Double click on its uninstaller and follow the wizard to uninstall Auto-Tune Evo 6.0.9.2. Method 3: Uninstall Auto-Tune Evo 6.0.9.2 via System Restore. System Restore is a utility which comes with Windows operating systems and helps computer users restore the system to a previous state and remove programs interfering with the operation of. Page 26: Intellitune Menu MFJ-998 Legal Limit IntelliTuner Automatic Antenna Tuner Instruction Manual To clear an antenna memory bank, select the antenna memory bank with the ANT button and turn off the power to the tuner. Then press and hold both TUNE and C-UP buttons while turning on the power. Nov 16, 2013  The Auto-Tune effect is most noticeable when you are off key or you slide into a note. Also when you set the app to the Auto-Tune Effect setting, a meter appears at the top (red bouncing ball) that visually indicates whether you are singing sharp or flat. The Bypass button is provided as a quick way to stop and start adding the effect as you.

• Autotune Download
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• Bypass Auto Tune For Onenote Download

Prior to the digital age, life in the studio was all about moderating the effects of human touch.

Compressors evened out the dynamics of the bass player while a side chain feed kept them matched with the drummer. The drummer had a metronome feed playing to maintain tempo.

Singers, well, you could keep their dynamics in control, but when they sang flat, about all you could do was tell them to smile as they sang and aim above the problem notes.

Smiling has the mysterious effect of raising singers' pitch. Aiming high is probably wishful thinking on everyone's part, but sometimes it works.

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The Advent of Auto-Tune

You wouldn't think earthquakes have a lot to do with singing in pitch and they don't, really.

However, it was seismi c research that provided the background for Dr. Andy Hildebrand, the creator of Auto-Tune and its parent company Antares.

He left that field and returned to his early love of music, bringing knowledge that created seismic interpretation workstations and applied it to issues arising in the early days of digital music.

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Hildebrand's expertise with digital signal processing led to a series of audio plug-ins, including 1997's Auto-Tune, which could correct the pitch of a voice or any single-note instrument with surprisingly natural results.

Audio engineers now had a weapon against the occasional bum note. Rather than scrapping an entire take, Auto-Tune offered a repair tool that quickly caught on.

Auto-Tune as an Effect

It was only a year later in 1998 that use of Auto-Tune as an effect rather than repair tool happened.

Called the 'Cher Effect' after the singer's hit, 'Believe,' artificial and abrupt pitch changes came into vogue. Later, real-time pitch correction hardware brought both effects and repairs to the stage.

In the studio, Auto-Tune proved another weapon to 'fix it in the mix.'

Issues with Auto-Tune started soon after, with lines drawn between the purist and users camps. Many felt that using pitch correction was an artistic cheat, a way to bypass craft.

The arguments resemble the resistance synthesizers received in the 1970s and 80s that led Queen to note that none were used on their albums.

The other side of the argument pointed out that tools such as compressors and limiters and effects such as audio exciters had already been modifying the sound and behavior of voices throughout the history of recording. Though the anti-Auto-Tune camp seems vocal and large, rarely does a session go by without some use of pitch correction. It's nearly impossible to detect when used judiciously, nowhere near as obvious as when used for effect.

Auto-Tune is no longer the only player in the pitch correction game either. Celemony's Melodyne software substantially improves on Auto-Tune's interface and brought the full power of pitch correction to a plug-in ahead of the tool's originator, which still leads the pack when it comes to response and set-and-forget capability.

'Generic' Auto-Tune

The Antares version of the effect has achieved 'Kleenex' status. Its brand name is now synonymous with the generic effect it originated. It joins 'Pro Tools' from the audio world and 'Photoshop' from digital imaging in this manner.

Unlike some digital music signal processors, pitch correction hasn't generated a huge number of knock-offs. Melodyne is a serious contender, due to its far more intuitive interface. GSnap is an open source alternative that produces similar results. While iZotope's VocalSynth includes pitch correction features, it's more of a full vocal processor rather than a dedicated pitch correction app.

