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©2001 Antares Audio Technologies. All Rights Reserved. Antares Audio Technologies 231 Technology Circle Scotts Valley, California 95066 USA voice: (831) 461 7800 fax: (831) 461 7801 service: (831) 461 7814 web: www.antarestech.com Printed in USA Rev 1.
The Obligatory Legal Mumbo-Jumbo The Antares Auto-Tune 3 software and this User’s Manual are protected by copyright law. Making copies, adaptations, or derivative works without the prior written authorization of Antares Audio Technologies, is prohibited by law and constitutes a punishable violation of the law. Antares Audio Technologies retains all ownership rights to the Auto-Tune 3 software and its documentation. Use of Auto-Tune 3 is limited by the following license agreement.
Term of the Agreement This agreement is effective until terminated by you or Antares. You may terminate the agreement at any time by notifying Antares and destroying all copies of the manual, and erasing Auto-Tune 3 from all machine-readable media, whether on-line or on archival copies. In the event of breach of any of the terms of this agreement, you shall pay the attorney’s fees of Antares that are reasonably necessary to enforce the agreement plus resulting damages.
Contents Getting Started Chapter 1 What’s New in Auto-Tune 3 Installing Auto-Tune 3 Authorizing Auto-Tune 3 Technical Support 2 3 4 5 Introducing Auto-Tune 3 Chapter 2 Some background A little bit about pitch Some pitch terminology How Auto-Tune 3 detects pitch How Auto-Tune 3 corrects pitch Automatic Mode Graphical Mode Auto-Tune 3 Controls 6 7 8 9 10 10 13 Chapter 3 Common Controls Sample Rate Display Input Type Correction Mode Select Pitch Reference Bypass Automatic Mode Controls Knobs Key Selecti
Bypass Remove Cents Set Major/Minor Scale Target Notes via MIDI Learn Scale from MIDI Scale Detune Retune Speed Tracking the Vibato Section The Pitch Change Indicator Graphical Mode Controls The Playback Controls The Pitch Graph Display The Graphical Tools Tracking Retune Speed The Use Cursor Button Auto-Tune 3 Tutorial Creative Applications Chapter 4 Tutorial 1: Automatic Mode Tutorial 2: Graphical Mode Tutorial 3: Precision Tutorial 4: The Make Curve Function Tutorial 5: The Make Auto Function 40 42 4
Welcome! On behalf of everyone at Antares Audio Technologies, we’d like to offer both our thanks and congratulations on your decision to purchase AutoTune 3, the most powerful intonation correction tool in the world. Before you proceed any farther, we’d like to strongly encourage you to register and authorize your copy of Auto-Tune 3. (You can skip ahead to the Authorization and Installation instructions on page 4. We’ll wait.
Chapter 1: Getting Started What’s New in Auto-Tune 3 If you are upgrading from a previous version of Auto-Tune, you will find that most all of what you’re already doing will continue to work in AutoTune 3, only better. The following are the key new features that have been added in AutoTune 3: • A revised core pitch detection algorithm that greatly improves pitch detection reliability in both Automatic and Graphical Modes. • “Source Specific” pitch detection and correction algorithms.
• An AudioSuite version (TDM only). • A spiffy new user interface. How To Use This Manual Auto-Tune 3 has a very friendly user-interface and is extraordinarily easy to use. However, because Auto-Tune 3 does things that have never been done before, a few aspects of the user-interface may not be immediately obvious. You should read either Chapter 3, Auto-Tune 3 Controls, or Chapter 4, Auto-Tune 3 Tutorial, to learn the essential information you will need to operate Auto-Tune 3.
Authorizing Auto-Tune 3 Authorization (the process by which this software is allowed to run on your computer) is accomplished by a technique called “Challenge/Response.” Basically, the first time you launch this software you will be presented with a string of words (the Challenge) and will be asked to enter another string of words (the Response). Note: When initially installed, this software will run for ten days without authorization.
