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Owners Manual

Auto-Tune 5Pitch Correcting Plug-in

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2006 Antares Audio Technologies.

All rights reserved. Certied Isinglass-ree

All trademarks are property o their respective owners.

Antares Audio Technologies

231 Technology Circle, Scotts Valley, Caliornia 95066 USA

www.antarestech.com

Printed in USA Rev 1.0 PN P23035-0906-M01

Hi Five!

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The Obligatory Legal Mumbo-Jumbo

The Antares Auto-Tune 5 sotware and thisUsers Manual are protected by copyrightlaw. Making copies, adaptations, or derivativeworks without the prior written authorizationo Antares Audio Technologies, is prohibited bylaw and constitutes a punishable violation othe law.

Antares Audio Technologies retains allownership rights to the Auto-Tune 5 sotwareand its documentation. Use o Auto-Tune 5 is

limited by the ollowing license agreement.

Please careully read all the terms andconditions o this license agreement. Atthe time o installation o the Auto-Tune 5sotware you will be presented with a copyo the agreement and asked whether or notyou agree to it. Continuing with the installationprocess beyond that point constitutes suchagreement.

Auto-Tune 5 License AgreementAntares Audio Technologies grants you a

non-transerable, non-exclusive license to useAuto-Tune 5 under the terms and conditionsstated in this agreement. Use o Auto-Tune5 indicates your agreement to the ollowingterms and conditions.

LicenseYou may:

1. Use Auto-Tune 5 on only one computerat a time. Transerring your license romcomputer to computer requires the use oan iLok USB smart key.

You may not:

1. Make copies o Auto-Tune 5 or o theuser manual in whole or in part except asexpressly provided or in this agreement.Your right to copy Auto-Tune 5 and theuser manual is limited by copyrightlaw. Making copies, verbal or mediatranslations, adaptations, derivative works,

or telecommunication data transmissiono Auto-Tune 5 without prior writtenauthorization o Antares, is prohibited bylaw and constitutes a punishable violationo the law.

2. Make alteration or modications to Auto-Tune 5 (or any copy) or disassemble orde-compile Auto-Tune 5 (or any copy), orattempt to discover the source code oAuto-Tune 5.

3. Sub-license, lease, lend, rent, or grantother rights in all or any portion o Auto-Tune 5 (or any copy) to others.

Term of the AgreementThis agreement is eective until terminatedby you or Antares. You may terminate theagreement at any time by notiying Antaresand destroying all copies o the manual, anderasing Auto-Tune 5 rom all machine-readablemedia, whether on-line or on archival copies.

In the event o breach o any o the terms o

this agreement, you shall pay the attorneysees o Antares that are reasonably necessaryto enorce the agreement plus resultingdamages.

Limited Warranty And DisclaimerAUTO-TUNE 5 AND ACCOMPANYINGMATERIALS ARE PROVIDED AS ISWITHOUT WARRANTY OF ANY KIND,EITHER EXPRESS OR IMPLIED, INCLUDING,BUT NOT LIMITED TO, THE IMPLIEDWARRANTIES OF MERCHANTABILITY ANDFITNESS FOR A PARTICULAR PURPOSE.

Antares Audio Technologies does not warrantthat the unctions contained in the program willmeet your requirements. The entire risk as tothe use, quality, and perormance o Auto-Tune5 is with you.

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SOME JURISDICTIONS DO NOT ALLOWLIMITATIONS ON HOW LONG AN IMPLIEDWARRANTY LASTS, SO THE ABOVELIMITATION MAY NOT APPLY TO YOU. THISWARRANTY GIVES YOU SPECIFIC LEGAL

RIGHTS. YOU MAY ALSO HAVE OTHERRIGHTS WHICH VARY FROM JURISDICTIONTO JURISDICTION.

Limitation of LiabilityIN NO EVENT WILL ANTARES BE LIABLEFOR ANY DAMAGES, INCLUDING LOSS OFDATA, LOST PROFITS OR OTHER SPECIAL,INCIDENTAL, CONSEQUENTIAL ORINDIRECT DAMAGES ARISING FROM THEUSE OF AUTO-TUNE 5 OR ACCOMPANYINGMATERIALS. THIS LIMITATION WILL APPLYEVEN IF ANTARES OR ITS AUTHORIZED

AGENT HAS BEEN ADVISED OF THEPOSSIBILITY OF SUCH DAMAGE. YOUACKNOWLEDGE THAT THE LICENSE FEEREFLECTS THIS ALLOCATION OF RISK.SOME JURISDICTIONS DO NOT ALLOWLIMITATION OR EXCLUSION OF LIABILITYFOR INCIDENTAL OR CONSEQUENTIALDAMAGES, SO THE ABOVE LIMITATIONMAY NOT APPLY TO YOU.

Whew! Now that thats over, lets get on tothe good stu.

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Contents

Chapter1 GettingStartedWhats New in Auto-Tune 5 3

Installing and Authorizing 5

Technical Support 6

Chapter2 IntroducingAuto-Tune5Some background 7

A little bit about pitch 7

How Auto-Tune 5 detects pitch 9

How Auto-Tune 5 corrects pitch 9

Automatic Mode 10

Graphical Mode 12

Chapter3 Auto-Tune5ControlsCommon Controls 15

Automatic Mode Controls 18MIDI Functions 23

Graphical Mode Controls 30

Pen Tablet Input 39

Chapter4 Auto-Tune5TutorialTutorial 1: Automatic Mode Basics 41

Tutorial 2: Targeting Ignores Vibrato Function 42

Tutorial 3: Natural Vibrato Function 43Tutorial 4: MIDI Functions 44

Tutorial 5: Graphical Mode Basics 45

Tutorial 6: Precision 46

Tutorial 7: Make Curve Function 47

Tutorial 8: Import Auto Function 49

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vi

Chapter5 NewFeaturesQuickStartGuide 51

Chapter6 CreativeApplications 57

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Welcome!

On behal o everyoneat Antares AudioTechnologies, wed liketo oer both our thanksand congratulations on

your decision to purchase Auto-Tune 5, themost powerul intonation correction tool in theworld. Beore you proceed any arther, wedlike to strongly encourage you to register andauthorize your copy o Auto-Tune 5. (You can

skip ahead to the Authorization and Installationinstructions on page 5. Well wait.) Also, iyoure planning on discarding that lovelyAuto-Tune 5 box, its probably a good idea towrite down the serial number that appearson the bottom o the box or uture reerence.(The inside cover o this manual would be agood place.)

As an Auto-Tune 5 owner, you are entitledto receive notication o any sotwareupgrades, technical support, and advanceannouncements o upcoming products. Butwe cant send you stu unless we know whoand where you are. So please, register.

At Antares, we are committed to excellencein quality, customer service, and technologicalinnovation. With your purchase o Auto-Tune5, you have created a relationship with Antares

which we hope will be long and gratiying. Letus know what you think. You can count on usto listen.

Again, thanks.

The Whole Antares Crew

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Chapter1:GettingStarted

I you are new to Auto-Tune, we encourage you to read this manual andwork through the tutorials in Chapter 4. Its the quickest way to becomeamiliar with what Auto-Tune 5 does and how it does it.

I you are upgrading rom a previous version o Auto-Tune, you will nd thatmost o what youre already doing will continue to work in Auto-Tune 5, only

better. To get up to speed quickly, just check out the new eature overview below and then reer tothe detailed New Feature Quick Start Guide in Chapter 5, which will tell you everything you need toknow to make use o Auto-Tune 5s new capabilities.

Whats New in Auto-Tune 5The ollowing are the key new eatures that have been added in Auto-Tune 5:

General Features

Improved pitch detection algorithm:While Auto Tunes patented pitch detectiontechnology has always provided unmatchedspeed and accuracy, Auto-Tune 5 introducesimprovements in perormance with marginalquality (noisy, poorly isolated, etc.) audio.

A sleek new interface: As Auto-Tuneseatures have prolierated rom version to

version, we have continually ocused onmaintaining its ease o use. With Auto-Tune5, we have undertaken a complete graphicredesign. The result is both easy on theeyes and logically groups related controls orintuitive unctionality.

Consolidated Pitch Tracking control:The previously separate Automatic andGraphical Mode Tracking controls havebeen consolidated into a single control andrelocated to the Options dialog or set-it-and-orget-it simplicity.

Automatic Mode Features

Humanize function: For those concernedabout pitch correction that is too perect,the Humanize unction allows you to seta ast retune speed or short notes, whilestill allowing natural variation in held notes,or results that are even more natural andrealistic.

Realtime natural vibrato adjustment:

The new realtime Natural Vibrato unctionallows you to modiy (either increasing ordecreasing) the depth o any vibrato that ispresent in the original perormance.

Graphical Mode Features

Larger Pitch Edit Display: As youve nodoubt noticed, the Pitch Edit Display is nowbigger. Lots bigger.

Sync to host transport (hostdependent): For hosts that provide validtime inormation, Auto-Tune 5 will now

maintain sync with the host program.Once you have tracked audio and createdcorrection curves, you can move around inyour track at will. No more having to alwaysstart playback at exactly the same location.

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Selectable Clock Source: For hosts that donot provide valid time inormation, Auto-Tune5s clock display and selection unctions letyou use an internal time reerence or Auto-Tune 4 style operation.

Realtime pitch tracking display: Duringthe Track Pitch process, the graphicrepresentation o the pitch will be displayedin realtime as the audio plays.

Full-time correction mode (hostdependent): Whenever Auto-Tune 5 is notspecically tracking audio (and correctioncurves exist), Auto-Tune 5 will be operatingin correction mode. There is no longer anyneed to press a Correct Pitch button.Besides being convenient, that makespossible the ollowing eature:

Multiple simultaneous Graphical Modeinstances (host dependent): You cannow have multiple instances o Auto-TuneGraphical Mode operating on dierenttracks simultaneously, even i their windowsare not open. In previous versions, sinceyou had to have plug-in windows opento engage Correct Pitch mode, only openinstances could be active. No longer.

