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Pitch Correction Plug-In [Mac/PC]

• Signal Processors >Pitch-shifters

Auto tune evo free download mac. System Tools downloads - Auto-Tune Evo VST by Antares Audio Technologies and many more programs are available for instant and free download. Auto-Tune Evo RTAS is a plug-in of the Antares Auto-Tune. It represents the worldwide standard in. Mar 24, 2020 Free antares autotune evo vst rtas v6.0.9 download software at UpdateStar - Hailed at its introduction as a 'holy grail of recording,' by Recording magazine (and adopted worldwide as the largest-selling audio plug-in of all time), Auto-Tune corrects intonation and timing problems in vocals or solo. » free download auto-tuneevovst » vst plugin auto tune evo vst » auto-tuneevovst crk » auto-tuneevovst dll file download » auto-tune efxauto-tune efx vst download » vst auto-tune evo vst antares audio » vst auto-tune vst antares audio » track 1 vst auto-tune vst antares audio » auto-tune auto-tune evo 6.09 gratis; Free Autotune.

Auto-Tune has been the industry‑standard pitch‑correction tool ever since its 1997 release. Does the latest Evo version keep the competition at bay?

Graphical editing now includes note objects as well as curves, and object-specific settings for the Retune speed.

Love it or loathe it, pitch‑correction software is now a ubiquitous part of the modern computer‑based recording studio. Antares were pioneers of this technology and Auto‑Tune became a clear industry standard soon after its release in 1997. Of course, other companies were not going to let Antares have things all their own way, and alternatives from the likes of TC Electronic/TC Helicon and Celemony have certainly made their mark. SOS reviewed Auto‑Tune 5 in a head‑to‑head with Celemony's plug‑in version of Melodyne in the March 2007 issue (/sos/mar07/articles/at5vsmelodyne.htm), and Antares are now back with what is, in essence, Auto‑Tune 6. However, the new version is named Auto‑Tune Evo, and includes some significant new features.

All About Evo

Auto‑Tune Evo retains the basic dual‑mode operation of earlier releases. An 'auto' mode provides easy‑to‑use, real‑time correction options and, if the original performance is pretty good in the first place, can often do the job with the minimum of fuss. If the tuning problems are more significant, the 'graphical' mode provides tools for editing indvidual notes via curves and lines.

All these functions are retained in Evo, but they have been accompanied by some significant new features and a reorganisation of the user interface. The most obvious visual change has been the expansion of the common controls section along the top of the main window. This includes the return of the Tracking control: in Auto‑Tune 5 this had been relegated to the Options screen, a move which apparently proved unpopular with many users. In the native versions of the plug‑in, this common area now also includes formant and throat‑modelling technology derived from the Avox 2 plug‑in bundle (reviewed in the October 2008 issue). The controls are basic — in simple terms, allowing the user to adjust the resonant frequencies and throat length of the singer's body — but used sparingly, they can produce a subtle shift in the character of the voice.

Real‑time pitch‑shifting is also included within the common controls area and is available in all versions of Evo. In most other regards, the operation of auto mode remains as before, so existing Auto‑Tune users should find the transition a relatively painless one.

However, the changes are not merely cosmetic, and the underlying pitch correction engine has undergone a complete overhaul, to improve the end results and to take advantage of the increasingly powerful processing available in modern personal computers. The differences in the engine are significant enough that Auto‑Tune 5 and Auto‑Tune Evo are not interchangeable, so existing users will need to run Auto‑Tune 5 alongside Evo if revisiting older projects. Potential purchasers should also note that pricing of new and upgrade versions of Evo vary depending upon the format required.

Tuning & Retuning

The Option dialogue allows the size of the Evo window to be adjusted and keyboard controls set.

The most eye‑catching new features are within Evo's graphical mode, where two additions really stand out. First, as well as the existing curve and line editing functions, graphical mode now includes 'notes'. At first glance, one can't help but be reminded of the way Celemony's flagship product operates. However, while Evo's notes do share some of what Melodyne's 'blobs' offer, as outlined below, the detailed functionality is different.

