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Antares AutoTune Evo user manual

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    							45
    intermediate anc\for point at t\fat point. T\fe 
    cursor will c\fange to t\fe anc\for point cursor 
    and t\fe new anc\for point can t\fen be dragged.
    Mo\bing t\fe Arrow Tool o\ber an existing anc\for 
    point (except for end points) and double-clicking 
    will remo\be t\fat anc\for point and cause a 
    straig\ft line to be drawn between t\fe now 
    adjacent anc\for points.
    T\fe Arrow Tool will not add or delete anc\for 
    points on cur\bes, only on lines created wit\f t\fe 
    Line Tool.
    MANIPULATING NoTE oB JECTS: T\fe Arrow 
    tool is used to modify t\fe pitc\f of a Note object 
    (i.e., mo\be it up or down on t\fe Pitc\f Grap\f) or 
    to modify t\fe start and/or end points of a Note 
    (i.e., adjust t\fose points forward or backward 
    in time).
    W\fen you mo\be t\fe Arrow tool o\ber a Note 
    object, t\fe cursor will c\fange to one of two 
    states, depending on w\fere o\ber t\fe Note it is 
    positioned. 
    W\fen t\fe cursor is o\ber t\fe central area of 
    a note, t\fe pitc\f s\fift cursor (\bertical up and 
    down arrows) will be displayed. Clicking 
    on t\fe Note w\fen t\fe pitc\f s\fift cursor is 
    displayed will allow you to drag t\fe note up 
    or down to a new pitc\f. If t\fe Snap To Note 
    function is acti\be, t\fe Note’s mo\bement will 
    be constrained to t\fe grid lines or lanes of t\fe 
    Pitc\f Grap\f. If t\fe Snap To Note function is not 
    acti\be, you can mo\be t\fe note to any arbitrary 
    pitc\f.
    A TIp: When moving a Note with 
    Snap To Note o\f\f, you can re\fer to the 
    Object 
    pi
    
    tch Display to determine the 
    Note’s exact pitch at any position.
    W\fen t\fe cursor is near eit\fer end of a note, 
    t\fe lengt\f adjustment cursor (\forizontal left 
    and rig\ft arrows) will be displayed. Clicking 
    on eit\fer end of a Note w\fen t\fe lengt\f 
    adjustment cursor is displayed will allow you 
    to drag t\fe selected end point left or rig\ft 
    to a new position, effecti\bely lengt\fening or 
    s\fortening t\fe Note.
    Unlike Lines and Cur\bes, w\fose mo\bement is 
    constrained by adjacent objects, extending a  Note’s start or end point will replace any ot\fer 
    correction objects t\fat currently exist in t\fe 
    extended time range. 
    NOTE: When extending a Note, 
    as long as you are dragging the 
    end point (i.e., as long as you hold 
    your mouse button down), moving the end 
    point over an existing object will cause it to 
    be overwritten, but then moving it back to its 
    original position will cause the overwritten 
    object to reappear. However, once you 
    release the mouse button and finali\be the 
    move, the overwritten object is gone \forever. 
    Subsequently dragging the Note’s end point 
    back to its original position will not cause the 
    overwritten object to reappear.
    ANOTHER NOTE: When extending 
    a Note, any new pitch material that 
    becomes part o\f the lengthened 
    Note will inherit the original Note’s Retune 
    Speed (as displayed by its green output curve). 
    As a result, it may  (or may not) be necessary 
    to adjust the Retune Speed to achieve the best 
    result with the additional material.
    A TIp: I\f you are working on a 
    per\formance with such wide vibrato 
    that even with Number o\f Note 
    Objects set to its lowest setting you still end 
    up with a series o\f notes rapidly alternating 
    between the desired pitch and the upper and 
    lower adjacent pitches, instead o\f manually 
    moving each upper and lower note back to the 
    desired central pitch, just grab the appropriate 
    end o\f the first or last central pitch Note and 
    drag it over all o\f the other Notes. You’ll end 
    up with a single Note on the desired \frequency 
    whose vibrato you can tame with a single 
    adjustment o\f the Note’s Retune Speed.
    W\file all of t\fe abo\be may seem a bit mind-
    boggling on first reading, in practice it’s quite 
    intuiti\be. Spend a minute or two playing wit\f 
    t\fe Arrow Tool and all will become clear.
    NOTE: I\f, while the Arrow Tool is 
    selected, you move the cursor onto 
    the Envelope Graph Display, it will 
    temporarily change to the Magni\fying Glass 
    Tool, yadda, yadda, yadda…  
    						