Editing functions no longer modal: Youcan now use all o the graphical editingeatures while Auto-Tune 5 is either tracking

or correcting pitch. Enhanced Envelope Display

functionality: Weve made some changesto the Envelope Display to make it muchmore useul or quick and easy navigationaround your audio:

When in ALL mode, the displayautomatically scales to precisely encompassthe tracked audio (rather than deaulting tothe entire length o the buer).

The behavior o the various editing toolshas been changed such that or every toolexcept the I-Beam, moving the cursor ontothe Envelope Display causes the tool totemporarily change into the MagniyingGlass Tool (perect or quickly moving toanother portion o your audio without havingto manually change tools).

Using the I-Beam to make a selection on theEnvelope Display now automatically causesthe Pitch Graph Display to move to theselected audio.

Realtime graphical vibrato depthadjustment: The Adjust Vibrato controlallows you to modiy the depth o vibratoin your audio while preserving the contouro the original vibrato. Moving this controlresults in a real-time graphical representationo the resulting vibrato contour.

Dedicated Snap To Note button: Whenusing the Line Tool, clicking this buttonconstrains the tool to exact scale notes.

Dedicated Clear All Data function:Provides a convenient method to instantlyclear all saved tracked audio and correctioncurve data.

How To Use This ManualI this is your rst experience o Auto-Tune, youwill nd that Auto-Tune 5 has a very riendlyuser-interace and is extraordinarily easy touse. However, because Auto-Tune 5 doesthings that have never been done beore, aew aspects o the user-interace may notbe immediately obvious. You should at leastread either Chapter 3, Auto-Tune 5 Controls,

or Chapter 4, Auto-Tune 5 Tutorial, to learn theessential inormation you will need to operateAuto-Tune 5.

And as we mentioned above, i you areupgrading rom Auto-Tune 4, go straight toChapter 5, the New Feature Quick Start Guide,to learn everything you need to know (aboutAuto-Tunes new eatures, anyway).

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5

The Contents Of This ManualChapter : Getting StartedThe chapter you are reading.

Chapter : Introducing Auto-Tune 5This chapter explains basic acts about pitchand how Auto-Tune 5 unctions to correct pitcherrors. The basic unctionality o Auto-Tune 5 isdiscussed, and inormation you need in orderto use it eectively is provided.

Chapter : Auto-Tune 5 ControlsThis chapter is reerence inormation or all othe controls used in the Auto-Tune 5 interace.

Chapter : Auto-Tune 5 TutorialThis chapter introduces you to details o howAuto-Tune 5 works by guiding you through

several tutorials. The tutorials will give youinsight into how and when to use each oAuto-Tune 5s key unctions.

Chapter 5: New Feature Quick Start GuideThis chapter contains detailed inormationabout each o Auto-Tune 5s new eatures.All o this inormation is also included inChapter 3, but is presented here to allowexperienced Auto-Tune 4 users to quicklycome up to speed on the enhancements andnew capabilities in Auto-Tune 5.

Chapter 6: Creative Applications forAuto-Tune 5Some cool, but not-so-obvious stu you cando with Auto-Tune 5.

Installing Auto-Tune 5Any unique instructions or installing Auto-Tune 5 or your specic plug-in ormat arelocated in the Auto-Tune 5 Read Me le

that accompanies the plug-in. This le mayalso contain any last-minute Auto-Tune 5inormation that didnt make it into this manual.

Auto-Tune 5 is designed to work with a widevariety o digital audio applications. Please reerto your host applications user manual or moreinormation on installing and using plug-ins.

Authorizing Auto-Tune 5Authorization is the process by which thissotware is allowed to run on your computer.

Detailed instructions covering the availableauthorization options will be ound in the leAuthorization Read Me which is included onthe installation CD ROM or with your sotwaredownload.

NOTE: When initially installed, thissotware will run or ten days withoutauthorization.

So even i you cant authorize it right awayyou can still use your sotware in themeantime. (During this period, click the TryIt button whenever you are presented with

the Trial Period screen at launch.) But dontprocrastinate too long. Ater those ten daysare up, you will no longer be able to launch thissotware until its authorized.

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6

Technical SupportIn the unlikely event that you experiencea problem using Auto-Tune 5, rst try theollowing

1. Make sure you have the latest version othe sotware. You can download and installthe latest version o the sotware rom theollowing web page:

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

2. I you are having problems authorizingyour sotware, be sure that you have thelatest version o the PACE Interlok drivers.You can download and install the latestversion or your operating system rom the

ollowing web page:http://portal.knowledgebase.net/article.asp?article=174703&p=5764

I your problem is not resolved ater taking theabove actions, try the ollowing:

1. Make another quick scan through thismanual. Who knows? You may havestumbled onto some eature that youdidnt notice the rst time through.

2. Check our web page or tips, techniques,or any late-breaking inormation:

http://www.antarestech.com

3. Consult our searchable knowledgebase at:

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

4. Call your local Antares dealer.

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Chapter2:IntroducingAuto-Tune5

Some backgroundIn 1997, Antares Audio Technologies rst introduced the ground-breakingAuto-Tune Pitch Correcting Plug-In. Auto-Tune was a tool that actuallycorrected the pitch o vocals and other solo instruments, in real time,without distortion or artiacts, while preserving all o the expressive nuance

o the original perormance. Recording Magazinecalled Auto-Tune a holy grail o recording.And went on to say, Bottom line, Auto-Tune is amazing Everyone with a Mac should have thisprogram. (In act, we know o quite a ew people back then who bought kilo-buck ProToolssystems just to be able to run Auto-Tune.)

In the intervening years, Auto-Tune established itsel as the worldwide standard in proessionalpitch correction. Today, its used daily by thousands o audio proessionals to save studio andediting time, ease the rustration o endless retakes, save that otherwise once-in-a-lietimeperormance, or even to create unique special eects.

Now, never content to leave a good thing alone, Antares has created Auto-Tune 5. Preserving thegreat sound quality, transparent processing, and ease o use o previous versions o Auto-Tune,Auto-Tune 5 adds signicant new eatures as well as a sleek new user interace.

So what exactly is Auto-Tune 5?Auto-Tune 5 is a precision tool or correctingintonation errors or creatively modiying

the intonation o a perormance. Auto-Tune5 employs state-o-the-art digital signalprocessing algorithms (many, interestinglyenough, drawn rom the geophysicalindustry) to continuously detect the pitch oa periodic input signal (typically a solo voiceor instrument) and instantly and seamlesslychange it to a desired pitch (dened by any oa number o user-programmable scales, MIDIinput, or through the use o graphical editingtools).

To take maximum advantage o the power

o Auto-Tune 5, you should have a basicunderstanding o pitch and how Auto-Tune 5unctions to correct pitch errors. This chapterpresents basic terminology and introducesAuto-Tune 5s operating paradigm, giving youinormation you need to use it eectively.

A little bit about pitchPitch is typically associated with ourperception o the highness or lowness

o a particular sound. Our perception o pitchranges rom the very general (the high pitcho hissing steam, the low pitch o the rumbleo an earthquake) to the very specic (theexact pitch o a solo singer or violinist). Thereis, o course, a wide range o variation in themiddle. A symphony orchestra playing a scalein unison, or example, results in an extremelycomplex waveorm, yet you are still able toeasily sense the pitch.

The vocalists and the solo instruments thatAuto-Tune 5 is designed to process have a very

clearly dened quality o pitch. The sound-generating mechanism o these sources isa vibrating element (vocal chords, a string,an air column, etc.). The sound that is thusgenerated can be graphically represented asa waveorm (a graph o the sounds pressureover time) that is periodic. This means thateach cycle o waveorm repeats itsel airly

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The twelve equally-spaced tones o the EqualTempered Scale happen to contain a numbero intervals that approximate integer ratiosin pitch. The ollowing table shows theseapproximations:

INTERVAL CENTS NEARBY RATIO INRATIO 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

perect ourth 500 4/3 498.04

tritone 600

perect th 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

As you can see, the intervals in the EqualTempered Scale are NOT equal to theharmonious integer ratios. Rather, the EqualTempered Scale is a compromise. It becamewidely used because once a harpsichord orpiano is tuned to that scale, any compositionin any key could be played and no one chordwould sound better or worse than that samechord in another key.

exactly, as in the periodic waveorm shown inthe diagram below:

Because o its periodic nature, this soundspitch can be easily identied and processed byAuto-Tune 5.

Other sounds are more complex. Thiswaveorm:

is o a violin section playing a single note in

unison. Our ears still sense a specic pitch,but the waveorm does not repeat itsel. Thiswaveorm is a summation o a number oindividually periodic violins. The summationis non-periodic because the individual violinsare slightly out o tune with respect to oneanother. Because o this lack o periodicity,Auto-Tune 5 would not be able to process thissound.

Some pitch terminology

The pitch o a periodic waveorm is denedas the number o times the periodic elementrepeats in one second. This is measured inHertz (abbreviated Hz.). For example, thepitch o A3 (the A above middle C on a piano)is traditionally 440Hz (although that standardvaries by a ew Hz. in various parts o theworld).

Pitches are oten described relative to oneanother as intervals, or ratios o requency. Forexample, two pitches are said to be one octaveapart i their requencies dier by a actor o

two. Pitch ratios are measured in units calledcents. There are 1200 cents per octave. Forexample, two tones that are 2400 cents apartare two octaves apart. The traditional twelve-tone Equal Tempered Scale that is used (orrather approximated) in 99.9% o all Westerntonal music consists o tones that are, bydenition, 100 cents apart. This interval o 100cents is called a semitone.