If, for some reason, you do not have access to the web but do have email, copy and paste your Challenge string and Registration Code into an email along with your name and the product name (e.g., Auto-Tune 3 for MAS), and send it to: register@antarestech.com. You will receive your Response by return email, typically within one working day (unless you have registered on a weekend, in which case you should receive it the following Tuesday).
Chapter 2: Introducing Auto-Tune 3 Some background In 1997, Antares Audio Technologies first introduced the ground-breaking Auto-Tune Pitch Correcting Plug-In. Auto-Tune was a tool that actually corrected the pitch of vocals and other solo instruments, in real time, without distortion or artifacts, while preserving all of the expressive nuance of the original performance. Recording Magazine called AutoTune a “holy grail of recording.” And went on to say, “Bottom line, AutoTune is amazing...
To take maximum advantage of the power of Auto-Tune 3, you should have a basic understanding of pitch and how Auto-Tune 3 functions to correct pitch errors. This chapter presents basic terminology and introduces Auto-Tune 3’s operating paradigm, giving you information you need to use it effectively. A little bit about pitch Pitch is typically associated with our perception of the “highness” or “lowness” of a particular sound.
Some pitch terminology The pitch of a periodic waveform is defined as the number of times the periodic element repeats in one second. This is measured in Hertz (abbreviated Hz.). For example, the pitch of A3 (the A above middle C on a piano) is traditionally 440Hz (although that standard varies by a few Hz. in various parts of the world). Pitches are often described relative to one another as intervals, or ratios of frequency.
As you can see, the intervals in the Equal Tempered Scale are NOT equal to the harmonious integer ratios. Rather, the Equal Tempered Scale is a compromise. It became widely used because once a harpsichord or piano is tuned to that scale, any composition in any key could be played and no one chord would sound better or worse than that same chord in another key. How Auto-Tune 3 detects pitch In order for Auto-Tune 3 to automatically correct pitch, it must first detect the pitch of the input sound.
How Auto-Tune 3 corrects pitch Auto-Tune 3 provides two separate and distinct ways to approach pitch correction: Automatic Mode and Graphical Mode. The basic functionality of each is described below. Automatic Mode Auto-Tune 3’s Automatic Mode works by continuously tracking the pitch of an input sound and comparing it to a user-defined scale. The scale tone closest to the input is continuously identified. If the input pitch exactly matches the scale tone, no correction is applied.
Scales The heart of Automatic Mode pitch correction is the Scale. Auto-Tune 3 lets you choose from major, minor, chromatic or 26 historical, ethnic and microtonal scales. Individual scale notes can be bypassed, resulting in no pitch correction when the input is near those notes. Individual scale notes can also be removed, allowing a wider range of pitch correction for neighboring pitches. The scale can be de-tuned, allowing pitch correction to any pitch center.
An Example of Automatic Mode Correction As an example, consider this before-and-after graphic representation of the pitch of a vocal phrase that contains both vibrato and expressive gestures. CORRECTED BY AUTO-TUNE 3 D3 C 3 ORIGINAL PERFORMANCE B2 10.0 10.5 11.0 In the original performance, we can see that although the final note should be centered around D, the vocalist allowed the tail of the note to fall nearly three semitones flat.
Graphical Mode The Graphical Mode is similar to the Automatic Mode in that it also continuously tracks the pitch of the incoming sound and modifies the output pitch to be closer to a desired pitch. But in the Graphical Mode, the desired pitch is not a predefined scale tone, but rather is a graphical representation of your desired pitch. As in Automatic Mode, the rate of change towards the desired pitch is controlled by the Retune control. The key feature of Graphical Mode is the Pitch Graph display.
The horizontal grid lines represent scale pitches. The key annotation, scale name, scale pitches and Scale Detune value are those defined in the Automatic Mode. They do not affect the computations of the Graphical Mode in any way. They are merely a reference to guide you in setting the target pitches. If you wish to change them, you can select the Automatic Mode and change the Key pop-up, Scale pop-up, or the Scale Detune setting, respectively.