    							46
    Scissors Tool 
    Mo\bing t\fe Scissors Tool o\ber an 
    existing Cur\be, Line, or Note object 
    and clicking will break t\fe object 
    in two at t\fe point clicked. Bot\f of t\fe new 
    objects will be unselected.
    For Cur\bes and Lines, alt\foug\f it will look like 
    t\fere is only one anc\for point created at t\fe 
    break point, t\fere are actually two (one for 
    eac\f of t\fe two newly created line or cur\be 
    segments). Simply use t\fe Arrow Tool to mo\be 
    t\fe top anc\for point to re\beal t\fe ot\fer one.
    NOTE: Scissors Tool, Envelope Graph 
    Display, temporarily Magni\fying Glass 
    Tool. Yup.
    Magnif\bing Glass
    In t\fe Pitc\f Grap\f, use t\fe 
    Magnifying Glass to click and drag 
    a box around an area of interest. 
    Dragging off t\fe Pitc\f Grap\f automatically 
    scrolls t\fe grap\f. W\fen you release t\fe 
    mouse button, t\fe scale and position of t\fe 
    Pitc\f Grap\f will be c\fanged to display t\fe area 
    enclosed by t\fe box.
    W\fen t\fe Magnifying Glass cursor is displaying 
    t\fe default “+”, clicking t\fe Magnifying Glass 
    anyw\fere in t\fe pitc\f display will increase t\fe 
    display’s \forizontal and \bertical zoom factors 
    one step (if possible).
    Pressing 
    op
    
    tion(Mac)/Alt(PC) will cause t\fe 
    cursor to c\fange to “-”. In t\fis state, clicking 
    anyw\fere in t\fe pitc\f display will decrease t\fe 
    display’s \forizontal and \bertical zoom factors 
    one step (if possible).
    Dragging t\fe Magnifying Glass in t\fe En\belope 
    Display will cause t\fe selected time range 
    to appear in t\fe Pitc\f Display (most useful 
    for na\bigating w\fen t\fe En\belope Display is 
    in “All” mode). T\fe pitc\f range of t\fe Pitc\f 
    Display will be automatically scaled suc\f t\fat all 
    of pitc\f information in t\fat time range is \bisible 
    on t\fe screen.
    I-Beam Tool
    Drag t\fe I-Beam Tool in eit\fer t\fe 
    Pitc\f or En\belope Display to select 
    an area to apply Make Cur\be, 
    Import Auto, Make Notes, Number of Note 
    ob
     jects, or Adjust 
    vi
     brato. T\fe selection area 
    will be reflected in bot\f displays.
    Double-clicking wit\f t\fe I-Beam tool in eit\fer 
    t\fe Pitc\f or En\belope Display will \fig\flig\ft t\fe 
    range of all currently tracked audio.
    If t\fe En\belope Display is set to All, using t\fe 
    I-Beam Tool to make a selection anyw\fere in 
    t\fe En\belope Display will cause t\fe selected 
    audio to appear in t\fe Pitc\f Display. T\fis is 
    \fandy for quickly mo\bing around your track to 
    make \barious edits.
    Hand Tool
    Drag t\fe Hand Tool in any direction 
    in t\fe Pitc\f Display to mo\be t\fe 
    area displayed.
    If you mo\be any selected cursor into t\fe left-
    \fand “key” area, it will temporarily c\fange to 
    t\fe Hand tool, allowing you to quickly scroll t\fe 
    Pitc\f Display up or down as desired.
    pOp QUIZ!:  I\f, while the Hand Tool 
    is selected, you move the cursor 
    onto the Envelope Graph Display, 
    what happens? (Send your answer to in\fo@
    antarestech.com with the words “
    po
    
    p Qui\b” in 
    the subject line.)
    The Edit Buttons
    once some audio \fas been tracked and/or 
    correction objects created, t\fey can be affected 
    or edited in \barious ways wit\f t\fe Edit Buttons.
    T\fe Edit Buttons are context sensiti\be, i.e., only 
    t\fe buttons t\fat are applicable to t\fe current 
    state of t\fe pitc\f display are acti\be. If a particular 
    button does not \fa\be a \balid function relati\be to 
    t\fe current pitc\f display state, it will be “grayed 
    out” (i.e., colored dark gray).  If it does \fa\be a 
    \balid function, it will appear pale gray.
    T\fe Clear All Button
    Clicking t\fe Clear All button 
    erases all tracking and correction 
    information, w\fet\fer or not 
    it is currently \bisible on t\fe 
    Pitc\f Display. Since you can not undo t\fis 
    function (and accidentally executing it could be 
    catastrop\fic), you must confirm your intent in a 
    warning dialog.  
    						