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How Auto-Tune 5 detects pitchIn order or Auto-Tune 5 to automaticallycorrect pitch, it must rst detect the pitcho the input sound. Calculating the pitch o

a periodic waveorm is a straightorwardprocess. Simply measure the time betweenrepetitions o the waveorm. Divide this timeinto one, and you have the requency in Hertz.Auto-Tune 5 does exactly this: It looks or aperiodically repeating waveorm and calculatesthe time interval between repetitions.

The pitch detection algorithm in Auto-Tune5 is virtually instantaneous. It can recognizethe repetition in a periodic sound within a ewcycles. This usually occurs beore the soundhas sucient amplitude to be heard. Used

in combination with a slight processing delay(typically about 1 to 10 milliseconds), theoutput pitch can be detected and correctedwithout artiacts in a seamless and continuousashion. (Although it must be kept in mind thatsome plug-in protocols introduce a certainamount o inherent and unpredictable delay.)

Auto-Tune 5 was designed to detect andcorrect pitches up to the pitch C6. (I theinput pitch is higher than C6, Auto-Tune 5will occasionally interpret the pitch an octavelower. This is because it interprets a two cycle

repetition as a one cycle repetition.) On thelow end, Auto-Tune 5 will detect pitches aslow as 25Hz (when the Bass Instrument InputType is selected). This range o pitches allowsintonation correction to be perormed onvirtually all vocals and instruments.

O course, Auto-Tune 5 will not detect pitchwhen the input waveorm is not periodic.As demonstrated above, Auto-Tune 5 willail to tune up even a unison violin section.But this can also occasionally be a problemwith solo voice and solo instruments as well.

Consider, or example, an exceptionally breathyvoice, or a voice recorded in an unavoidablynoisy environment. The added signal is non-periodic, and Auto-Tune 5 will have dicultydetermining the pitch o the composite (voice+ noise) sound. Luckily, there is a control (theTracking control, discussed in Chapter 3) thatwill let Auto-Tune 5 be a bit more casual about

what it considers periodic. Experimentingwith this setting will oten allow Auto-Tune 5 totrack even noisy signals.

How Auto-Tune 5 corrects pitchAuto-Tune 5 provides two separate anddistinct ways to approach pitch correction:Automatic Mode and Graphical Mode. Thebasic unctionality o each is described on theollowing pages.

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0

Automatic ModeAuto-Tune 5s Automatic Mode works by

continuously tracking the pitch o an inputsound and comparing it to a user-denedscale. The scale tone closest to the inputis continuously identied. I the input pitchexactly matches the scale tone, no correctionis applied. I the input pitch varies romthe desired scale tone, an output pitch isgenerated which is closer to the scale tonethan the input pitch. (The exact amount ocorrection is controlled by the Retune Speedand Humanize settings, described below andin Chapter 3.)

Scales

The heart o Automatic Mode pitch correctionis the Scale. Auto-Tune 5 lets you chooserom major, minor, chromatic or 26 historical,ethnic and micro-tonal scales. Individual scalenotes can be bypassed, resulting in no pitchcorrection when the input is near those notes.Individual scale notes can also be removed,allowing a wider range o pitch correctionor neighboring pitches. The scale can bedetuned, allowing pitch correction to any pitchcenter.

For added fexibility, you can also select the

target pitches in real time via MIDI rom a MIDIkeyboard or a pre-recorded sequencer track.

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Retune SpeedAuto-Tune 5 also gives you control over howrapidly, in time, the pitch adjustment is madetoward the scale tone. This is set with theRetune Speed control (see Chapter 3 or more

details).

Fast Speed settings are appropriate orshort duration notes and or mechanicalinstruments, like oboe or clarinet, whosepitch typically changes almost instantly. Aast enough setting will also minimize orcompletely remove a vibrato, as well asproduce the inamous Cher eect.

Slow Speed settings, on the other hand,are appropriate or longer notes where youwant expressive pitch gestures (like vibrato)to come through at the output and or vocal

and instrumental styles that are typiedby gradual slides (portamento) betweenpitches. An appropriately selected slowsetting can leave expressive gestures intactwhile moving the average pitch to the correcttonal center.

VibratoAuto-Tune 5 allows real-time adjustment o thedepth o any natural vibrato present in the input.

Auto-Tune 5 can also add a vibrato to an inputthat does not naturally exhibit one. You can

program the vibrato rate along with individualvibrato depths or pitch, amplitude (loudness)and ormant (resonant requencies). You canalso speciy delayed vibrato with independentlyprogrammable onset delay and onset rate.

By combining a ast Retune Speed setting withAuto-Tune 5s Vibrato settings, you can evenremove a perormers own vibrato and replaceit with Auto-Tune 5s programmed vibrato, all inreal time. Also, unusual combinations o VibratoWaveorm, Rate and Depth settings can beused or some interesting special eects.

An Example of Automatic Mode CorrectionAs an example, consider this beore-and-ater graphic representation o the pitch o avocal phrase that contains both vibrato andexpressive gestures.

In the original perormance, we can see thatalthough the nal note should be centeredaround D, the vocalist allowed the tail o thenote to all nearly three semitones fat. Theater plot is the result o passing this phrasethrough Auto-Tune 5s Automatic Modeprogrammed to a D Major Scale (with C#and B set to Remove) and a Retune Speedsetting o 25. That Retune Speed causesthe pitch center to be moved to D, while stillretaining the vibrato and expressive gestures.(Setting C# and B to Remove is necessaryto keep Auto-Tune 5 rom trying to correctthe seriously fat tail o the last note to thosepitches. See Chapter 3 or more details.)

10.0 10.5 11.0

D3

B2

ORIGINAL

PERFORMANCE

CORRECTED BY

AUTO-TUNE 5

C# 3

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Graphical ModeThe Graphical Mode is similar to the Automatic

Mode in that it also continuously tracks thepitch o the incoming sound and modies theoutput pitch to be closer to a desired pitch.But in the Graphical Mode, the desired pitchis not a predened scale tone, but rather is agraphical representation o your desired pitch.

As in Automatic Mode, the rate o changetowards the desired pitch is controlled by theRetune Speed control.

The key eature o Graphical Mode is the PitchGraph display. On this display, the vertical axis

represents pitch (with higher notes towardsthe top) while the horizontal axis representstime.

The red curve represents the original pitch

contour o the input track, while the desiredtarget pitch or pitch contour is indicated in blue.

The horizontal grid lines represent scalepitches. The key annotation, scale name, scalepitches and Scale Detune value are thosedened in the Automatic Mode. They donot aect the computations o the GraphicalMode in any way. They are merely a reerenceto guide you in setting the target pitches. Iyou wish to change them, you can select theAutomatic Mode and change the Key pop-up,Scale pop-up, or the Scale Detune setting,

respectively. (Changing the Scale Detunesetting will also result in the scale pitch graphlines moving up or down relative to the trackedpitch.) Then, return to Graphical Mode.

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The Graphical Mode also includes theEnvelope Graph, which displays the amplitude(loudness) envelope o the sound whose pitchis shown in the Pitch Graph. The horizontalscale o this graph will either 1) show the

envelope o the entire extent o the pitch-detected sound or 2) align with the horizontalscale and position o the Pitch Graph above it.

In Graphical Mode, you can draw the desiredtarget pitches using line and curve drawingtools or selectively modiy the existing pitchcontours. Complete image scaling and scrollingcontrols are provided. A graphical editor allowseasy editing, including cut, copy and pasteunctions.

The basic steps you will perorm in Graphical

Mode are: In your host application, select some sound

or processing.

Bring up Auto-Tune 5. Set the buer lengthto at least the number o seconds romthe beginning o the track to the end o theaudio you are going to tune. Press the TrackPitch button, then play back the audio. Thepitch will be detected and then displayed inthe Pitch Graph as a red curve.

When you have tracked all the audio youwant to correct, click the Track Pitch button

again to exit Track Pitch mode.

Create a target pitch unction using thegraphical tools and adjust the Retune Speedor the desired eect.

Play back the track. The pitch will becorrected as specied.

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Chapter3:Auto-Tune5Controls

This chapter is a reerence or all o the controls used in the Auto-Tune 5interace. How these controls are used together or intonation correction isdemonstrated in Chapter 4, Auto-Tune 5 Tutorial.

I you are upgrading rom Auto-Tune 4, you can probably skip ahead toChapter 5, New Feature Quick Start Guide.

Common ControlsThe ollowing controls and displays are visible regardless o which operating mode is selected.Their settings aect both Automatic and Graphical Modes.

Input TypeAs a resulto Antaresresearchinto theunique

characteristics o various types o audiosignals, Auto-Tune 5 oers a selection ooptimized processing algorithms or the mostcommonly pitch-corrected inputs. Choicesinclude Soprano Voice, Alto/Tenor Voice, LowMale Voice, Instrument, and Bass Instrument.Matching the appropriate algorithm to the inputresults in even aster and more accurate pitchdetection and correction.

To select the desired Input Type, click on theInput Type pop-up and then select the desiredtype rom the pop-up list.

NOTE:Choosing the wrong InputType (or just orgetting to set it atall) can result in compromised

perormance. Pay attention.

ANOTHER NOTE:When any InputType other than Bass Instrument is

selected, Auto-Tune 5 is reliably ableto detect pitches down to A0 (55Hz). SelectingBass Instrument lowers the lowest detectablerequency by about one octave to 25Hz.Since the lowest E string on a bass guitar isapproximately 41Hz, Bass Instrument (as its

name so ably implies) allows you to apply pitchcorrection to those pesky retless bass linesas well as other low bass range instruments.However, when Bass Instrument is selected,pitches above A4 may be incorrectly tunedby a perect th, so be sure to select BassInstrument only when correcting bass rangetracks.

