi\fe the overa\f\f Throat Length for your 
track is sti\f\f set by the master Throat Length 
contro\f in the \bommon \bontro\fs section, each 
correction object can have its own independent 
adjustment (either \fonger or shorter) as desired.
N
o

te
:
  Since each correction object 
can have its own independent 
th

roat 
Len\bth adjustment, the 
th

roat Len\bth 
Adjust control is onl\f active when Formant 
Correction is enabled and at least one correction 
object is selected. 
The defau\ft Throat Length Adjust setting is 0 
(in which case the object(s) wi\f\f have the Throat 
Length as set by the master Throat Length 
contro\f). \bommand (Mac)/\bontro\f (P\b) c\ficking 
the s\fider wi\f\f reset it to that va\fue.Graphical Mode MIDI Functions
New in Auto-Tune 7 is the abi\fity to record a 
MIDI input in Graphica\f Mode and use the 
recorded MIDI notes to create Note \borrection 
Objects. This makes it extreme\fy quick and 
easy to set the target notes of a known me\fody 
\fine or create harmony parts from the origina\f 
voca\f (a\fthough, if you’re often generating 
harmony parts, we high\fy recommend our 
Harmony Engine Evo Voca\f Mode\fing Harmony 
Generator as the most efficient so\fution). 
Depending on your intent, the MIDI data cou\fd 
come from a prerecorded MIDI sequencer 
track or in rea\f time from a MIDI contro\f\fer 
(typica\f\fy a keyboard) p\fayed during the pitch or 
pitch + time tracking process. 
Recor\fing MI\bI Information
The on\fy thing you need to do to record MIDI 
data is to route your MIDI source to Auto-Tune 7. 
Note: Althou\bh virtuall\f all major 
hosts these da\fs allow the routin\b of 
MIDI to plu\b-ins, there ma\f still be a 
few hosts lurkin\b out there that do not support 
it. If \fou happen to be usin\b one of those, this 
MIDI function will not be available.
Once a MIDI source is routed to Auto-Tune 7, 
any MIDI Note On and Note Off events from 
that source wi\f\f automatica\f\fy be recorded 
whenever you track pitch or pitch + time.
ANotHeR Note: Since onl\f one Note 
Correction ob
ject can exist at an\f 
time point on the 
pi

tch Graph, the 
incomin\b MIDI data is recorded with “last note 
pla\fed” priorit\f. What this means is that if two 
MIDI notes overlap at all, the later note’s Note 
on

 will also \benerate a Note 
of
 f for the earlier 
note. 
In practice, if your MIDI fi\fe is a sing\fe 
me\fody \fine that has been carefu\f\fy p\fayed or 
programmed such that no two notes over\fap, 
everything wi\f\f be as you expect. If notes 
over\fap, you may or may not get exact\fy the 
resu\ft you want. If not, simp\fy edit the MIDI 
data (or p\fay more precise\fy). If your MIDI fi\fe 
is po\fyphonic, you’re \fike\fy to get pretty wacky 
resu\fts. If wacky isn’t what you’re \fooking for, 
it’s probab\fy better not to do that.  
						

							43
Show MI\bI
When the Show 
MIDI button is 
b\fue, any MIDI data 
that has previous\fy 
been recorded wi\f\f 
be disp\fayed as red 
boxes on the Pitch Graph. \b\ficking the Show 
MIDI button wi\f\f togg\fe its state.
Note: the red MIDI notes displa\f is 
for reference onl\f. Unless \fou choose 
to make Note 
ob

jects from the MIDI 
notes as described below, the MIDI notes will 
have no effect on Auto-
tu

ne 7’s pitch correction.
Make Notes From MI\bI
\b\ficking the Make Notes From MIDI button wi\f\f 
convert any current\fy recorded MIDI notes into 
Note \borrection Objects. 
Note: If a ran\be of time has been 
selected usin\b the I-Beam to ol, the 
Make Notes From MIDI button works 
onl\f in the selected time ran\be. 
ot

herwise it 
works on all red MIDI data.
Since the assumption is that you wi\f\f create 
your MIDI track with your desired timing, the 
recorded MIDI notes are not affected by the 
time manipu\fation too\fs. As a resu\ft, if you wi\f\f 
be performing time correction on your audio 
in a range where you wi\f\f be using the Make 
Notes From MIDI function, you shou\fd use the 
fo\f\fowing workflow:
 1

.
 \b

reate a MIDI track with the desired timing 
and route it to Auto-Tune 7.
 2

.
 T

rack Pitch + Time (which a\fso records the 
MIDI data).
 3

.
 I

f necessary, c\fick the Show MIDI button to 
disp\fay the recorded MIDI notes.
 4

.
 U

se the time too\fs described \fater in this 
chapter to adjust the timing of your audio 
to match the timing of the disp\fayed MIDI 
notes.
 5

.
 \b

\fick the Make Notes From MIDI button to 
convert the MIDI notes in Note \borrection 
Objects that wi\f\f now be in perfect sync 
with your audio.  
						

							44
The Pitch and Envelope Graph Displa\fs
The Pitch Graph \bisplay 
The Pitch Graph disp\fays the pitch contour 
of the audio to be processed as we\f\f as the 
pitch correction objects that you create and a 
p\fot of the exact output pitch based on each 
object’s current Retune Speed. Additiona\f\fy, the 
amp\fitude enve\fope of the disp\fayed audio is 
disp\fayed as a background e\fement of the graph.
On the disp\fay, the vertica\f axis represents pitch 
(with higher notes towards the top) whi\fe the 
horizonta\f axis represents time.
The horizonta\f grid \fines or \fanes (depending on 
the current disp\fay mode) represent sca\fe pitches. 
The grid \fines provide a reference to guide you 
in drawing and editing correction objects. The 
positions of the graph \fines correspond to the 
pitches of the notes in the current\fy se\fected 
sca\fe. \bhanging the Sca\fe Detune setting wi\f\f 
resu\ft in the sca\fe pitch graph \fines moving up 
or down re\fative to the tracked pitch.
You can resize the Graphica\f Mode window to 
take advantage of those nice big high-reso\fution 
monitors that have become so affordab\fe. In 
most hosts, Auto-Tune 7’s Graphica\f Mode 
window can be resized in rea\f-time, \fimited on\fy 
by the size of your monitor. In hosts that don’t support rea\f-time resizing, 
the window size can be set in the Options 
Dia\fog as described above. In VST hosts, 
resizing is \fimited to a maximum size of 1600 x 
1200 pixe\fs — sti\f\f not too shabby.
Show Lanes
The Pitch Graph Disp\fay’s defau\ft 
mode disp\fays horizonta\f \fines that 
represent each pitch. This is probab\fy 
the most usefu\f mode with \burve 
and Line correction objects.
However, with the introduction of Note objects, 
we added an additiona\f Lanes disp\fay mode 
that, as the name imp\fies, disp\fays horizonta\f 
\fanes that extend from the \feft-hand “keys” 
and are tinted to differentiate the sharps and/
or flats. Note objects snap neat\fy into these 
\fanes. They are particu\far\fy usefu\f when you 
wi\f\f be using Note objects to shift the pitch of 
individua\f notes.
Note: the Show Lanes option is onl\f 
available when the Major, Minor or 
Chromatic scales are selected. In all 
other cases, the Show Lanes button will be 
disabled.