    							47
    NOTE:
     I\f you’re absolutely certain 
    you want to clear everything and 
    don’t want to be bothered by the 
    confirmation dialog, Option-click the Clear All 
    button to bypass the warning.
    T\fe Undo Button
    T\fe Undo button becomes 
    acti\be w\fene\ber you mo\be or 
    modify a target pitc\f contour 
    object. Clicking t\fe Undo 
    button once will undo t\fe most recent c\fange. 
    If you \fa\be made multiple c\fanges, you can 
    continue to click Undo to undo additional 
    c\fanges up to t\fe limit t\fat you set in t\fe 
    op
    
    tions dialog. T\fe Redo Button
    T\fe Redo button becomes 
    acti\be w\fene\ber you \fa\be 
    executed at least one Undo. 
    Clicking t\fe Redo button once 
    will redo t\fe most recent undone c\fange. 
    If you \fa\be executed multiple undos, you 
    can continue to click Redo to redo additional 
    c\fanges up to t\fe limit t\fat you set in t\fe 
    op
    
    tions dialog. T\fe Snap To Note Button
    Press t\fis button to enable 
    Snap To Note mode w\fen 
    using t\fe Line Tool or 
    mo\bing Note objects. In 
    Snap To Note mode, eac\f line segment will 
    automatically snap to t\fe nearest semitone and 
    Notes can only be mo\bed to exact semitones 
    (or exact scale notes for microtonal scales).
    Pressing t\fe S\fift key on your keyboard 
    w\file drawing a line or mo\bing a Note object 
    temporarily toggles t\fe state of t\fe Snap To 
    Note button. I.e., if Snap To Note mode is not 
    enabled, pressing S\fift will enable it for as long 
    as S\fift is pressed. Con\bersely, if Snap To Note 
    mode is enabled, pressing S\fift will disable it 
    for as long as S\fift is pressed.
    T\fe Select All Button
    T\fe Select All button causes 
    all correction objects, w\fet\fer 
    currently \bisible on t\fe Pitc\f 
    Grap\f \biew or not, to become 
    selected. T\fe Cut And Cop\b Buttons
    T\fe Cut and Copy buttons 
    become acti\be w\fene\ber one 
    or more correction objects are 
    selected. Cut remo\bes selected 
    objects. Bot\f Cut and Copy 
    copy selected objects to t\fe 
    Auto-Tune E\bo clipboard. You 
    can t\fen paste t\fe objects 
    elsew\fere in t\fe Pitc\f Grap\f 
    display.
    T\fe Paste Button
    T\fe Paste button becomes 
    acti\be w\fene\ber one or more 
    objects \fa\be been Cut or Copied 
    to t\fe clipboard. 
    To paste object(s) from t\fe clipboard:
    • Na\bigate to t\fe general area w\fere you want  to paste t\fe object(s.) 
    • Click t\fe Paste button (t\fe cursor will turn into t\fe Paste cursor). 
    • Press and \fold your left (or only) mouse button. A grap\fic representation of t\fe 
    object(s) to be pasted will appear.
    • W\file \folding down t\fe mouse button, drag t\fe objects to t\fe exact location w\fere you 
    wis\f to paste t\fem. 
    •  once t\fey are at t\fe proper location, release t\fe mouse button to complete t\fe paste.
    NOTE: Since only one correction 
    object (Line, Curve, or Note) can exist 
    at any time point on the 
    pi
    
    tch Graph, 
    any object(s) that previously existed at the 
    time where an object is pasted will be deleted. 
    Hence, be\fore you complete the paste, be 
    sure that the area you’re pasting into does not 
    contain any correction object(s) that you want 
    to keep.
    A TIp: When pasting an object, the 
    object retains the Retune Speed(s) 
    o\f the originally copied object. That speed may 
    or may not be appropriate \for the pitch data at 
    the object’s new location. Observe the resulting 
    green output pitch curve and adjust the Retune 
    Speed as necessary.  
    						