The second key feature is the provision of object‑specific Retune speeds. This might not sound like such a big deal but, in terms of making the graphical mode easier to use, it is a significant change. The Retune setting controls how quickly pitch is pulled back into line with the target note. In previous versions, this was a global setting — easy to use, but not very accommodating when you had one phrase that required a fast Retune speed but another where a fast setting produced an unnatural correction. The Retune control could, of course, be automated in the host sequencer, but in Evo you can select sections of the performance (for example, a section that represents a single word or phrase) using the I‑beam tool and then apply a unique Retune speed to just that selection. This can almost be thought of as a halfway house between auto mode and the time‑consuming curve editing of graphical mode.

The 'note' objects now provide an additional option for graphical editing. Once the Track Pitch function has been used to capture the actual pitch of a performance (displayed as a red curve), clicking the Import Auto button will produce a green curve that shows how the pitch is being corrected by the settings from the auto mode window. However, if the Make Notes button is pressed, Evo generates note objects and a green curve that shows the pitch correction within notes and the links between them. Note generation can be done for a whole performance or just a selected time range, and the user can control how many notes are generated. If engaged, the Snap To Note button forces notes to centre their pitch on the nearest 'correct' note. The useful Show Lanes button can also toggle on and off a shaded lane display for each note (similar to that seen in most MIDI note editors) and this can make moving note objects to different pitches a little easier.

Once generated, notes can be adjusted in both length and pitch; as they are moved, the green pitch curve is also adjusted. This mode lacks the very detailed editing provided by manipulating the curves themselves or drawing your own pitch lines or curves, but in most cases it is a very much faster way of doing the bulk of the editing required. Incidentally, only one graphical editing mode is available at any one point along the timeline — curve, line or note — but they can be freely mixed and matched for different phrases within the performance. The new 'note' feature is a big plus in terms of ease of use and, while the options for manipulating pitch within and between notes are perhaps not as flexible as those found in Melodyne, it certainly takes a lot of the work out of graphical-mode editing.

We Are Evo

I tested the VST version of Auto‑Tune Evo with Cubase. It performed very well and certainly didn't seem noticeably more taxing on the host system than Auto‑Tune 5. The only technical issue I encountered was that some of the graphical-mode tools occasionally went AWOL, although this was simply resolved by engaging the 'Plug‑in Editors Always On Top' settings from within the Cubase Preferences / VST / Plug‑ins options.

Running Auto‑Tune 5 and Evo side by side suggested that any differences in the quality of the pitch correction are subtle when using auto mode, although Antares suggest that Evo's new engine does make a better job of poorer‑quality signals. For me, the real difference was in graphical mode, where the variable Retune speed and note editing made getting a natural result with more problematic material considerably faster.

For serious Auto‑Tune users (that is, those that regularly get beyond auto mode), I think the new graphical mode features will be very welcome, and make upgrading well worthwhile. In this regard, Evo is a significant step forward from Auto‑Tune 5 in terms of ease of use, regardless of any more subtle (to my ears at least) improvements in the quality of the pitch‑correction algorithm.

Good though Evo is, I suspect the advances will not be enough to persuade most existing Melodyne users to jump ship. However, for those looking to buy into the world of top‑of‑the‑range pitch correction for the first time, the choice between Evo and Melodyne is a difficult one unless you can spend some time with both products. Both are excellent and, for 90 percent of pitch‑correction tasks, I suspect either product will get the job done with a minimum of fuss. For my money, Melodyne still has a slight edge when it comes to more problematic pitch issues or creative re‑pitching of a melody line. However, with the new Evo note-editing mode, Antares have significantly closed the gap and, if your vocal is already decent, Evo's automatic mode remains the most straightforward means of tightening overall pitch.

Alternatives

Auto Tune Evo Mac Download

The most obvious alternative to Auto-Tune Evo is Celemony's Melodyne, with the plug-in version now proving to be most popular. It lacks Evo's auto-mode ease of use, but its note-based graphical editing is both slick and very sophisticated. For Powercore users, the other obvious possibility is TC-Helicon's Intonator HS, which was reviewed back in the November 2004 issue, and the same company also have pitch correction built into a number of their hardware products.

