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Input Scale Midi Auto-tune Online

This combination of preamp and Auto‑Tune processor could be just the thing for adding a radio‑friendly sheen to your live performances.

Anyboby know how to set up midi in auto tune 4 in cakewalk. I have sonar 4 and antares auto tune 4 plug in. Pentium 2.4,512 ram, windows XP 1,my sound card is dsp2000 8in 8 out it's have 1 midi in 2 midi out. Can you please tell me how do i use target notes via midi and learn scale from midi.

ART have teamed up with Antares to produce this DI‑box‑sized Auto‑Tune Pre, a mic/line preamplifier with a hardware version of Auto‑Tune built in. Clearly, such a product will hold little appeal for the DAW user as pitch correction is invariably best applied after recording, usually via plug‑ins, to allow scope for adjustment and parameter automation, but for live performance it has very clear applications. The Auto‑Tune Pre could also prove very useful for those using hardware multitrack systems that don't have the capability to run plug‑ins, as recorded tracks may be re‑processed via the line input of the Auto‑Tune Pre.

The Auto‑Tune section of the preamp, which claims a low latency of around five milliseconds, has a user interface designed to work as much like the plug‑in version as possible, and that extends to 'piano layout' note‑selection buttons on the front panel. These allow the user to create custom scales, as well as to select straightforward major or minor scales according to the key, though there's also a straightforward chromatic mode. Five user presets are available for storing the scales appropriate to specific songs, and these may be stepped through using an optional footswitch where required.

While the plug‑in version of Auto‑Tune has a fully variable control to set the speed of pitch correction, the Auto‑Tune Pre has just three speed modes, labelled Pitch Correct, Soft EFX and Hard EFX. The last two are special effects settings that capitalise on the now well‑known (and some would say overused) side‑effects of over‑fast pitch correction. Hard EFX produces the familiar hard‑quantised robotic or pseudo-vocoder sound recognisable from countless records, while Soft EFX imparts a hint of Auto‑Tune in a less obvious way.

Review: Antares Auto-Tune 8. You can choose between input types based on voice characteristics and then set a key and a scale, and specify the notes to be. GSnap by GVST (@KVRAudio Product Listing): GSnap is an auto-tune effect. It can be used subtly to correct the pitch of a vocal, or, with more extreme settings, to create a robot-voice effect. For GSnap to work effectively, the input signal should be monophonic, at a good level and reasonably noise-free. For example, a clean, mono vocal recording, without excessive noise or reverb. Auto-Tune is capable of receiving MIDI input to both facilitate the selection of a scale in the Scale Editor, as well as actually follow the pitch of incoming MIDI notes as a creative.

On the mic amp side, a discrete‑component front end feeds a 12AX7A valve circuit to add a little warmth and character to the signal path. Internal step‑up circuitry boosts the valve supply voltage to well above what the power supply rating might suggest,and also supplies the phantom power. A +20dB gain switch operates in conjunction with the variable input gain control, where a pair of LEDs show signal present and clip status for level-setting purposes. A further rotary control sets the output level.

A TRS insert jack permits external processing to be interposed in the signal path between the preamp and Auto‑Tune sections, while a TRS footswitch jack socket on the rear panel provides a means of remotely bypassing the Auto‑Tune section and stepping through the five presets using a dual, momentary action (non‑latching) footswitch.

As well as the audio I/O, the Auto‑Tune Pre features a footswitch input, allowing you to remotely bypass the Auto‑Tune processing.

A 'combi' XLR/jack socket is used for the mic/line input, with the main output being present on both balanced XLR and unbalanced jack connectors. Three rear‑panel button switches select +4dBu or ‑10dBV output levels, low‑cut filter on or off, and 48V phantom power on or off. A further button functions as a power switch, with power coming from the included 9V AC power adaptor. ART quote a dynamic range of better than 104dB (A‑weighted), with the frequency response staying flat from 10Hz to 20KHz, ±1dB. The maximum output level is +24dBu (balanced).

Operation

The preamp section is quite straightforward in terms of control, so you only need to adjust the input gain until the red peak LED (which comes on 3dB below clipping) flashes only briefly and very occasionally on the loudest peaks. You may also need to engage the low‑cut switch, which will help combat vocal popping in live performance. A maximum of 66dB of gain is available if the output control is also set to full (+5dB), and that's plenty for a typical live performance using a close‑up dynamic mic.