    							48
    T\fe Nudge Buttons
    T\fe Nudge buttons allow you 
    to mo\be all currently selected 
    correction objects up or down in 
    precise one-pixel increments. 
    NOTE: I\f Snap To Note mode is 
    enabled, Note objects can not be 
    nudged. I\f you want to nudge a Note 
    object, first turn o\f\f Snap To Note. A\fter nudging 
    the Note to its new pitch, you can re-engage 
    Snap To Note. The nudged note will remain at 
    its o\f\fset pitch (unless you subsequently use 
    the Arrow tool to move it, in which case it will 
    once again be constrained to scale notes).
    T\fe actual pitc\f inter\bal for eac\f Nudge step 
    depends on t\fe current \bertical zoom setting of 
    t\fe Pitc\f Grap\f. W\fen t\fe display is zoomed 
    far out, t\fe inter\bal is larger t\fan w\fen zoomed 
    in. T\fe extremes of t\fe nudge inter\bals are as 
    follows:
    W\fen zoomed all t\fe way out: 20 cents per 
    nudge
    W\fen zoomed all t\fe way in: 2 cents per nudge
    For maximum control, zoom in as close as 
    possible to your object(s) of interest before 
    using t\fe Nudge buttons.
    Ke\bboard Equivalents
    Some \fost applications support t\fe following 
    keyboard command equi\balents for t\fe 
    abo\be Edit Buttons. 
    ot
    
    \fers reser\be t\fese 
    commands for t\feir own use. Consult your \fost 
    application’s manual for details (or just try t\fem 
    and see if t\fey work).
    Command/Control-Z
     U
    
    ndo 
    Command-S\fift-Z/Control-Y 
     R
    
    edo 
    Command/Control-X 
     C
    
    ut 
    Command/Control-C 
     C
    
    opy 
    Command/Control-
    v  P
    
    aste 
    Command/Control-A 
     S
    
    elect All
    Pitch Shifting, Formant Correction 
    and Throat Modeling
    To use t\fe Pitc\f S\fifting, Formant Correction 
    and/or T\froat Modeling functions in Grap\fical 
    Mode, refer to t\fe descriptions of t\fe 
    Transpose, T\froat Lengt\f, and Formant 
    controls in t\fe Common Controls section earlier 
    in t\fis c\fapter.
    Pen Tablet Input
    If you do a lot of your pitc\f correction using 
    Grap\fical Mode, you may want to consider 
    using a USB pen tablet like t\fe Wacom 
    Grap\fire or Intuos.
    A pen tablet lets you control Auto-Tune E\bo’s 
    grap\fical tools (as well as all t\fe ot\fer controls) 
    using a familiar pen-style input de\bice. 
    on
     ce 
    you become comfortable wit\f one (w\fic\f 
    usually only takes a few minutes), a pen tablet 
    typically offers increased drawing accuracy 
    wit\f less wrist stress in long sessions. Some 
    tablets also include programmable function 
    keys for often-used keyboard commands.  
    						
    							49
    Chapter 4 : Auto\bTune Evo Tutorials
    T\fis c\fapter introduces you to \fow Auto-Tune E\bo works by guiding you t\froug\f a 
    number of brief tutorials. 
    T\fese tutorials make use of a number of audio and MIDI files. (We will assume t\fat 
    you are familiar wit\f loading audio and MIDI files into your \fost application.) 
    If you purc\fased a packaged \bersion of Auto-Tune E\bo, your will find t\fe required files in t\fe 
    “Tutorial Audio” folder on t\fe installation D
    vD
    
     R
    oM
     . 
    If you purc\fased your copy of Auto-Tune E\bo \bia download, you will \fa\be to separately download 
    t\fe Tutorial Audio files from t\fe same web page from w\fic\f you downloaded Auto-Tune E\bo. 
    Tutorial 1: Automatic Mode Basics
    T\fis tutorial will guide you t\froug\f t\fe basic 
    Automatic Mode functions using t\fe file “A2-A
    
    3-A2 sweep.” T\fis is a simple synt\fesized 
    wa\beform sweeping slowly from A2 up to A3 
    and back to A2. W\file it is unlikely t\fat you’d 
    e\ber need to process suc\f an input wit\f Auto-
    Tune E\bo, it pro\bides a \bery clear example of 
    w\fat eac\f of t\fe main Auto-Tune E\bo controls 
    do. 
    Begin t\fe tutorial by doing t\fe following: 
     1
    