CorrectionModeClick the

appropriatebutton toselect either

Automatic or Graphical Mode.

Select PitchReferenceAuto-Tune5 providesthe abilityto pitch

correct stereo tracks while maintaining thetracks phase coherence. (Reer to your

host applications manual or instructions onassigning a plug-in to a stereo track.) Click theappropriate button to select which o the twostereo tracks (let or right) Auto-Tune 5 will useas a pitch reerence.

NOTE:I there is a marked dierencein the two tracks, pick the cleanest,

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most isolated track. For example, i one trackis a close micd vocal while the other is micdrom arther away or ambience, or is heavilyprocessed, select the close micd track.

ANOTHER NOTE:Auto-Tune 5 willonly pitch correct true stereo tracks.

I the second track (i.e., the tracknot selected as a pitch reerence) is simplyan independent unrelated track, unpredictable(and potentially unpleasant) sounds may result.On the other hand, something interestingmight happen. You never know.

When Auto-Tune 5 is instantiated on a monotrack, this control is inactive (grayed out).

OptionsClicking the Options button

will bring up a windowcontaining a number osettings that all into the set

and orget category. They are:

TRACKING In order to accurately identiythe pitch o the input, Auto-Tune 5 requires aperiodically repeating waveorm, characteristico a voice or solo instrument. The Trackingcontrol determines how much variation isallowed in the incoming waveorm or Auto-Tune 5 to still consider it periodic.

I you are working with a well-isolated solosignal (e.g., tracking in a studio or o o a multi-track master) you can typically set the Trackingcontrol to 25 and orget it.

I, on the other hand, your signal is noisy or notwell-isolated (as might be more common in alive perormance situation) or you are dealingwith a particularly breathy or guttural voice,it may be necessary to allow more signalvariation (higher Tracking numbers). However,under these circumstances tracking is notguaranteed and a too relaxed setting mayintroduce distortion and popping.

NOTE:The improved pitch detectionalgorithm in Auto-Tune 5 (incombination with the Input Type

selection described above) results in noticeablymore reliable pitch detection compared toprevious versions o Auto-Tune. I you haveused older versions o Auto-Tune, you may ndthat situations that previously required constantmodications o the Tracking control now trackperectly at the deault setting.

BUFFER SIZE This controls the number oseconds o memory buer space that arepermanently reserved or pitch tracking andpitch correction data in Graphical Mode.(There is a separate buer or each plug-in

occurrence.) To change the buer allocation,click in the data eld and enter the requirednumber o seconds.

NOTE:As buer memory is typicallyallocated rom within your hostapplication, or large buers, it

may be necessary to increase the memoryallocation o your host.

ANOTHER NOTE:For hosts thatprovide valid time inormation, Auto-Tune 5 will display all tracked pitch

inormation at its correct time within the track.

I your host supports this capability, settingthe buer to the length o the entire song andtracking the pitch in one pass will allow youto quickly and easily move to each section oaudio to be corrected as necessary.

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KNOB CONTROL Lets you select how youwant to control the knobs in the Auto-Tune5 interace.

VERTICAL: Position the cursor over a knob,

press and hold the let mouse button (orthe only mouse button, i youre using aone-button mouse) and move the cursorup to turn the knob clockwise or down toturn the knob counterclockwise. The currentvalue o the knobs parameter appears in itsassociated numeric display.

HORIZONTAL: Position the cursor over aknob, press and hold the let mouse buttonand move the cursor to the right to turnthe knob clockwise or to the let to turnthe knob counterclockwise. The currentvalue o the knobs parameter appears in itsassociated numeric display.

RADIAL: Click anywhere around thecircumerence o the knob, press and holdthe let mouse button and rotate theknob in the desired direction. The currentvalue o the knobs parameter appears in itsassociated numeric display.

NOTE:This setting applies to knobcontrols only. Controls that appear assliders are not aected.

CUSTOM CURSORS Click the check box to

use Custom Cursors in Graphical Mode.

Normally, Auto-Tune 5 displays dierent cursorshapes in the Pitch Graph Display to help yougrab and drag objects (e.g., the object cursor,the anchor point cursor, etc.). However, somehost applications mistakenly think that theyown the cursor when it is in a plug-in window.This may cause the cursor to fash as thehost and Auto-Tune 5 alternately try to set thecursor shape. I this annoys you, unclick thischeck box. It will stop the fashing, but you willno longer see Auto-Tune 5s custom cursors.

NUMBER OF UNDOS Auto-Tune 5 providesmultiple Undo/Redo capability in GraphicalMode. Select the maximum allowablenumber here (up to 20). Choosing a highernumber allocates more memory or savingintermediate states.

Sample RateDisplayThis displayindicates thesample rate o

the current audio le as reported to Auto-Tune5 by the host application.

NOTE:Auto-Tune 5 is high samplerate compatible. I your hostapplication and audio hardware are

capable o dealing with up to 192 kHz les,Auto-Tune 5 will process them correctly.However, its important to remember that highsample rate les require substantially moreDSP power than 44.1 kHz and 48 kHz les, sothe number o possible simultaneous Auto-Tune 5 instantiations will be decreased.

ANOTHER NOTE:I you are usingexternal A/D converters withindependently selectable sample

rates, it can be possible to establish amismatch between the actual conversionsample rate and what the host applicationthinks is the sample rate. I this happens, Auto-Tune 5 will appear to be correcting pitch to thewrong key. I this appears to be happening,check to be sure that your converter samplerate and your host application sample rate (asdisplayed by Auto-Tune 5) match.

Instance IDSome host applications assign numericalinstance IDs to multiple instances o the sameplug-in. I your host does this, the ID willappear in a red display to the immediate righto the Sample Rate display. Instance IDs areparticularly useul i you are using any o Auto-Tune 5s MIDI unctions, as they allow you tobe sure that you are routing the MIDI streamto the correct instance o Auto-Tune on thedesired track.

BypassAuto-Tune 5 does not include a dedicatedBypass control as that unction is typicallyprovided by the host applications plug-ininterace. However, it is worth noting thatAuto-Tune 5 is designed such that switchingthe bypass state will not cause any audioartiacts. It can saely be used in perormanceor in the middle o a recorded track.

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Automatic Mode ControlsKnobs and SlidersAuto-Tune 5s continuous controls are represented graphically as knobs or sliders.

Depending on your preerence, you can control knobs by vertical, horizontal or radial mousemovement. Set your preerence in the Options dialog described above. Double-clicking on a knobwill return it to its deault value. In some host applications, Command (Mac)/Control (PC) clickingon a knob will also reset it to deault (see the Auto-Tune 5 Read Me and/or your host applicationmanual or details).

To adjust a slider, click on the thumb indicator and move it to the desired value, or click anywhereon the display scale to instantly move the indicator to that position. Command (Mac)/Control (PC)clicking anywhere in the display scale will set a control to its deault value.

Key SelectionTo select the desired key, clickon the Key pop-up and thenselect the desired note rom

the pop-up list. This determinesthe pitch o the rst note o

the scale according to the standard A3 = 440Hertz.

ScaleSelectionTo select ascale, click onthe Scale pop-up and then

select the desired scale rom the pop-up list.

NOTE:To avoid having to deal withscales containing those annoyingdouble fats, double sharps and

notes like Cb, E#, Fb and B#, Auto-Tune 5will automatically choose the simpler o twoenharmonically equivalent scales. For example,i you select Db Major, the Edit Scale Displaywill duly display the Db Major scale. However,i you then go to the Scale selection pop-upand select Minor, the Key will automatically bechanged to C# and the Edit Scale Display will,in act, display the much riendlier C# Minorscale. This will also be refected on the Pitch

Graph Display in the Graphical Mode.

The ScalesAuto-Tune 5 comes with 29 preprogrammedscales. The rst three scales are equal

tempered. These are the ubiquitous scalestypically ound in Western tonal music. Theother scales are historical, ethnic, and micro-tonal scales. An in-depth discussion o thesescales and their history is beyond the scopeo this manual. The interested reader will ndmore inormation in Tuning In Micro-tonalityIn Electronic Musicby Scott R. Wilkinson,published by Hal Leonard Books.

The ollowing is a brie synopsis o the scales:

MODERN EQUAL TEMPERAMENT

major: a seven-tone equal tempered majorscale.

minor: a seven-tone equal tempered minorscale.

Equal Tempered chrom.: a twelve-toneequal tempered chromatic scale.

HISTORICAL TUNINGS Ling Lun: a twelve-tone scale dating rom

2700 B.C. China.

Scholars Lute: a seven-tone scale datingrom 300 B.C. China.

Greek diatonic genus: a seven-tone scalerom ancient Greece.

Greek chromatic genus: a seven-tone scalerom ancient Greece.

Greek enharmonic genus: a seven-tonescale rom ancient Greece.

Pythagorean: a twelve-tone scale datingrom 600 B.C. Greece. This scale is derived

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and chords. The typical approach is to analyzea passage (or less) o music and select tonesrom a scale that will best approximate thedesired pure intervals.

19 Tone: This scale has greater purityo minor thirds and major thirds (andconversely, minor and major sixths)than twelve-tone equal temperament.A disadvantage is that perect ths arenarrower than those ound in twelve-toneequal temperament.

24 Tone: Also know as the quarter tonescale, this scale is used or variety but hasno advantage in terms o ratios that betterapproximate pure intervals.

31 Tone: In addition to intervals that betterapproximate pure intervals, this scale alsocontains good approximations to Indonesianpelog and slendro scales.

53 Tone: Related mathematically to thecycle o ths, the 53-tone scale has verypure major and minor thirds, and ths andourths.

Partch: Harry Partch is considered theather o modern microtonality. This scalewas devised by him and used in instrumentbuilding and perormances.