For the Auto‑Tune section to work reliably, the mic should be positioned to pick up as little spill as possible, so the vocalist will probably need to work quite close to the mic, as excessive spill can defeat or confuse the pitch-tracking process. Individual scale notes can be toggled on or off via the note keys on the front panel, which have illuminated switch caps to show which notes are active.

When setting a simple major or minor scale, a 'key' button allows the 12 scale options to be cycled through, and a row of 12 LEDs indicates the currently selected key. A similar arrangement allows stepping through the major, minor or chromatic scale options, and the lighted 'note' buttons change according to your selection so that they always reflect the target notes for the current setting. Of course it doesn't matter what scale you select if you use chromatic mode, as the pitch is always nudged towards the closest semitone (and in this mode, allthe note buttons light up to show that they are all 'valid').

A useful setup aid is provided in the form of pitch oscillators, which can be activated by pressing and holding the button of the note pitch you want to hear for two seconds or more. There's no mention of any means of offsetting the internal pitch reference from its A440Hz setting, so if you're playing along to a non‑concert‑pitch instrument, the Auto‑Tune function should be bypassed. Pressing Store saves your setting to the current Preset, as shown by the LEDs on the right-hand edge of the panel. The state of the bypass switch is also saved with each preset.

Tested with my acoustic guitar combo's mic input and a dynamic microphone connected to the Auto‑Tune Pre, I was a little disturbed to be greeted by a low level, but still annoyingly audible, background hum/buzz that wasn't there when I plugged the mic straight into the combo. I made sure that the Auto‑Tune Pre and its cables were well away from the amplifier, and other powered devices in the vicinity were also unplugged to avoid interference, but the buzz remained unless the Auto‑Tune Pre was switched off. Oddly enough the level of buzz changed very little when the output level switch was operated, but with the output level set to +4dBu, the buzz would almost certainly be inaudibly low in a live situation, as long as the mic gain was set sufficiently high.

In all other respects the unit worked exactly as promised, with a clean, solid‑sounding pre‑amp and effective Auto‑Tuning. In the normal pitch correction mode, the correction rate is fairly slow, so natural inflections aren't usually affected, unless you are into making very slow pitch glides. There's a sense of chorusing when you hear the pitch-corrected vocal alongside your natural voice, but nothing too off‑putting. The middle setting is more assertive, but still allows most of the singer's natural articulations to come through. This introduces some familiar Auto‑Tune fast‑slurring artifacts, but everything still sounds more or less human with a contemporary edge not dissimilar to that heard on many pop records.

Go to the Hard EFX setting and the pitch correction is so fast that most of the natural articulation is stripped out, leaving you with a hard, pitch‑quantised sound, again corresponding to the kind of thing heard on some records — Cher's 'Believe' being the best-known example. On these faster settings more noticeable chorusing effects can be heard as the shifted sound interacts with the sound of your un‑amplified voice. If that is too off‑putting you may wish to arrange for non‑pitch‑corrected monitoring!

Conclusion

Other than a little background hum/buzz, which can be largely alleviated by being careful with your gain and output level settings, the Auto‑Tune Pre works exactly as it should, delivering the classic Auto‑Tune processing in a very easy‑to‑use manner. In addition to its vocal applications, the process can also work well on certain instruments, such as sloppily played cello or violin, when used in a pop context. There are also special effects galore to be had by experimenting with scales containing very few notes. I can't get too excited about the Auto‑Tune Pre as a studio processor, at least not for DAW users, but for live performance or the hardware studio operator it has a lot to offer.

Alternatives

The TC Electronic Mic Mechanic puts automatic pitch correction into a pedal format, along with a mic preamp, some auto EQ/dynamics functions and a selection of delay/reverb effects. It has variable correction speed, but only operates in chromatic mode.

Pros

• Easy to use.
• Can store five user settings.
• Classic Auto‑Tune sounds, both natural and 'hard'.

Cons

• Some background noise audible in some setups, though this should be unnoticeable in live performance.

Summary

/auto-tune-evo-vst-pc-607-download.html. A practical implementation of Antares Auto‑Tune, in a compact mic‑preamp format that is well suited to live-sound work.

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One of the biggest technological advances in pro audio in the last decade and a half has been the increasing flexibility with which we are able to work with digital audio. Not so long ago, it was the case that you could muck about with MIDI until the cows came home, but your audio was pretty much what it was when you recorded it, unless you wanted to massively slow it down or speed it up in a sampler. That’s no longer the case of course, and there are a fair few tools around that let you manipulate (often monophonic) audio with incredible precision.