    .
     L
     oad or import “A2-A3-A2 sweep” into a 
    track of your \fost program. Play t\fe track 
    so t\fat you are familiar wit\f t\fe original 
    audio. 
     2
    
    .
     S
     et up Auto-Tune E\bo to be an insert effect 
    on t\fat track. 
     3
    
    .
     S
     et Auto-Tune E\bo to Automatic Mode. 
     4
    
    .
     S
     et t\fe Key to “A” and t\fe Scale to 
    “Major.” 
     5
    
    .
     S
     et t\fe Retune Speed to zero. 
     6
    
    .
     S
     et “A2-A3-A2 sweep” to loop 
    continuously and put your \fost program 
    into Play mode. 
    W\fat you will \fear is an A major scale. T\fis 
    is because Auto-Tune E\bo is continuously 
    comparing t\fe input pitc\f to t\fe notes of t\fe A  major scale and instantaneously correcting t\fe 
    output pitc\f to t\fe nearest of t\fe scale tones. 
    Now do t\fe following: 
     1
    
    .
     I
     n t\fe Edit Scale Display, click t\fe Remo\be 
    buttons next to t\fe notes B, D, F# and G#. 
     2
    
    .
     P
     lay “A2-A3-A2 sweep” again. 
    You will now \fear an arpeggiated A Major triad 
    because you \fa\be remo\bed all t\fe ot\fer notes 
    from t\fe scale. 
    To continue: 
     1
    
    .
     I
     n t\fe Edit Scale Display, click t\fe Bypass 
    button next to E. 
     2
    
    .
     P
     lay “A2-A3-A2 sweep” again. 
    You will now \fear t\fe effect of not correcting 
    t\fe E. During t\fe time t\fat Auto-Tune E\bo 
    would normally be tuning t\fe input to E, Auto-
    Tune E\bo instead enters bypass mode and 
    passes t\fe input t\froug\f uncorrected. 
    To continue: 
     1
    
    .
     S
     et t\fe Retune Speed to about 30. 
     2
    
    .
     P
     lay “A2-A3-A2 sweep” again. Compare 
    t\fe 30 setting to t\fe 0 setting. 
     3
    
    .
     T
     ry \barious ot\fer Speed settings.   
    						
    							50
       T\fe setting of 0 is fast: Auto-Tune E\bo makes instantaneous pitc\f c\fanges. 
    T\fe setting of 30 is slower. Auto-Tune 
    E\bo makes gradual pitc\f c\fanges. T\fis 
    parameter controls \fow rapidly t\fe pitc\f 
    correction is applied to t\fe incoming pitc\f. 
    T\fe units are milliseconds. A \balue of zero 
    will cause instantaneous c\fanges from 
    one tone to anot\fer and will completely 
    suppress a \bibrato (note t\fat related \bolume 
    c\fanges will remain). Retune \balues from 
    10 to 50 are typical for \bocals. 
    To continue: 
     1
    
    .
     S
     et t\fe Retune Speed to 0 
     2
    
    .
     I
     n t\fe Edit Scale Display, click t\fe Remo\be 
    buttons next to all t\fe notes except F#. 
     3
    
    .
     P
     lay “A2-A3-A2 sweep” again. As t\fe 
    sound is playing, mo\be Scale Detune knob. 
    T\fe output pitc\f will be locked to F#, \fowe\ber, 
    you will \fear t\fe output pitc\f c\fange wit\f t\fe 
    Detune slider mo\bement. T\fis is because t\fe 
    Detune knob is c\fanging t\fe pitc\f standard of 
    t\fe scale. 
    Finally: 
     1
    
    .
     S
     elect “sine wa\be” from t\fe 
    vi
     brato Type 
    pop-up. 
     2
    
    .
     P
     lay “A2-A3-A2 sweep” again. 
     3
    
    .
     E
     xperiment wit\f t\fe \barious \bibrato 
    controls to \fear t\feir effects.   
    						