Pros

• Graphical mode editing is much improved, with object-specific Retune speed settings and note objects.
• A range of welcome improvements have been made to the user interface.

Cons

• None, other than it still doesn't make my singing sound like Robert Plant.

Summary

Evo represents a very useful evolution of the Auto-Tune line, and is an obvious upgrade for existing power users.

information

Sonic8 +44 (0)8701 657456.

Antares +1 831 461 7800.

Test Spec

• Antares Auto-Tune Evo 6.0.7.
• Intel quad-core 3GHz Q9650 with 4GB RAM running Vista 32-bit, with TC Electronic Konnekt 24D interface.
• Tested with Steinberg Cubase 4.5.2.

Autotune Pro Crack Windows also includes Classic Mode, for the celebrated “Auto-Tune 5 sound,” Flex-Tune and Humanize for more transparent and natural-sounding tuning, Throat Modeling for subtle or extreme vocal transformations, and Transpose for real-time pitch-shifting with automatic Formant Correction. Low latency processing lets you perform through Auto-Tune Pro in real-time on stage or in the studio, without worrying about distracting delay.

Both the Auto Mode and Graph Mode interfaces are designed to offer the most efficient, flexible, and intuitive workflow for professional users and beginners alike. Auto Mode includes two unique screen views: Basic View gives you quick and easy access to the core features of Auto Mode, and Advanced View unlocks the powerful MIDI, scale editing and Vibrato Control features.

Graph Mode gives you detailed control over every nuance of a vocal performance. Extensive pitch editing tools allow for precise control of individual notes and pitch curves, so you can apply pitch correction only where it’s needed. The transparent time correction features let you to quickly touch up timing errors in an otherwise perfect performance, or creatively rework the timing of your track without having to re-record it.

The included Auto-Key plug-in is designed to enhance your workflow and save valuable time in the studio. Auto-Key automatically detects the key and scale of your music and sends it to all instances of Auto-Tune in your project. If you already know the key and scale of your tracks, you may also find Auto-Key useful for simultaneously setting the Key and Scale parameters of multiple instances of Auto-Tune with a single click.

Whether you want to quickly touch some dubious notes, request the perfect Autotune pro crack effect, or fine-tune full performance, Auto-Tune Pro delivers the professional tone and classic effects you are looking for.

Basic Layer

Like previous versions of Auto‑Tune, the Auto‑Tune Pro plug‑in can operate in two modes. The automatic, real‑time mode gives results fast, while a more forensic graphical editing mode can produce more natural results if you have the time for some manual editing. The number of controls has grown over the years, and in this new Pro version.

Auto mode can be switched between a Basic view, which hides some of the more exotic features to help the new user, and an Advanced view where all the controls are available. Views can be switched during a session to de‑clutter the GUI if required, and any changes made in Advanced mode will still apply. A row of small buttons and knobs at the top of the screen control input type, scale, key, formant adjustment, transpose, detune and tracking.

The centre of the window is now dominated by a circular display that shows how much pitch‑shift is being applied, with the detected note displayed in the centre. As before, correction can be chromatic, or restricted to a preset or user‑designated scale. In Basic mode, four knobs cover Retune Speed, Flex‑Tune, Humanise and Natural Vibrato, the latter allowing a singer’s original vibrato to be either reduced or intensified.

A Flex‑Tune knob applies the pitch‑correction only to notes that are close to the correct pitch, ignoring bends and swoops that fall outside of its range, while the Humanise control delays the onset of correction for long sustained notes to prevent them from feeling over‑tuned and synth‑like. Careful use of these tools helps achieve a natural‑sounding result in most cases even without using the graphical editing mode.

Clicking the Advanced button reveals seven smaller rotary controls used to create and control an artificial vibrato that can be set to come in gradually, along with a row of buttons for adjusting the correction scale so that individual notes are removed or exempted from correction. Also in this section are the buttons that allow the correction to be controlled from a keyboard or MIDI track; in Logic Pro a version of the plug‑in shows up as a MIDI‑controlled effect that can be used in an instrument track, with the audio coming in on a side‑chain, so you can control the audio processing from a MIDI track or a real‑time MIDI input. This feature, combined with all the parameter automation options, means you can really go to town on special effects.