Chapter 3: Auto-Tune 3 Controls This chapter is a reference for all of the controls used in the Auto-Tune 3 interface. This chapter describes the function of each control. How these controls are used together for intonation correction is demonstrated in Chapter 4, Auto-Tune 3 Tutorial. Much of the information in this chapter is also presented in Chapter 4. However, a few of the less commonly used controls are only explained here.
Input Type As a result of Antares research into the unique characteristics of various types of audio signals, Auto-Tune 3 offers a selection of optimized processing algorithms for the most commonly pitch-corrected inputs. Choices include Soprano Voice, Alto/Tenor Voice, Low Male Voice, Instrument, and Bass Instrument. Matching the appropriate algorithm to the input results in even faster and more accurate pitch detection and correction.
Another Note: Auto-Tune 3 will only pitch correct true stereo tracks. If the second track (i.e., the track not selected as a pitch reference) is simply an independent unrelated track, unpredictable (and potentially unpleasant) sounds may result. On the other hand, something interesting might happen. You never know. Bypass Auto-Tune 3 does not include a dedicated Bypass control as that function is typically provided by the host application’s plug-in interface.
Scale Selection To select a scale, click on the Scale pop-up and then select the desired scale from the pop-up list. Note: To avoid having to deal with scales containing those annoying double flats, double sharps and notes like Cb, E#, Fb and B#, Auto-Tune 3 will automatically choose the simpler of two enharmonically equivalent scales. For example, if you select Db Major, the Edit Scale Display will duly display the Db Major scale.
• Just (major chromatic): a twelve-tone scale. Just intonation tunes the most frequently used intervals to be pure (integer ratios in frequency). These tunings depend on the mode (major or minor) and the key. This scale is tuned for major mode. • Just (minor chromatic): (See Just (major chromatic), above) • Meantone chrom.: a twelve-tone scale. This tuning is a combination of Pythagorean and just tunings so that music in a wider variety of keys could be usable. • Werckmeister III chrom.
• 24 Tone: Also know as the quarter tone scale, this scale is used for variety but has no advantage in terms of ratios that better approximate pure intervals. • 31 Tone: In addition to intervals that better approximate pure intervals, this scale also contains good approximations to Indonesian pelog and slendro scales. • 53 Tone: Related mathematically to the cycle of fifths, the 53-tone scale has very pure major and minor thirds, and fifths and fourths.
edits associated with C Major will be restored. The Edit Scale window displays each note of the currently selected scale in the currently selected key. If the selected scale includes more than twelve notes, Up and Down arrows will appear to allow scrolling through all of the available notes. Beside each note name are two buttons: a Bypass button and a Remove button. Click on a button to toggle its state. The button will light to indicate that its mode is active.
Why set Scale notes to “Remove?” To understand why it is sometimes necessary to set even correct scale notes to ”Remove,“ let’s look again at the example from Chapter 1. CORRECTED BY AUTO-TUNE 3 D3 C 3 ORIGINAL PERFORMANCE B2 10.0 10.5 11.0 This phrase is in D Major and, if all the pitch errors were no greater than about 49 cents, would work fine with a standard D Major scale (D, E, F#, G, A, B, C# ).
Set Major Scale/Set Minor Scale When any scale that includes more than seven notes (i.e., any non-diatonic scale) is selected, the Set Major Scale and Set Minor Scale buttons will appear. Clicking on either of these buttons will “Remove” all notes from the scale except for those notes closest to the notes of a traditional diatonic major or minor scale (depending, of course, on which button you clicked).
Learn Scale From MIDI In most cases, you will probably tell Auto-Tune 3 which notes to correct to using the Edit Scale Display described above. However, there may be occasions when it is not clear exactly what key a melody line is in, or where the line has too many accidentals to fit comfortably into a conventional scale.