Carlos Alpha: Wendy Carlos perormedextensive computer analysis to devise anumber o equal tempered scales with goodapproximations or the primary harmonicintervals and their inversions. This scale isgood at approximating the primary intervalsincluding 7/4. This scale divides the octaveinto 15.385 steps orming intervals o 78.0cents.

Carlos Beta: This scale divides the octaveinto 18.809 steps orming intervals o 63.8cents.

Carlos Gamma: This scale achieves perectpurity o the primary intervals 3/2, 4/3

and 5/4. This scale divides the octave into34.188 steps orming intervals o 35.1 cents.

Harmonic (chromatic): This twelve-tonescale is created in the partials in the thoctave o the harmonic series. The scaledegrees that correspond to the classic justintervals are the major second, major third,perect th and major seventh.

by tuning twelve pure perect ths upwardand adjusting the octaves downward. Thisleads to some pure intervals and some veryimpure intervals.

Just (major chromatic): a twelve-tone scale.Just intonation tunes the most requentlyused intervals to be pure (integer ratios inrequency). These tunings depend on themode (major or minor) and the key. Thisscale is tuned or major mode.

Just (minor chromatic): (See Just (majorchromatic), above)

Meantone chrom.: a twelve-tone scale. Thistuning is a combination o Pythagorean andjust tunings so that music in a wider varietyo keys could be usable.

Werckmeister III chrom.: a twelve-tonescale. This scale was a rst attempt (aboutBachs time) to allow an instrument to beplayed in any scale. It was in response tothis scale that Bach wrote Well-TemperedClavier.

Vallotti & Young chrom.: a twelve-tone scale.Another derivative o the Pythagorean scaledesigned to allow arbitrary keys.

Barnes-Bach (chromatic): a twelve-tonescale. A variation o the Vallotti & Youngscale designed to optimize the perormanceo Bachs Well-Tempered Clavier.

ETHNIC TUNINGS Indian: This 22 tone scale is used in India to

perorm ragas.

Slendro: This ve-tone Indonesian scale isplayed by ensembles called gamelans.

Pelog: This seven-tone Indonesian scale ismore interesting than Slendro and is nowthe primary scale in Balinese music.

Arabic 1: This 17 tone scale is the originalArabic scale adopted rom the Pythagoreanscale.

Arabic 2 (chromatic): This twelve-tone scaleis the modern version o the Arabic scalepopular in Arabic music today.

CONTEMPORARY TUNINGSEqual tempered scales with a large numbero tones are typically used to play commontonal harmony with greater purity o intervals

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0

The Edit Scale DisplayThe Edit Scale Display is used to createcustom scales or to modiy any o the presetscales. Edits made using this display areassociated with each scale. That is, each scaleretains its own edits independent o the otherscales. For example, i you select C Majorand Remove or Bypass certain notes andthen change to C Minor and make other edits,when you return to C Major your previous edits

associated with C Major will be restored.The Edit Scale window displays each note othe currently selected scale in the currentlyselected key. I the selected scale includesmore than twelve notes, Up and Down arrowswill appear to allow scrolling through all o theavailable notes.

Beside each note name are two buttons: aBypass button and a Remove button. Click ona button to toggle its state. The button will lightto indicate that its mode is active.

I neither o these buttons are lit, Auto-Tune5 treats this note as a normal scale note, i.e.,when the input pitch is close to this note, Auto-Tune 5 will correct the pitch to this note at therate set by the Retune Speed control.

I the scale selected in the Scale popupcontains exactly 12 notes (e.g., Chromatic,Pythagorean, Meantone Chromatic, Just, etc.),the Virtual Keyboard (see below) will be activeand any edits to the scale notes made in theEdit Scale Display will also be refected on theVirtual Keyboard.

NOTE:Although Auto-Tune 5 allowssetting scale note behaviors inindividual octaves, any edits made

via the Edit Scale Display will aect all octaves.To edit notes in individual octaves, use theVirtual Keyboard.

BypassI the Bypass button is lit, when the input pitchis close to this note the input will be passedthrough with no correction.

Why set Scale notes to Bypass?There are two main reasons to set one or morescale notes to Bypass.

1. I a perormance includes pitch gesturesaround one or more specic notes thatyou want to preserve with no modicationwhatsoever, you can set just those notesto Bypass. This lets Auto-Tune 5 correctany pitch problems elsewhere in the scalebut passes everything near the bypassednotes completely unprocessed.

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2. I a perormance contains only a singleerror, you can set all notes to Bypassexcept the one sour note. Auto-Tune5 will then pass the entire perormancethrough unprocessed except or the sour

note, which will be corrected.

RemoveI the Remove button is lit, then the note issimply removed rom the current scale. Forexample, selecting the Chromatic scale andthen setting C#, D#, F#, G#, A# to Removewould cause a C Major scale to remain. In thatcase Auto-Tune 5 would always retune theinput to the closest note o the C Major scale.

Why set Scale notes to Remove?To understand why it is sometimes necessary

to set even correct scale notes to Remove,lets look again at the example rom Chapter 2.

This phrase is in D Major and, i all the pitcherrors were no greater than about 49 cents,would work ne with a standard D Major scale(D, E, F#, G, A, B, C# ). However, the pitcherror o three semitones at the end o the lastnote is so large that with B and C# present inthe Scale, as the pitch ell, Auto-Tune 5 wouldsee rst C# and then B as the target pitch andthereore allow the error to remain. With C#

and B removed rom the Scale, Auto-Tune 5continues to see D as the target pitch or theentire duration o the note and thereore pullsthe phrase up to the correct pitch.

CentsThe number in the Cents column is theassociated notes interval, in cents, romthe root note o the scale. Its provided orreerence purposes and to help you choose

which notes o a micro-tonal scale to includeor remove.

Set AllClicking this button sets all notes in the currentscale to Scale Notes in all octaves. Thisunction is useul as a Reset button to instantlyerase all previous Remove and/or Bypasssettings and reset an edited scale to its deaultstate.

Remove AllClicking this button sets all notes in the current

scale to Remove in all octaves.Bypass AllClicking this button sets all notes in the currentscale to Bypass in all octaves.

Set Major Scale/Set Minor ScaleWhen any scale that includes more than sevennotes (i.e., any non-diatonic scale) is selected,the Set Major Scale and Set Minor Scalebuttons will appear. Clicking on either o thesebuttons will Remove all notes rom the scaleexcept or those notes closest to the noteso a traditional diatonic major or minor scale

(depending, o course, on which button youclicked).

10.0 10.5 11.0

D3

B2

ORIGINAL

PERFORMANCE

CORRECTED BY

AUTO-TUNE 5

C# 3

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Virtual Keyboard

The Virtual Keyboard displays Auto-Tune 5spitch detection range and acts as a realtimedisplay o the currently detected pitch, adisplay o the current Scale settings, and as atool or setting target note behaviors in specicoctaves.

NOTE:The keyboard is only active orscales with exactly twelve notes. Itwill be grayed out (hence inactive)

when any other scale is selected. But wait!you might be thinking, I want to edit Majorand Minor scales in individual octaves and the

keyboard is grayed out when I select eitherone. No problem. Simply select Chromatic,then use the Set Major or Set Minor button toset up the scale o your choice and edit away.

KEY COLORS The color o the keys o theVirtual Keyboard indicate their current state asollows:

COLOR STATE

Blue The currently detectedinput pitch

White or Black Scale Note

Gray Removed

Light Brown Bypassed

MOMENTARY When this button is not On(i.e., its color is gray), any edits made to thekeyboard will latch -i.e., clicking a key willchange its state and the key will retain that stateuntil some other action causes it to change.

KEYBOARD EDIT These buttons are used toselect which state (Remove or Bypass) will betoggled when you click on a key.

When Remove is selected, clicking on anykey that is not currently set to Remove will setthat key to Remove. Clicking on any key that iscurrently set to Remove will set that key to aScale Note.

When Bypass is selected, clicking on anykey that is not currently set to Bypass will setthat key to Bypass. Clicking on any key that iscurrently set to Bypass will set that key to aScale Note.

NOTE:In the descriptions above,clicking on a key reers to pressingthe mouse button down and then

releasing it. The edit action is executed when

the mouse button is released. Thereore, i theMomentary button is O (see below), draggingacross the keyboard highlights each key inturn, but it is only when you release the mousebutton that the resulting key will change state.

When the button is On (i.e., its color is blue),

keyboard edits are only active or as long asthe mouse is held down on a key.

NOTE:Pressing and holding the Shitkey on your keyboard will temporarilytoggle the state o the Momentarybutton.

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A TIP:The main purpose o theMomentary unction is to allow youto deal easily with specic individual

events in a perormance. However, you canalso use it to play the target melody notes in

real time. To do this, set the scale to Chromaticand use the Scale Edit window Remove Allbutton to remove all notes rom the scale. SetKeyboard Edit to Remove and Momentary toOn. Now use your mouse to play the targetmelody on the keyboard. Its not as easy asTarget Notes via MIDI, but i you dont have aMIDI controller handy, itll do in a pinch.

Auto-Tune 5 MIDI FunctionsAuto-Tune 5 provides two unctions thatrequire it to receive MIDI data rom the hostapplication. Depending on your intent, this datacould come in real time rom a MIDI controller(typically a keyboard) or rom a prerecordedMIDI sequencer track. Reer to your hostapplications manual or details on how to routeMIDI to Auto-Tune 5.

Please note that some host applications maynot support the routing o MIDI inormationto plug-ins. In that case the ollowing two

unctions will not be selectable.

Target Notes Via MIDITo use the Target Notes Via MIDI unction,ensure that the desired MIDI source is routedto Auto-Tune 5, then click the Target Notes ViaMIDI button. Its color will change to blue andthe Edit Scale display will automatically be set

to a chromatic scale with all o the notes setto Remove. While in this mode, Auto-Tune 5continuously monitors its MIDI input or NoteOn messages. At any instant, the scale usedor correction is dened by all MIDI notes that

are on. For example, i MIDI notes A, C and Eare held, Auto-Tune 5s input will be retuned toan A, C or E, whichever is closest to the inputpitch.