Classic & Modern

Turning to the graphical editing mode, existing users will notice that there is a larger and slicker display, which now includes the ability to create and save zoom presets to speed up navigation when editing. Otherwise, the tools look very similar to those in the previous version.

The major addition here is that Auto‑Tune Pro now supports ARA (Audio Random Access), a technology developed to provide closer integration between audio plug‑ins and their host DAW. Within ARA‑compatible DAWs, you can edit in Auto‑Tune Pro’s Graph Mode without first having to play the selection to get the audio into Autotune pro crack.

Unfortunately, although ARA v2 is supported in several other DAWs, Auto‑Tune Pro For Windows is only compatible with PreSonus’s implementation at present. If your DAW doesn’t support ARA, you have to keep doing it the old way by selecting Pitch or Pitch and Time analysis, then activating the DAW’s transport to play through the desired section of audio. Auto‑Tune will then display the familiar pitch graph, where tools can be used to push errant notes closer to their intended positions, flatten out wobbly notes, change the melody or create a harmony.

Antares say that improvements are constantly being made to their retuning algorithm, but, bowing to public demand, they’ve also reintroduced the Auto‑Tune 5 algorithm here, in the guise of Classic Mode. Activated by the Classic button in the toolbar, this is the version that was abused to create the distinctive sounds of many hit records, so although the latest algorithm is more natural sounding, it is sometime fun to fire up the old one. Irrelevant controls are locked out in this mode.

A Light Touch

In use, the Autotune pro crack mode is often all that is needed to fine‑tune an already decent vocal performance; the secret to transparency is to use automation to ensure that little or no processing is added where it isn’t needed.

A slow correction speed allows the natural performance to come across, and you can dial up the intensity only for those sections of vocal that need it. If more ‘feel’ needs to come through, the Flex‑Tune control is a useful ally.

Switching to Classic mode highlights just how much the tuning algorithm has improved over the years, as the current version sounds far more natural by comparison with its predecessors — that old version, set to a fast correction speed, conjures up feelings of nostalgia.

In Graph mode, the Line and Note tools make setting the target pitch for each note very straightforward, and the Line tool can also be used to follow transitions to keep them sounding natural, as you can add as many points along the line as you need.

There’s also a freehand curve drawing option so you can get transitions or pitch glides to sound exactly as you want them. The Retune Speed control determines how assertive the pitch correction is within the selected area — if a note doesn’t need fixing you can just leave it alone.

As with previous Auto‑Tune versions, changes may be made in the time domain as well as in pitch, which is handy for making backing vocals sit in time with a main vocal. The other tools work as before, and even if you’re accustomed to a different pitch‑correction plug‑in, it doesn’t take long to become familiar enough to get the job done in Auto‑Tune Pro, and I felt very comfortable with it in no time at all.

Users will no doubt continue to argue as to whether the Graph mode is as good as Celemony’s Melodyne, but the beauty of Auto‑Tune Pro is that it provides the best of automatic pitch‑correction alongside a perfectly practical graphical editing mode within a single product. A worthwhile upgrade and deserving of the Pro title.

Auto-Tune EFX+

Auto Tune Evo Free Mac

• Basic real-time pitch correction.
• Auto-EFX multi-effects rack.
• 6 different effects modules.
• Over 100 multi-effects patches.
• XY Pad for real-time parameter control.
• Auto-Motion melodic pattern generator.
• Automatically pitch shifts and arpeggiates vocal and instrumental tracks.
• Compatible with Auto-Key plug-in (sold separately).
• Does not require hardware key.

Pros

• Clear interface with intuitive controls.
• New Audio Random Access support integrates graphical mode operation with supported host DAWs.
• Bundled Auto-Key plug-in can automatically detect the key of your song.
• Classic mode included for nostalgia fans!

Cons

• ARA is currently supported only with PreSonus Studio One.

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