Note: When you start the process by pressing the Make Scale From MIDI button, all notes are first Removed from the chromatic scale in preparation for adding just the notes you play. If you then press the Make Scale From MIDI button again without playing any notes, you will be left with a chromatic scale with all notes removed. In this state, Auto-Tune 3 will pass all notes with no correction applied. So don’t do that.
If you have a tone that you want to use as the pitch standard, select that tone and play it in a loop. Adjust Scale Detune until the Change meter reads zero. (You may be required to use the Edit Scale dialog to remove adjacent notes so that Auto-Tune 3 doesn’t tune to the wrong note.) The default Scale Detune setting is 0 cents. Double-clicking the Scale Detune knob will reset it to that value. Retune Speed Retune Speed controls how rapidly the pitch correction is applied to the incoming sound.
The default Tracking setting is 25. Double-clicking the Tracking knob will reset it to that value. Note: The improved pitch detection algorithm in Auto-Tune 3 (in combination with the new Input Type selection described above) results in noticeably more reliable pitch detection compared to previous versions of Auto-Tune. If you have used older versions of Auto-Tune, you may find that situations that previously required constant modifications of the Tracking control now track perfectly at the default setting.
The Pitch Change Indicator The Pitch Change Indicator shows you how much the pitch is being changed, measured in cents (100 cents = one semitone). For example, if the indicator bar has moved to the left to -66, it indicates that the input pitch is 66 cents too sharp and Auto-Tune 3 is lowering the pitch by 66 cents to bring the input back to the desired pitch.
Graphical Mode Controls The Playback Controls Track Pitch The Track Pitch function is used to detect the pitch of the audio to be processed so that it can be displayed on the Pitch Graph Display. Locate the desired audio and press the Track Pitch button. Its “LED” will flash to indicate that Auto-Tune is waiting for audio. Next, start playback of the audio. (The Track Pitch LED will light steadily.) When all of the audio you want to correct has played, stop playback.
Correct Pitch After you have used the graphical tools (as described below) to create a target pitch contour, this button is used to apply the pitch correction to the audio. In all cases, pressing the Correct Pitch button and then starting playback will cause the pitch correction to be applied to the audio. In some host applications, starting playback when the Pitch Graph contains any yellow pitch correction contour will automatically engage the Correct Pitch function.
The Pitch Graph Display The Pitch Graph displays the pitch contour of the audio to be processed as well as the target pitch contour objects that you create. On this display, the vertical axis represents pitch (with higher notes towards the top) while the horizontal axis represents time. The red curve represents the original pitch contour of the input track, while the desired target pitch or pitch contour is indicated in yellow. The horizontal grid lines represent scale pitches.
Note: The horizontal scale buttons always control the Pitch Graph. They also control the Envelope Graph when it is set to “Tie” (see below). The Envelope Graph Display The Envelope Graph displays the amplitude (loudness) envelope of the sound whose pitch is shown in the Pitch Graph. Envelope Graph Scale The “+” and “-” buttons next to the Envelope Graph control the vertical scale as expected, while the horizontal (time) scale is controlled by the “All” and “Tie” buttons.
Pressing Option/Alt on your keyboard during line entry will force the current segment to be perfectly horizontal. Only one pitch contour object (line or curve) can exist at any time point on the Pitch Graph. When you complete the entry of a line object, any object(s) that previously existed at the same time will be deleted. The Curve Tool The Curve Tool is used to draw arbitrary curves on the Pitch Graph.
• Moving the Pointer Tool over a pitch contour object anchor point (whether that point is currently selected or not) causes the cursor to change into the anchor point cursor (four diagonal arrows). Clicking on an anchor point with the anchor point cursor deselects all other objects and anchor points and selects that anchor point so that it can be dragged. Dragging an anchor point stretches or compresses the pitch contour object relative to the nearest unselected anchor point(s).