    							51
    Tutorial 2: Targeting Ignores Vibrato Function
    T\fis tutorial will demonstrate t\fe purpose and 
    use of t\fe Automatic Mode’s Targeting Ignores 
    vi
    brato function. 
    Begin t\fe tutorial by doing t\fe following: 
     1
    
    .
     L
     oad or import “wide_\bibrato” into a track 
    of your \fost program. T\fis is a recording of 
    a male \boice singing a sustained “G” wit\f 
    a pronounced \bibrato. Play t\fe track so 
    t\fat you are familiar wit\f t\fe original audio. 
    Despite t\fe wide \bibrato, you will notice 
    t\fat t\fe singer’s pitc\f drifts alternately 
    s\farp and flat. 
     2
    
    .
     S
     et up Auto-Tune E\bo to be an insert effect 
    on t\fat track. 
     3
    
    .
     S
     et Auto-Tune E\bo to Automatic Mode. 
     4
    
    .
     S
     et t\fe Key to “C” and t\fe Scale to 
    “C\fromatic.” 
     5
    
    .
     S
     et t\fe Input Type to Low Male 
    vo
     ice 
     6
    
    .
     S
     et Retune Speed to a \balue of 24. 
     7
    
    .
     U
     se your \fost program’s controls to Bypass 
    Auto-Tune E\bo. Set “wide_\bibrato” to loop 
    continuously and put your \fost program 
    into Play mode. Watc\f t\fe blue Detected 
    Pitc\f indication on Auto-Tune E\bo’s 
    vi
    
    rtual 
    Keyboard. As you will see, t\fe singer’s 
    \bibrato is so wide t\fat it consistently gets 
    closer to G# and F# t\fan G, causing Auto-
    Tune to intermittently select t\fose notes as 
    target pitc\fes. 
     8
    
    .
     C
     \feck t\fat Targeting Ignores 
    vi
     brato is 
    not selected and remo\be Auto-Tune E\bo 
    from Bypass. Watc\f t\fe Detected Pitc\f 
    indication and listen to t\fe result. As you 
    will \fear, w\fene\ber Auto-Tune E\bo t\finks 
    G# or F# is t\fe target pitc\f, it will mo\be 
    t\fe input closer to t\fose notes, in effect 
    making t\fe situation worse. 
     9
    
    .
     N
     ow, lea\bing all ot\fer settings t\fe same, 
    click Targeting Ignores 
    vi
    
    brato. Wit\f 
    Targeting Ignores 
    vi
    
    brato engaged, Auto-
    Tune E\bo’s \bibrato identification algorit\fm 
    recognizes t\fe pitc\f excursions as \bibrato 
    and continues to use “G” as t\fe target 
    pitc\f. Next, we’ll use Grap\fical Mode for a dramatic 
    grap\fic demonstration of t\fe effect of Targeting 
    Ignores 
    vi
    
    brato: 
     1
    
    .
     S
     till using “wide_\bibrato,” set up Auto-Tune 
    E\bo as described in Steps 1-5 abo\be. 
     2
    
    .
     S
     et Retune Speed to 0. 
     3
    
    .
     M
     ake sure Targeting Ignores 
    vi
     brato is 
    of
     f. 
     4
    
    .
     S
     et Auto-Tune E\bo to Grap\fical Mode. 
     5
    
    .
     C
     lick t\fe Track Pitc\f button and play 
    wide_\bibrato t\froug\f Auto-Tune E\bo. A 
    red cur\be representing t\fe pitc\f contour of 
    wide_\bibrato will be drawn to t\fe screen as 
    t\fe file plays. 
     6
    
    .
     S
     top playback and click t\fe Track Pitc\f 
    button again to stop t\fe tracking function. 
     7
    
    .
     C
     lick t\fe Import Auto button. A blue cur\be 
    will appear. T\fis cur\be represents t\fe 
    pitc\f correction t\fat would result from 
    processing t\fe audio wit\f t\fe current 
    Automatic Mode settings. Note all t\fe 
    instances in w\fic\f Auto-Tune E\bo identifies 
    G# or F# as t\fe target pitc\f. 
     8
    
    .
     S
     et Auto-Tune E\bo back to Automatic 
    Mode. 
     9
    
    .
     S
     et Targeting Ignores 
    vi
     brato to 
    on
     . 
     1
    
    0.
     R
     eturn once again to Grap\fical Mode. 
     1
    
    1.
     C
     lick Import Auto (t\fere is no need to track 
    pitc\f again, as t\fe red pitc\f cur\be is still 
    present in t\fe Pitc\f Grap\f). 
     1
    
    2.
     N
     otice t\fat t\fe blue cur\be is now a straig\ft 
    line on “G,” indicating t\fat t\fe Impro\bed 
    Targeting algorit\fm \fas accurately 
    identified t\fe pitc\f excursions as \bibrato 
    and \fas t\ferefore ignored it as far as target 
    pitc\f selection is concerned.   
    						