The source o the MIDI input would typicallybe a MIDI keyboard or sequencer track, andcould consist o chords, scales, or, mostpowerully, the exact melody that the inputshould be corrected to.

IMPORTANT NOTE:I you will notbe dening Auto-Tune 5s target

pitches via MIDI, be sure that theTarget Notes Via MIDI button is o. I it is leton and no MIDI note data is present, Auto-Tune 5 will pass through all audio unprocessed giving the impression that Auto-Tune 5 isnot unctioning.

Learn Scale From MIDIIn most cases, you will probably tell Auto-Tune5 which notes to correct to using the Edit ScaleDisplay and/or the Virtual Keyboard. However,there may be occasions when it is not clearexactly what key a melody line is in, or where

the melody line has too many accidentals tot comortably into a conventional scale. Forthose occasions, the Learn Scale From MIDIunction allows you to simply play the melodyinto Auto-Tune 5 rom a MIDI keyboard orsequencer track and let Auto-Tune 5 constructa custom scale containing only those notesthat appear in the melody.

To use the Learn Scale From MIDI unction,ensure that the desired MIDI source is routedto Auto-Tune 5 and then click the Learn ScaleFrom MIDI button. Its color will change to blue

and the Edit Scale display will automatically beset to a chromatic scale with all o the notesset to Remove.

Now simply play the melody to be correctedrom your keyboard or sequencer. Tempo andrhythm dont matter, so take your time andmake sure you dont play any wrong notes.

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As each note is played, the correspondingRemove button in the Edit Scale Display isturned o (adding that note to the scale as aScale Note). Assume, or example, that yourmelody starts with D, B, and then A. Aterplaying those notes the display would look theabove.

When you have played the entire melody,press the Learn Scale From MIDI button againto end the process. The Edit Scale Display

will now contain a scale containing only thosenotes that appeared in your melody.

I you happen to make an error during noteentry, or want to try again or any other reason,simply click the Learn Scale From MIDI buttonand start the process again.

NOTE:When you start the processby pressing the Learn ScaleFrom MIDI button, all notes are

rst Removed rom the chromatic scale inpreparation or adding just the notes you play.

I you then press the Learn Scale From MIDIbutton again without playing any notes, youwill be let with a chromatic scale with all notesremoved. In this state, Auto-Tune 5 will passall notes with no correction applied. So dontdo that.

ANOTHER NOTE:We realize thatthere is some possibility o conusionbetween the Learn Scale From MIDI

unction and Target Notes Via MIDI unctiondescribed above. To clariy: Target Notes ViaMIDI is used to speciy target pitches in realtime while pitch correction is occurring, whileLearn Scale From MIDI is used in advance ocorrection to create a custom scale.

Octave As Played/All Octaves

For both o the MIDI unctions (Learn Scalerom MIDI and Target Notes via MIDI), youcan choose whether you want incoming MIDInotes to aect all octaves or just the notes inthe specic octaves in which they are played.

Simply click the desired button. The button willchange color to blue to indicate your choice.

Targeting Ignores VibratoThis eature is designed to help with targetnote identication when the perormanceincludes vibrato so wide that it approachesadjacent scale notes. The most commonsymptom o this problem is a pronouncedwarbling as the input is alternately tuned toeach o the upper and lower adjacent notes.

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When this unction is On, Auto-Tune 5uses the impressively named StochasticOptimal Linear Estimation Theory to attemptto recognize vibrato and dierentiate betweenit and intended note changes. Our testing has

shown that it works a lot o the time but notalways (it depends a great deal on the actualperormance). When it works, Auto-Tune 5ignores the wide vibrato as ar as target noteselection is concerned. When it doesnt, itworks pretty much the same way it wouldwork i the unction were O.

The deault state o this control is O. Whenyouve got a vibrato problem, try turning it onand see i it helps.

Retune SpeedRetune controls how rapidly the pitchcorrection is applied to the incoming sound.The units are milliseconds. A value o zero will

cause instantaneous changes rom one toneto another and will completely suppress avibrato (note that any related volume changeswill remain). Values rom 10 to 50 are typicalor vocals (unless youre going or the now-inamous Cher eect, in which case use0). Larger values let through more vibrato andother interpretative pitch gestures but alsoslow down how rapidly pitch corrections aremade. Although the above suggestions canbe used as starting points, nding the correctRetune setting or a particular perormance islargely a matter o trial-and-error and dependson such attributes as song tempo, noteduration and vocal style, among others. Asalways, let you ears be your guide.

The deault Retune value is 20. Double-clickingor Command (Mac)/Control (PC) clicking theRetune knob will reset it to that value.

Scale DetuneThe Detune parameter allows you to changethe pitch standard o Auto-Tune 5 romthe deault A = 440Hz. The value is set incents (100 cents = 1 semitone). The rangeo adjustment is rom -100 to +100 cents.For convenience, the detune amount is alsodisplayed in Hertz relative to A440.

The Detune unction can be used to tunea vocal perormance to some irreparablyout-o-tune instrument (a piano or organ, orexample), or to allow correction to other thanthe conventional 440Hz standard.

I you have a tone that you want to use as thepitch standard, select that tone and play it ina loop. Adjust Scale Detune until the Changemeter reads zero. (You may be required touse the Edit Scale Display to remove adjacentnotes so that Auto-Tune 5 doesnt tune to thewrong note.)

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

HumanizeOne o thecriticismsoccasionally (i,we eel, unairly)leveled at pitchcorrection is

that it results inperormancesthat are too perect. Frankly, its been ourexperience that or the skillul engineer, Auto-Tune has always oered the means to perormits magic in a way that makes it virtuallyimpossible or the listener to hear that it hasbeen used (without, o course, comparing theresult to the original perormance).

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6

Nonetheless, one situation that couldpreviously send you to Graphical Mode wasa perormance that included both very astnotes and longer sustained notes. The problemwas that in order to get the ast notes in tune,

youd have to set a ast Retune Speed, whichwould then make any sustained notes soundunnaturally static. The solution was adjusting inGraphical Mode.

Now, with the new Humanize unction, youcan get the same results quickly and easilyin Automatic Mode. The Humanize unctiondierentiates between short and sustainednotes and lets you apply a slower RetuneSpeed just to the sustained notes. Thus, theshort notes are in tune and the sustained notesstill allow the natural variations o the original

perormance.

Heres how it works:

Start by setting Humanize to 0 and adjustingthe Retune Speed until the shortest problemnotes in the perormance are in tune. Atthis point, any sustained notes may soundunnaturally static. I so, start advancing theHumanize control. The higher the Humanizesetting, the more the Retune Speed is slowedor sustained notes. The goal is to nd thepoint where the sustained notes are also in

tune and just enough o the natural variationin the perormance is present in the sustainednotes to sound natural and realistic. (I you setHumanize too high, any problem sustainednotes may not be ully corrected.)

This is one o those settings where youhave to let your ears be your guide. Theoptimum Humanize setting or any particularperormance will depend on the perormancestyle, the other Automatic Mode settings andthe specic eect you desire.

The deault Humanize setting is 0. Double-

clicking or Command (Mac)/Control (PC)clicking the Humanize knob will reset it to thatvalue.

Natural VibratoThe Natural Vibrato unction allows real-timemodication (either increase or decrease)othe depth o any vibrato present in the inputaudio while preserving the original shape andcharacter o the vibrato.

This unction uses the same StochasticOptimal Linear Estimation Theory as

the Targeting Ignores Vibrato unction todierentiate between vibrato and intendedpitch changes, adjusting the vibrato depthwhile leaving intended pitch changes intact.

The Natural Vibrato unction actsindependently o the pitch correction unctions.O particular note is the act that setting a scalenote or notes to Bypass still allows vibratoadjustment or those notes. So, i you want toadjust a perormances vibrato while makingno other pitch changes, you can simply set allscale notes to Bypass and still use the Natural

Vibrato unction to adjust vibrato depth.

NOTE:This unction acts onlyon vibrato present in the originalperormance. I the original

perormance does not contain vibrato, thiscontrol will have no audible eect.

ANOTHER NOTE:Natural Vibratoadjustments unction independentlyo the Create Vibrato unctions

described below. However, since bothunctions can operate simultaneously, they can

interact in ways that may or may not be useul,depending on your intent. In most cases, youshould probably use one or the other.

The deault Natural Vibrato setting is 0.Double-clicking or Command (Mac)/Control(PC) clicking the Natural Vibrato knob will resetit to that value.

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The Create Vibrato Section

The controls in this section are designed toadd a synthesized vibrato to the input.

While vibrato is typically perceived to be avariation solely in pitch, careul analysis showsthat, depending on the voice or instrument andthe style o the individual perormer, variationsin amplitude (loudness) and ormant resonancesare also involved. Refecting this, Auto-Tune 5includes a plethora o vibrato unctions to allowthe creation o much more convincing vibratos.(And or the adventuresome, they can be abusedto create some interesting eects.)

The controls are:

SHAPE MENUSelects theshape o thevibrato. Thechoices are:

NO VIBRATO Pretty sel-explanatory.

SINE WAVE Changes smoothly romminimum to maximum and back again.The most common choice or a conventional

vibrato.SQUARE Jumps to maximum where it spends50% o the cycle and then jumps to minimumor the remaining 50% o the cycle.

SAWTOOTH Gradually rises rom minimumto maximum and then drops instantaneouslyto minimum to start the cycle again.

RATE

Sets the rate o the vibrato over arange o 0.1 Hz to 10 Hz. The deaultRate setting is 5.5 Hz. Double-clickingor Command (Mac)/Control (PC)

clicking the Rate knob will reset it tothat value.