Auto-tuning as a phenomenon now runs the gamut from minor correction of wobbly notes through changing vocal performances from a minor to major key after the session has finished, all the way to ‘hard correcting’ vocals for a synthetic, robotic kind of effect that is used in some styles of music. Whether you like this or think it’s an affront to the very idea of good music, auto-tuning is everywhere.

Pitching Up

Antares pioneered the process of auto-tuning and helped to bring it into the mainstream. Where once it was unavailable outside the biggest studios, now there’s a version of it to suit most budgets. Auto-Tune 8 is the latest flagship version of the company’s processor and costs $399, though various upgrade prices are also available. There are also cut-down versions available with a more modest feature set, if they satisfy your needs. It comes in AAX, VST3 and AU formats and runs as a plug-in inside your compatible DAW. You’ll need Mac OS 10.6.8 or Windows 7 or higher and a USB port for the iLok key for authorization. A demo is available though this requires a physical iLok USB key as well.

The plug-in is applied as an insert on an audio track and processes sound in real time. It has two main modes: Automatic and Graphical. Automatic is the more straightforward of the two to use but still has plenty of features. You can choose between input types based on voice characteristics and then set a key and a scale, and specify the notes to be corrected, bypassed or removed in the central display area. It’s also possible to transpose any part in real time and add “throat length” to alter the formant of the voice without changing its speed.

One of the major new features in Automatic mode is what Antares calls “Flex-Tune Natural Pitch Correction Technology” which offers a sort of variable correction amount. The explanation is that most auto-tuners pull every note towards a preset scale note which can make the results sound overly artificial. With this new system, it’s only when a singer approaches a scale note that correction is applied. The idea is that more expressive vocal gestures are left intact. There’s a Correction dial that has three areas: Classic, Flex Tune and None. Set near ‘none’, little pitch correction is applied. Move towards the ‘Flex Tune’ area and more natural correction is applied, pulling notes in but only when they are close to scale notes. Move over towards ‘Classic’ and correction becomes more strict, if that’s what you’re after. So it’s kind of like a variable wet/dry control, only with three states. As ever with pitch correction, tiny adjustments don’t always yield obviously different results, but it was certainly clear in testing that the Flex-Tune option provided a halfway house, correcting those notes specified but leaving others untouched.

Midi Input Devices

There’s also a new low latency mode that’s designed to allow vocalists to hear the results of their auto tuning in real time during performance or tracking with no latency. Again this worked well in tests, though hearing a pitch corrected version of yourself coming back in the headphones as you sing can be a little disorienting at first. Nonetheless I can see this being a really useful feature for some performers.

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Go Graphical

If you switch into Graphical mode you get a more advanced set of tools and a visual representation of the pitch of any audio that runs through the plug-in. This is more like the pitch correction tools you get in DAWs like Cubase’s VariAudio and Logic’s Flex Pitch. In Auto-Tune 8 there are a number of new features here that will really help your workflow. There’s a toolbar containing the various tools you need for selecting and manipulating areas of pitch data in the grid, and these are now active during playback, meaning you no longer have to stop playback, make edits and then hit Play again to hear the results.

There’s audio feedback of note object pitch so selecting new notes just means using your ears, the ability to hide or show amplitude envelope and envelope display to save screen space, and an in increased maximum timeline resolution in bars and beats mode, up to 16th notes. The Graphical section is very flexible, with a range of other tools such as the ability to cut and paste data within the plug-in, modify time as well as pitch and make notes from MIDI data.

In Tune?

Auto-Tune 8 is undoubtedly one of the most powerful pitch correction tools on the market and of course in addition to vocals it can be used on other sources, though vocals are what it’s really designed for. Antares claims that it’s now virtually impossible to tell that a vocal has had the plug-in applied to it, and with the new Flex Tune mode this is certainly more true than it has been in the past. I tend to find that when auto tuning any vocal with any tool, it’s the patience and skill of the person making the settings that tends to make all the difference. In Automatic mode, Auto-Tune 8 does take a lot of the work out of the process and Flex Tune helps to preserve some of the natural expression while still pitch correcting certain notes. You’ll still need to exercise some judgment because every vocal is different, and if you need fine-tuning control, Graphical mode is there to help as well. This is a fine pitch correction and manipulation plug-in and though it’s at the upper end of the product range, does have many features not found in the more entry-level versions.