    							52
    Tutorial 3: Natural Vibrato Function
    T\fis tutorial will demonstrate t\fe use of t\fe 
    Natural vibrato function using t\fe same audio 
    file we used in t\fe pre\bious tutorial. 
    Begin t\fe tutorial by doing t\fe following: 
     1
    
    .
     L
     oad or import “wide_\bibrato” into a track 
    of your \fost program. T\fis is a recording of 
    a male \boice singing a sustained “G” wit\f 
    a pronounced \bibrato. Play t\fe track so t\fat 
    you are familiar wit\f t\fe original audio. 
     2
    
    .
     S
     et up Auto-Tune E\bo to be an insert effect 
    on t\fat track. 
     3
    
    .
     S
     et Auto-Tune E\bo to Automatic Mode. 
     4
    
    .
     S
     et t\fe Key to “C” and t\fe Scale to 
    “C\fromatic.” 
     5
    
    .
     S
     et t\fe Input Type to Low Male 
    vo
     ice 
     6
    
    .
     S
     et Retune Speed to a \balue of 24. 
     7
    
    .
     S
     et “wide_\bibrato” to loop continuously 
    and put your \fost program into Play mode. 
     8
    
    .
     S
     et Natural 
    vi
     brato to 12 and note t\fe 
    effect on t\fe \bibrato. Set Natural 
    vi
    
    brato to 
    -12 and note t\fe effect on t\fe \bibrato. 
     9
    
    .
     S
     et all Scale notes to Bypass to disable 
    any pitc\f correction. Again, adjust Natural 
    vi
    
    brato as in Step 8 and note t\fat its effect 
    is still acti\be.   
    						
    							53
    Tutorial 4: Using the Automatic Mode MIDI Functions
    T\fis tutorial will introduce you to Auto-Tune 
    E\bo’s two Automatic Mode MIDI functions: 
    Learn Scale From MIDI and Target Notes 
    vi
    a 
    MIDI.
    Wit\f Learn Scale From MIDI, you can create 
    t\fe correct scale for a particular melody wit\fout 
    knowing a G-s\farp from a B-flat. Simply play 
    t\fe melody on a MIDI keyboard w\fic\f is 
    patc\fed t\froug\f your \fost application to Auto-
    Tune E\bo or play an existing MIDI file wit\f 
    contains t\fe MIDI notes of t\fe melody to be 
    processed.
    Begin t\fe tutorial by doing t\fe following:
     1
    
    .
     L
     oad or import t\fe audio file “somew\fere” 
    into a track of your \fost program. T\fis is a 
    recording of Somew\fere 
    o\b
    
    er t\fe Rainbow 
    sung wit\f fairly extreme pitc\f errors. (
    ou
    
    r 
    \bery talented singer made us promise to 
    tell you t\fat s\fe did t\fis on purpose at our 
    request.)
     2
    
    .
     S
     et up Auto-Tune E\bo to be an insert effect 
    on t\fat track.
     3
    
    .
     I
     mport t\fe MIDI file “somew\fere.mid” into 
    your \fost program’s MIDI sequencer.
     4
    
    .
     S
     elect Auto-Tune E\bo as t\fe target for t\fe 
    MIDI track.
     5
    
    .
     S
     elect Automatic Mode and click t\fe 
    “Learn Scale from MIDI” button so t\fat 
    it turns blue and its indicator c\fanges to 
    “
    on
    
    .”
     6
    
    .
     C
     lick t\fe All 
    oc
     ta\bes button so t\fat it turns 
    blue (if it is not already).
     7
    
    .
     P
     lay t\fe MIDI file t\froug\f once and watc\f 
    as t\fe scale de\belops on Auto-Tune E\bo’s 
    \birtual keyboard and in t\fe Scale Edit 
    window. As eac\f note is sung, it is added 
    to t\fe scale until t\fe scale includes e\bery 
    note t\fat appears in t\fe melody.
     8
    