VARIATION

Sets the amount o random variationthat will be applied to the Rate andAmount parameters on a note tonote basis. Useul or humanizing thevibrato by adding random errors.

The range is rom 0 (no variation) to100 (maximum variation). The deaultVariation setting is 20. Double-clicking

or Command (Mac)/Control (PC) clicking theVariation knob will reset it to that value.

ONSET DELAY

Sets the amount o time (in msec) betweenthe beginning o a note and the beginning othe onset o vibrato. The range is rom 0 to1500ms (1.5 seconds). The deault value is500ms. Double-clicking or Command (Mac)/Control (PC) clicking the Onset Delay knob willreset it to that value.

ONSET RATE

Sets the amount o time (in msec) between

the end o the Onset Delay (set above) andthe point at which the vibrato reaches theull Amounts set in the Pitch, Amplitude andFormant Amount settings. The range is rom 0to 1500ms (1.5 seconds). The deault value is500ms. Double-clicking or Command (Mac)/Control (PC) clicking the knob will reset it tothat value.

Onset Example: As an example o the aboveparameters, assume an Onset Delay o1000ms and an Onset Rate o 750ms. In thatcase, each time a new note started there

would be no vibrato at all or the rst second(1000ms) ollowed by a 3/4 second (750ms)period during which the vibrato depths wouldincrease rom none to the ull amounts set inthe various Amount parameters - or a total o1.75 seconds rom the beginning o the note tothe time ull vibrato depth was reached.

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PITCH AMOUNT

Sets the amount that the pitch changes. Therange is rom 0 (no change) to 100 (maximumchange). The deault setting is 18. Command(Mac)/Control (PC) clicking the slider will resetit to that value.

AMPLITUDE AMOUNT

Sets the amount that the loudness changes.For the most realistic vibrato, the amount oamplitude change should be substantially lessthan pitch change, although or special eects,anything goes.

The range is rom 0 (no change) to 30(maximum change). The deault setting is 10.

Command (Mac)/Control (PC) clicking theslider will reset it to that value.

FORMANT AMOUNT

Sets the amount that the resonant timbrechanges. The range is rom 0 (no change) to100 (maximum change). The deault setting is70. Command (Mac)/Control (PC) clicking theslider will reset it to that value.

The vibrato is re-started every time Auto-Tune5 matches the incoming pitch to a dierentscale tone. Also, the vibrato is applied ater the

eects o the Retune Speed control. Hence,even with a slow retune value o 50, a squarewave vibrato will make instantaneous changesin pitch.

NOTE:As mentioned above,although we perceive vibratoprimarily as a variation in pitch,

in most cases there is also matching(though more subtle) variations in

amplitude and timbre. Setting Auto-Tune5s Retune Speed to 0 will remove anexisting vibratos pitch variation, but theamplitude and timbral variation will remain.I you then apply a new vibrato using Auto-Tune 5s Create Vibrato section, the resultsmay be less than convincing. Auto-Tune5s Vibrato section is more oten useul oradding a vibrato to an input that originallyhad none, or or various special eects.

ANOTHER NOTE:The Create Vibratocontrols unction completely

independently o the Natural Vibratounction. Changes in that unction have nodirect eect on the depth o any vibratoresulting rom the Create Vibrato controls.However, since both unctions can operatesimultaneously, they can interact in ways thatmay or may not be useul, depending on yourintent. In most cases, you should probably useone or the other.

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The Pitch Change Amount IndicatorThe Pitch Change Indicator shows you howmuch the pitch is being changed, measuredin cents (100 cents = one semitone). Forexample, i the indicator bar has moved to thelet to -50, it indicates that the input pitch is 50cents too sharp and Auto-Tune 5 is loweringthe pitch by 50 cents to bring the input back tothe desired pitch.

Hold ButtonClicking and holding the Hold button whileAuto-Tune 5 is processing audio will reezeboth the Pitch Change Amount Indicator andthe blue Detected Pitch indication on thevirtual keyboard or as long as you hold downthe mouse button. This is useul or guringout exactly whats going on with a particularnote in a perormance that would otherwisepass too quickly to see.

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0

Graphical Mode ControlsTrack PitchThe Track Pitch unction isused to detect the pitch o

the audio to be processed sothat it can be displayed onthe Pitch Graph Display.

Locate the desired audio and press the TrackPitch button. (I you are using Auto-Tune 5sInternal clock (see below) you may (dependingon your host) need to click the Reset button toreset the clock position to 00:00:0.) The TrackPitch button will fash red to indicate that Auto-Tune is in Track Pitch mode.

Next, start playback o the audio. A graphicrepresentation o the pitch will be drawn tothe display as the audio plays. When all o theaudio you want to correct has played, stopplayback. Note that Auto-Tune will remain inTrack Pitch mode (the button will continue tofash red). I you are using the Host Clock andwant to track the pitch o audio elsewhere inyour track, simply use your hosts transportcontrols to move to that audio and startplayback again. Auto-Tune will continuetracking pitch at that point. When you havetracked all o the audio you want to correct,click the Track Pitch button again. You will exit

Track Pitch mode and the pitch display willautomatically scale in such a way as to includeall o the tracked audio.

NOTE:I you are using Auto-Tune5s Internal Clock (because yourhost does not provide valid clock

inormation), you will not be able to navigatearound your audio while tracking as describedabove. In that case you should either track all othe audio at once, or track an individual section,then correct it and bounce the changes (or usea destructive editor i available) and then move

on to the next section.ANOTHER NOTE:I the length o theaudio to be processed exceeds thecurrently set size o the buer as set

in the Options dialog, playback will stop whenthe buer is ull. I this happens, increase thebuer size as necessary.

YET ANOTHER NOTE:Be cautiousabout changing the Tracking value (inthe Options dialog) ater perorming

the Track Pitch unction. Auto-Tune 5 uses theTracking setting during both the Track Pitch

unction and while correcting pitch. Changingthe Tracking setting ater Tracking Pitch, butbeore correcting, may result in unpredictablepitch modications or strange (though possiblyinteresting) artiacts.

Correct Pitch (host dependent)I youre new to Auto-Tune and ollowing alonghere in the manual, youre probably scanningthe Graphical Mode screen and wonderingwhere the heck the Correct Pitch button is.And i youre an experienced Auto-Tune user,youre probably wondering the same thing.

Well, you can stop looking. Its not there.

In all previous versions o Auto-Tune, atercreating correction curves, you would haveto press the Correct Pitch button in orderto put Auto-Tune into correction mode. Asa result, the Auto-Tune window always hadto be open in order to use Graphical Mode.Well, no longer. Now, simply create yourcorrections and play. Essentially, anytime youare not tracking pitch, Auto-Tune 5 will becorrecting. It is this basic change that allowsyou to use multiple instances o Auto-Tune

5 simultaneously in Graphical Mode withouthaving to have their windows visible.

NOTE:This unctionality is onlyavailable or hosts that provide validtime inormation. See the Selectable

Clock Source section below or details.

Sync to host transport (host dependent)I your host provides valid time inormation,once you have tracked audio and createdcorrection curves (see below), Auto-Tune 5 willmaintain sync with the host program, allowing

you to move around in your track at will. Nomore having to always start playback at exactlythe same location.

NOTE:In some cases, thisunctionality may require updatingto the latest version o your host

program. Check the Read Me le or details.

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Additionally, i your host does not provide validtime inormation or does not strictly adhere toits plug-in ormat specication, sync problemscould ensue. In that case, see the SelectableClock Source section below. (Again, check the

Read Me le or any specic examples.)

Selectable Clock SourceFor hosts that do not provide valid timeinormation, Auto-Tune 5s clock display andselection unctions let you use an internal timereerence or Auto-Tune 4 style operation.

Since all o the controls in the Clock sectionare used together, we will describe them as agroup.

Determining if your host provides valid clockinformationTo determine i your host supplies valid clockinormation, click the Host button to selectthe host-supplied clock and put your host intoPlay. I Auto-Tune 5 is receiving valid timinginormation rom your host, the Positiondisplay should constantly update to refect your

current position in the track. Moving orwardor backward in the track should result incorresponding display updates. I this is in acthappening, you have conrmed your hoststiming ino. Simply leave the clock settingon Host and enjoy all o Auto-Tune 5s neweatures.

On the other hand, i the display does notupdate or i it does not accurately refect yourhosts transport, Auto-Tune 5 may be gettingbad (or no) clock inormation. In that case, youwill need to use the Internal clock option.

Using Internal Clock ModeTo select Auto-Tune 5s Internal clock, click theInternal button.

To track and correct pitch in Internal Clock mode:

1. Use your host transport to move to thebeginning o the section you want to correctand note that position, as you will need toreturn to that precise place or correction.

2. Click the Reset button to set the clockposition to 00:00:0.

3. Click the Track Pitch button, play the desiredaudio and then stop the transport.

4. Use the various tools described below tocreate your pitch correction curves.

5. Use your host transport to return to the

precise start location dened in step 1.

6. Click the Reset button to reset the clockposition to 00:00:0.

7. Play your audio. Auto-Tune 5 will apply yourcorrections.

NOTE:Some hosts that require InternalClock nonetheless have the capabilityto automatically reset the clock to

00:00:0. (Versions o Pro Tools HD and Pro ToolsLE prior to v7.2 specically have this capability.)In those cases, steps 2 and 6 above are not

necessary.

In Internal Clock Mode, the ollowing eaturesare unavailable:

Sync to Host Transport (obviously)

Multiple simultaneous Graphical Modeinstances with windows not open

NOTE:As the various host developersare constantly updating theirapplications unctionality, it may be

necessary to update to the latest version o your

host to use Host Clock Mode.In addition, we are working with host developersto ensure that as many as possible provide validclock ino, so even i yours doesnt now, it maywell add that capability in a uture version. (Andi it doesnt now, you might want to drop thedevelopers an email and let them know youdlike it to.)