The Undo Button The Undo button becomes active whenever you move or modify a target pitch contour object. Clicking the Undo button allows you to alternately undo and redo the last change. The Cut and Copy Buttons The Cut and Copy buttons become active whenever a pitch contour object is selected. Cut removes selected objects. Both Cut and Copy copy selected objects to the Auto-Tune 3 clipboard. You can then paste the objects elsewhere in the Pitch Graph display.
The Make Curve Button The Make Curve button is enabled whenever there is any red input pitch contour data present in the Pitch Graph (whether it is displayed in the current Pitch Graph view or not). Pressing the Make Curve button causes yellow target pitch contour objects (curves for short) to be created from the input pitch contour data. These curve objects can then be dragged and stretched for very meticulous pitch correction.
If you aren’t satisfied with the results of the Make Auto function, simply switch to Automatic Mode, modify any of the settings as desired, and then return to Graphical Mode and click Make Auto again. Note: In addition to its use as a Graphical Mode correction tool, the Make Auto function can also be used to provide an informative visual representation of the results of Automatic Mode settings.
If, on the other hand, your signal is noisy or not well-isolated (as might be more common in a live performance situation) or you are dealing with a particularly breathy or guttural voice, it may be necessary to allow more signal variation (higher Tracking numbers). However, under these circumstances tracking is not guaranteed and a too “relaxed” setting may introduce distortion and popping. The default Tracking value is 25. Double-clicking the Tracking knob will reset it to that value.
The Use Cursors Button Normally, Auto-Tune 3 displays different cursor shapes in the Pitch Graph Display to help you grab and drag objects (e.g., the object cursor, the anchor point cursor, etc.). However, some host applications mistakenly think that they own the cursor when it is in a plug-in window. This may cause the cursor to flash as the host and Auto-Tune 3 alternately try to set the cursor shape. If this annoys you, click the Use Cursors button.
Chapter 4: Auto-Tune 3 Tutorial This chapter introduces you to how Auto-Tune 3 works by guiding you through a a number of brief tutorials. The Auto-Tune 3 installer installs a number of tutorial files which, depending on your plug-in format and host application, may be provided as separate audio files or together in a project file. (We will assume that you are familiar with loading audio files into your host application.
2. Play “A2-A3-A2 sweep” again. You will now hear an arpegiated A Major triad because you have removed all the other notes from the scale. To continue: 1. In the Edit Scale Display, click the Bypass button next to E. 2. Play “A2-A3-A2 sweep” again. You will now hear the effect of not correcting the E. During the time that Auto-Tune 3 would normally be tuning the input to E, Auto-Tune 3 instead enters bypass mode and passes the input through uncorrected. To continue: 1. Set the Retune Speed to about 30. 2.
Tutorial 2: Graphical Mode This tutorial will introduce you to the basic Graphical Mode functions, again using the “A2-A3-A2 sweep” file from Tutorial 1. Begin the tutorial by doing the following: 1. Load or import “A2-A3-A2 sweep” into a track of your host program. Play the track so that you are familiar with the original audio. 2. Set up Auto-Tune 3 to be an insert effect on that track. 3. Set Auto-Tune 3 to Automatic Mode. 4. Set the Key to “A” and the Scale to “Major.” 5.
2. Select the Line tool and enter a line similar to that below. By clicking multiple anchor points on the Pitch Graph, line segments joining the points will be drawn. When done, double-click the last point or press on the keyboard. To erase the last point entered, press on the keyboard (you can press repeatedly to erase back to the first anchor point). 3. Set the Retune Speed to 0. Click the Correct Pitch button and play back the sound to hear the effect. 4.
Now that we have some yellow lines and curves on the Pitch Graph Display, this would be a good time to become familiar with the functions of the Pointer Tool. (Refer back to Chapter 3 for a detailed description of the Pointer Tool’s behavior.) 7. Select the Pointer Tool. 8. Drag the Pointer Tool across the Pitch Graph to select objects. 9. Move the cursor over curves and anchor points. Practice selecting entire curves and individual anchor points. 10.