    .
     S
     et t\fe Retune control to 20 and play t\fe 
    audio track using t\fis scale.NOTE: You can also instantaneously 
    define a scale by playing all o\f the 
    notes o\f the scale as a chord (i.e., 
    all scale notes played on the same beat) and 
    recording that into a MIDI track. This is an ideal 
    way to use Auto-Tune Evo in music with many 
    key (scale) changes.
    Wit\f Target Notes 
    vi
    
    a MIDI, Auto-Tune E\bo 
    looks at its MIDI input in real time to determine 
    its current target note(s). Try t\fe following wit\f 
    t\fe pro\bided audio and MIDI files:
     1
    
    .
     S
    
    et up your \fost program and load or 
    import t\fe “somew\fere” audio and MIDI 
    files as described in steps 1–4 abo\be.
     2
    
    .
     S
    
    elect Automatic Mode and click t\fe 
    “Target Note 
    vi
    
    a MIDI” button so t\fat 
    it turns blue and its indicator c\fanges to 
    “
    on
    
    .”
     3
    
    .
     C
    
    lick t\fe 
    oc
     ta\bes as Played button so t\fat 
    it turns blue (if it is not already).
     4
    
    .
     P
    
    lay t\fe audio and MIDI track toget\fer and 
    watc\f t\fe current target note c\fange in real 
    time on t\fe 
    vi
    
    rtual Keyboard — and listen 
    to t\fe results.
    T\fe most interesting part of t\fe Target Notes 
    vi
    
    a MIDI feature is t\fat it only operates for t\fe 
    duration of t\fe MIDI note — t\fat is, w\fen t\fere 
    is no current MIDI Note 
    on
    
     \balue, Auto-Tune 
    E\bo is effecti\bely in Bypass mode. T\fis means 
    t\fat if you delay t\fe MIDI notes, t\fen t\fe audio 
    performs its attacks as performed and t\fen 
    corrects to pitc\f w\fen t\fe MIDI note occurs 
    (at w\fate\ber Retune Speed is set). In t\fe case 
    of t\fe ‘Somew\fere’ \bocal performance, most 
    of t\fe intonation problems \fappen during 
    t\fe notes’ sustain portions. Try mo\bing t\fe 
    notes in t\fe MIDI file around and listen to t\fe 
    results. T\fis gi\bes far more subtle control t\fan 
    Automatic Mode alone, w\file not being quite 
    as tweaky as operating in Grap\fical Mode.
    NOTE: The MIDI \functions look only 
    at MIDI note values. Controller data 
    such as 
    pi
    
    tch Bend or Mod Wheel do 
    not a\f\fect Auto-Tune Evo’s per\formance.  
    						
    							54
    Tutorial 5: Transpose and Formant Control
    T\fis tutorial will demonstrate Auto-Tune E\bo’s 
    pitc\f s\fifting, formant correction and t\froat 
    modeling capabilities. It will make use of t\fe 
    same audio file used in t\fe pre\bious tutorial. 
    Begin t\fe tutorial by doing t\fe following:
     1
    .
     L
     oad or import t\fe audio file “somew\fere” 
    into a track of your \fost program. 
     2
    
    .
     S
     et up Auto-Tune E\bo to be an insert effect 
    on t\fat track. (If you are using a Pro Tools 
    HD system, use t\fe RTAS \bersion of t\fe 
    plug-in.)
     3
    
    .
     S
     et t\fe Key to “G” and t\fe scale to 
    “Major.” Set t\fe Retune Speed knob to 27.
     4
    
    .
     P
     lay t\fe audio file. Note t\fat t\fese settings 
    do a pretty good job of correcting t\fe most 
    ob\bious problems in t\fe performance.
     5
    
    .
     S
     et t\fe Transpose control to 6 (a perfect 
    fift\f up). C\feck to be sure t\fat Formant is 
    off. 
     6
    
    .
     P
     lay t\fe audio file and listen to t\fe quality 
    of t\fe \boice. Since t\fe formants are being 
    s\fifted wit\f t\fe pitc\f, you will \fear t\fe 
    familiar “c\fipmunk” effect.
     7
    
    .
     C
     lick t\fe Format button to turn on formant 
    correction. Set t\fe T\froat Lengt\f to 120.
     8
    
    .
     P
     lay t\fe audio file again and note t\fe 
    difference.
     9
    
    .
     P
     lay t\fe audio file again w\file adjusting t\fe 
    T\froat Lengt\f control to \fear t\fe effect of 
    c\fanging t\fe modeled \bocal tract.
     1
    
    0.
     R
     epeat steps 5 t\froug\f 9 wit\f different 
    settings of t\fe Transpose control.  
    						
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