Nav Auto Tune Settings
Gear Required for Auto-Tune I’m going to give you a brief overview of the gear you’ll need to set up auto-tune. I’ll go more in-depth in the next section, but the Ultimate Guide to Worship Tech 3-pt. Series will be helpful if you don’t already have some of this gear. NAV 2013 Performance Tuning Suggested Answer We are running NAV 2013 with SQL Server 2012 on Windows Server 2012 Std. HW: Xeon E5-2420 x 2 (24 Logical Core in Total), 48G RAM.
I've recently started using the Antares Auto-Tune plug-in (version 3), and I need help! I used it recently on a male vocal that needed tuning. Even when using the plug-in's Automatic mode, I can't get a good sound out of it — the corrected voice sounds 'warbly' and fake. Can you offer any advice?
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Editor In Chief Paul White replies: Auto-Tune is designed to address the problem of vocal pitching imperfections, though I've also used it successfully on other instruments, including electric guitar solos and fretless basses. It is important to note that it can only handle monophonic sources, so if it sees complex mixed material, or sounds that have been treated with delay or reverb, it will tend to pass those sounds through untreated. This means if you have a vocal track with a lot of spill from other sources, Auto-Tune may refuse to work properly. On the plus side, it means you can treat a messy guitar solo that includes double notes or partial chords and they will all be ignored, leaving Auto-Tune to do its job only on single sustained notes.
The plug-in works by detecting the pitch of the incoming material in real time. Auto-Tune then uses a pitch-shifting algorithm to adjust the pitch of the input to the nearest note in a preset or user-definable scale. You can also leave Auto-Tune set to a chromatic scale, but I've found that this rarely works perfectly, especially if the singer uses a lot of bends or vibrato, as you can end up creating trills between two adjacent semitones. This could be contributing to the 'warbly' effect you're encountering, so make sure you have set the plug-in to work off the appropriate key and scale type for the melody you're treating.
The secret to making Auto-Tune sound natural is in not trying to make it correct sounds too quickly. There's a control called Retune — it appears as a rotary knob in version 3's GUI and as a slider in earlier versions — which adjusts the rate at which pitch correction takes place. You could think of it as the equivalent of a compressor's Attack control, and it's helpfully labelled with 'fast' and 'slow' at either extreme, although a numerical value is also shown. If you've already experimented with setting this control as fast as it will go, you'll have heard the familiar pitch-quantising effect that's been done to death on countless records since Cher's single 'Believe'. Setting a longer correction rate — move the knob/slider to its halfway point or below — allows a singer's natural bends, scoops and vibrato to pass through without obvious modification. Whenever they sustain a note, however, it will be pulled smoothly into pitch.
The Tracking control determines how Auto-Tune responds to low levels of spill. Again, it's intuitively labelled with 'relaxed' at one extreme and 'choosy' at the other. In most cases where the input signal is fairly clean, the default setting of around three-quarters of the way up should be fine.
By using Auto-Tune on a clean, untreated vocal take, and adjusting the Retune control carefully, starting from the 'slow' end of the scale, you should be able to achieve transparent pitch correction.
The plug-in's Graphic mode allows far more detailed correction of the individual notes of a take, and is certainly not for beginners. I'd suggest that you get the hang of using Auto-Tune in Automatic mode before you get stuck into its more advanced features. If you haven't already done so, I recommend reading the Vocal Fixes article in SOS October 2003, which gives a fascinating insight into the ingenious ways that Auto-Tune is being used at the cutting edge of commercial record prodution.
I've yet to find a natural-sounding use for the vibrato section of Auto-Tune, as it sounds too mechanical and synth-like for my taste, but it may be useful as a special effect. /download-dll-suite.html.
Finally, Auto-Tune and its contemporaries only sound really good when the singer you are working on has reasonable pitching in the first place. It is designed to correct errors of pitching, not entirely wrong notes, so there will be some vocalists, me included, for whom there is no salvation!
Due to the plug-in IDs being different in the AAX versions of Auto-Tune® 8.1 and Auto-Tune Pro, Auto-Tune Pro is not able to import user presets created by Auto-Tune 8.1. Opening an Auto-Tune 8.1 preset using Auto-Tune Pro will result in the following error message:
In order for Auto-Tune Pro to import an Auto-Tune 8.1 user preset, it is necessary to edit the preset file (.tfx) in a text editor such as TextEdit (macOS) or WordPad (Windows). Here are the steps to edit the .tfx file so it can be imported into Auto-Tune Pro AAX:
1. Locate the preset file and open it in your text editor. Pro Tools stores the Auto-Tune 8.1 plug-in presets in the following locations on macOS and Windows:
macOS: MacHD/Users/(Log-in)/Documents/Pro Tools/Plug-In Settings/AutoTune81AAX
Windows: This PCDocumentsPro ToolsPlug-In SettingsAutoTune81AAX
2. The opened Auto-Tune 8.1 preset file (.tfx) has the plug-in ID (“AT81”) twice in the first line.
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3. The “AT81AT81” characters are the ones needing to be changed to “ATunATun”. For example:
¨��JptrAT81AT81elck��?
to
¨��JptrATunATunelck��?
4. Once the characters have been changed, please save the file with your text editor. The edited preset file can now be imported into Auto-Tune Pro AAX in Pro Tools.
5. Open an instance of Auto-Tune Pro in Pro Tools.
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6. Open the Preset drop-down by clicking the triangle and select “Import Settings…”
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7. Locate the edited preset file and click “Open.”
8. Preset files will now open in Auto-Tune Pro.
9. Save the settings as a new preset in Auto-Tune Pro.