5. Do whatever your host application requires to bypass both instances of Auto-Tune 3. 6. Play back the files so you can hear them together without processing. Believe it or not, these vocal samples from a sample CD are supposed to be the same pitch. Yikes! 7. Now enable Auto-Tune 3 on each of the tracks and play the files again. If you’ve done everything right, you will hear the samples so well in tune that they sound like one voice.
6. Use the Zoom/Select tool to drag a selection of “-gether” in the Envelope Graph. The result will be something like the following: 7. Click the Make Curve button. Auto-Tune 3 will compute a new yellow curve object from the existing pitch data. (The new curve may be difficult to see at first because it will exactly overlay the red curve.) Click the Zoom/Select tool on the background of the Envelope Graph to cancel the area selection. 8. Both anchor points of the new curve will be selected.
10. Set the Retune Speed to 0 and play back the sound. Note that the errant note is now in tune. To continue, here is an alternative approach to the same pitch problem using the Line Tool. 1. Click the Select All button and then the Cut button to delete the yellow curve created above. 2. Use the Line Tool to draw a horizontal line as shown below (press the Option/Alt key to constrain the line to horizontal): 3. Set the Retune Speed to 20 and play back the sound.
because the new pitch variation does not correspond to the original (and still present) loudness variation. These considerations are also important when correcting pitch. It’s rarely effective to draw in a new pitch gesture at the desired pitch, even though that gesture may have worked well in another performance.
7. Use the Zoom/Select Tool to drag a selection in the Envelope Graph as shown: 8. Click the Make Auto button.
Assuming that this entire phrase should be centered around E3, there are several problem spots, indicated above, where the pitch is being incorrectly adjusted towards neighboring tones. 9. To hear the pitch corrections that would be produced in Automatic Mode, set the Graphical Mode Retune Slider to 0, (fast) and play back the file. 10. Switch to the Automatic Mode and click the Remove buttons next to C, D and F. 11.
Chapter 5: Creative Applications for Auto-Tune 3 Auto-Tune 3 works on vocals so well you may think that’s all it can do. Actually, lots of instruments can use it to great advantage. Fretless bass, electric violin, trombone, even the theremin, all feature continuous pitch potential, unconstrained by frets or keys. Here are some other ideas for using Auto-Tune 3: • Produce instant double tracking in one take! Record onto two tracks, processing only one of the tracks through Auto-Tune 3.
Index A Antares Audio Technologies contacting ii Authorizing Auto-Tune 3 4 Auto-Tune 3 background 6 creative applications 51 installation 3 serial number 1 Tutorials 40 what it is 6 Automatic Mode 10, 11 Automatic Mode Controls 17 B Bass Mode 2 Bypass 17, 21 Why set Scale notes to “Bypass?” 21 C Cents 22, 25 Challenge/Response 4 Controls 15 Bypass 17 common 15 Correct Pitch 30 Correction Mode 16 Edit Scale Display 20 Envelope Graph Display 32 Envelope Graph Scale 32 Graphical Mode Controls 29 Graphical T
I R Input Type 16 Alto/Tenor Voice 16 Bass Instrument 16 Instrument 16 Low Male Voice 16 Soprano Voice 16 Installing Auto-Tune 3 3 Registering Auto-Tune 3 5 Remove 21 Why set Scale notes to “Remove?” 22 Retune Speed 11, 26, 37, 38 K Key Selection 17 keyboard equivalents 35, 44 Knobs 17 L Learn Scale From MIDI 24 License Agreement iii Line Tool 32 M Make Auto button 36 Make Curve button 36 MIDI Functions 23 Learn Scale From MIDI 24 Target Notes Via MIDI 23 P Paste button 35 Pitch 7, 8 how Auto-Tune 3