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Make CurveThe Make Curve button isenabled whenever there isany red input pitch contourdata present in the Pitch

Graph (whether it is displayed in the currentPitch Graph view or not). Pressing the MakeCurve button causes blue target pitch contourobjects (curves or short) to be created romthe input pitch contour data. These curveobjects can then be dragged and stretched orvery meticulous pitch correction. This is thecentral technique o Auto-Tune 5s GraphicalMode and is described in more detail inChapter 4.

NOTE:I a range o time has beenselected by using the I-Beam Tool

(see below), the Make Curvebutton works only in the selected time range.Otherwise it works on all red pitch data.

Import AutoThe Import Auto button isenabled whenever there isany red input pitch contourdata present in the Pitch

Graph (whether it is displayed in the currentPitch Graph view or not).

Pressing the Import Auto button causes blue

target pitch contour objects (curves or short)to be created rom the red input pitch contourdata. The blue curve(s) created by the ImportAuto unction is a precise representation othe pitch correction that would result romprocessing the tracked input pitch through thecurrent settings o Auto-Tune 5s AutomaticMode. These include the Automatic ModesKey and Scale selections, the Edit Scalesettings, the Targeting Ignores Vibrato mode(i selected), and the Retune, Scale Detune,Humanize, Natural Vibrato and Create Vibratosettings.

NOTE:I a range o time has beenselected by using the I-Beam Tool,the Make Auto button works only in

the selected time range. Otherwise it works onall red pitch data.

Once you have used the Import Auto unctionto create a blue target pitch curve, settingthe Graphical Mode Retune Speed to 0 willresult in exactly the same output as you wouldhave gotten by processing the audio through

Automatic Mode. Alternatively, you can adjustthe Retune Speed or urther edit the bluecurve using any o the Graphical Mode tools toget precisely the eect you want.

I you arent satised with the results othe Import Auto unction, simply switch toAutomatic Mode, modiy any o the settingsas desired, and then return to Graphical Modeand click Import Auto again.

NOTE:In addition to its use as aGraphical Mode correction tool,

the Import Auto unction can alsobe used to provide an inormative visualrepresentation o the results o AutomaticMode settings. I there are times when youdpreer to use Automatic Mode, but cant quitezero in on the ideal settings, examining theresults o various settings with the Import Autounction can give you a visual picture o exactlywhats going on. This will oten make it readilyapparent which Automatic Mode settings needto be changed to give your desired results.

STILL ANOTHER NOTE:One

potentially conusing aspect othe Import Auto unction is therelationship between the Automatic ModeRetune Speed setting and the Graphical ModeRetune Speed setting. To summarize:

The Automatic Mode Retune Speed controlshow the input audio would be processed inAutomatic Mode. Changing this setting willchange the shape o the blue curve that willbe created by the Import Auto unction.

The Graphical Mode Retune Speed controlshow quickly the pitch o the input audio will

be changed to that o the blue target pitchcurve. As mentioned above, to preciselyduplicate the results o Automatic Mode, setthe Graphical Mode Retune Speed to 0.

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Retune Speed

The Retune Speed setting is used only duringthe pitch correction process. Its similar inunction but separate rom the Retune Speedcontrol in Automatic Mode.

In Graphical Mode, the target pitch is not thescale tone nearest to the input, but rather theblue target pitch curve. The Retune Speedcontrol allows you to speciy how quickly Auto-Tune 5 will change the pitch o the input to thato the target pitch curve. A value o zero willcause the output pitch to precisely track thetarget pitch curve. Depending on the target

pitch curve, this may or may not provide thedesired results. Slower values will have theeect o smoothing out the target pitchcurve. As ever, you should let your ears beyour guide to selecting the proper value or aparticular perormance.

The deault Retune Speed is 20. Command(Mac)/Control (PC) clicking the slider will resetit to that value.

NOTE:Slower Retune Speedvalues may also allow you to use

simple horizontal line segments todene the target pitches while still preservingthe natural pitch gestures o the originalperormance. See Chapter 4 or details.

Adjust VibratoThe purpose o this unction is to let youquickly and easily change (either increasing

or decreasing) the amount o an existingvibrato, while preserving the original shape andcharacter o the vibrato.

To use this unction, select the I-Beam tool andhighlight the range o audio youd like to edit.Set the desired amount o change using theAdjust Vibrato slider. A blue correction curvewill be created that refects your setting.

I a correction curve already exists in theselected range (as a result o Make Curve,Import Auto or the use o the Line or Curvetool), that curve will be replaced by the AdjustVibrato curve. Consequently, i you need to

both modiy the vibrato and correct the pitcho a phrase, you should rst adjust the vibratoand then manipulate the resulting blue curveto correct the pitch. (I you do it in the oppositeorder, your vibrato adjustment will wipe outyour previously executed pitch correction,oten resulting in exclamations o a possiblyproane nature.)

The deault Adjust Vibrato setting is 0.Command (Mac)/Control (PC) clicking theslider will reset it to that value.

NOTE:This unction is only availablewhen some tracked audio has been

selected with the I-Beam tool. Ino audio is selected, the slider handle willnot appear. Once some audio is selected, thehandle will appear.

ANOTHER NOTE:This unction usesthe same Stochastic Optimal LinearEstimation Theory as the Auto

Modes Targeting Ignores Vibrato unctionto attempt to dierentiate between vibratoand intended pitch changes. Thereore, you

can typically select a portion o your audiocontaining both vibrato and intended pitchchange and the Adjust Vibrato unction willscale the vibrato while leaving the intendedpitch changes alone. But again, dependingon the actual perormance, sometimes thiswill work better than others. I Adjust Vibratoseems to be making changes to parts o theaudio youd like to leave alone, simply Undothe adjustment and use the I-Beam to selectonly the vibrato portions you wish to edit.

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The Pitch Graph DisplayThe Pitch Graph displays the pitch contour othe audio to be processed as well as the targetpitch contour objects that you create. Onthis display, the vertical axis represents pitch(with higher notes towards the top) while thehorizontal axis represents time.

The red curve represents the original pitchcontour o the input track, while the desiredtarget pitch or pitch contour is indicated in blue.

The horizontal grid lines represent scalepitches. The key annotation, scale name, scalepitches and Scale Detune value are thosedened in the Automatic Mode. They do notaect the computations o the Graphical Modein any way. They are merely a reerence toguide you in drawing the target pitches. I youwish to change them, select the AutomaticMode and change the Key pop-up, Scale pop-up, or the Scale Detune setting, respectively.(Changing the Scale Detune setting will alsoresult in the scale pitch graph lines moving up

or down relative to the tracked pitch.) Then,return to Graphical Mode.

Pitch Graph ScaleThe Pitch Graph Scale Buttons control thehorizontal (time) and vertical (pitch) scaling othe graph. Clicking the appropriate + buttoncauses the view to zoom in, while clicking a- button causes it to zoom out.

NOTE:The horizontal scale buttonsalways control the Pitch Graph. Theyalso control the Envelope Graph

when it is set to Tie (see below).

Cursor Pitch DisplayThe exact pitch value o the cursor positionon the Pitch Graph is constantly displayed asa note name +/- cents. This display is alwaysrelative to the currently selected scale (i.e., onlyscale notes will appear in the pitch display).

The Envelope Graph DisplayThe Envelope Graph displays the amplitude(loudness) envelope o the sound whose pitchis shown in the Pitch Graph.

All/Tie ButtonsThe Envelope Graphshorizontal (time) scale iscontrolled by the All andTie buttons.

Clicking the All buttoncauses the envelope graph to display all othe currently tracked audio. This is useul orlocating and selecting various portions o audiospread over the duration o a song.

Clicking the Tie button slaves the position othe Envelope Graph to that o the Pitch Graph.When this setting is selected, the horizontalscale o the Envelope Graph is controlled bythe Pitch Graph horizontal scale buttons.

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The End Of Editing ModalityIn previous versions o Auto-Tune, trackingpitch, editing pitch objects and correcting pitchoperated in a modal manner i.e., when

you were doing any one o those things, youcouldnt do either o the others. With Auto-Tune 5, you are now ree to use any o thegraphical editing unctions while either trackingor correcting pitch.

You can, or example:

Draw new pitch objects while you are eithertracking or correcting pitch.

Edit existing pitch objects while correctingpitch even when the position indicatoris passing over the object youre editing (in

which case the edit takes eect as soon asyou release your mouse button).

Click either Make Curve or Import Autowhile tracking or correcting pitch. (I you dothis while tracking pitch, the resulting curves

will apply only to the audio that has alreadybeen tracked at the instant you click therespective button).

Cut, copy or paste pitch objects whiletracking or correcting pitch.

Now, just because you can do something,doesnt necessarily mean you would want to(or that it even makes sense to), but with thisnew unctionality, you will have a lot morefexibility in developing whatever workfowworks best or you.

The Graphical ToolsThe graphical tools are used in conjunctionwith the edit buttons to create the desiredtarget pitch contour.

NOTE:In addition to clicking on thevarious tools, i your host passeskey presses to plug-ins, you can

also select the various tools by pressing thenumber keys 1-7.

NOTE ALSO:Some hosts reservethe numeric keypad or hostkeyboard shortcuts even when a

plug-in window is active. For that reason, thetool selection shortcuts mentioned aboveare specically assigned only to the numberkeys that appear above the letter keys on the

QWERTY portion o your keyboard.

The Line Tool ()The Line Tool is used to draw multi-segment straight lines on the PitchGraph.

Start the process by selecting the Line Tooland clicking anywhere on the Pitch Graph toset an anchor poi