​

The 4 Best Auto-Tune VST Plugins

Now, lets get into the top 4 autotune plugins​. Each one offers unique features and I assure you that one of these plugins have exactly what you are looking for

​

Autotune Download

The originator is now a full-featured and functional vocal processor that still masters the innovative pitch correction duties it brought to the market, but adds a wide range of additional features and effects to help nail down the perfect vocal take.

Auto-Tune 7 forms the core of the Vocal Studio package, still tackling the pitch and time correction duties it always has. Since its earliest days, automatic and graphical modes handle the various chores for the main Auto-Tune module.

While still presenting a learning curve for the new user, the Auto-Tune 7 interface remains familiar enough for experienced users. Since it's the best-selling pitch correction software going -- and by a huge margin -- there are a lot of existing Auto-Tune users. Even if you're new to the plug-in, chances are you know someone who's used it.

The rest of the Vocal Studio package focuses on vocal manipulations such as automatic doubling, harmony generation, tube amp warmth and vocal timbre adjustment. The range and nature of these adjustments takes vocal processing into some new territory.

The MUTATOR Voice Designer lets you manipulate voices from subtle to extreme, permitting organic or alien manipulations but with results that still sound like voices, though perhaps not of this world. The ARTICULATOR Talk Box produces effects such as the guitar talk box of Peter Frampton and Joe Walsh, but also Alan Parsons-ish vocoder sounds, combining the features of sung or spoken voice with an instrument's output.

While the Auto-Tune Vocal Studio remains pricey, it remains at the top of a niche market of audio processing.

​

If Auto-Tune has a serious competitor in the pitch correction universe, it's Celemony's Melodyne. The interface, layout and operation of Melodyne is inherently more musical than the Antares take, so newcomers to pitch correction will likely find Melodyne easier to work with.

The Melodyne 'blob' is an easy to grasp analog of a sung note. It's far more intuitive than a waveform to understand. With the focus on graphical interface, Melodyne makes sense more quickly and easily than Auto-Tune. The latter's switching between automatic and graphical modes creates a comparative disconnect between functions.

Even long-time users of Auto-Tune will find moving to Melodyne natural, as there's enough in common that, once a user gets their bearings, familiar functions remain available.

Many Melodyne functions perform on polyphony too. Correcting a track with a multi-voice choir or chording instrument can work too. It's not a perfect function, but it's uncanny how often Melodyne senses chords clearly enough to allow changing of a single element.

What Melodyne doesn't do is the advanced vocal pyrotechnics offered by Auto-Tune. The Celemony product is all about pitch and time correction and it accomplished these with grace and ease.

Those looking for an affordable entry into digital pitch correction can turn to Melodyne 4 Essential. It's a plug-in that handles the pitch and time corrections of its big brother, but with fewer advanced features and without the full-featured price tag.

​

Though pitch correction isn't the focus of this iZotope plug-in, it resembles the full Auto-Tune Studio package. At a fraction of the cost of the big boys in this class, VocalSynth doesn't offer the depth of control experienced with either Auto-Tune or Melodyne, yet it still manages to provide a reasonable job of pitch correction.

There's no graphical representation such as Melodyne's or Auto-Tune's graphical mode. That makes fine-tuning performances a little beyond the reach of VocalSynth, but for reasonable performances, it's not a major limitation. Think of the iZotope product as a first-aid kit rather than an emergency department.

The four voice synthesis modules are where the fun resides with VocalSynth. Talkbox, Compuvox, Polyvox and Vocoder modules emulate many of the vocal effects you've heard on hits from a wide range of artists. This is also just the most overt extra in the VocalSynth package.

A variety of additional modules let you tune up or tear up your vocal tracks. Add harmony, filter vocals, create radio and phone effects. These modules can either optimize your track or take it to new and exciting places.

VocalSynth may be the country cousin to the serious pitch manipulators, but it has capability with a high fun factor.

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Don't let the download page fool you, GSnap is a VST plug-in that works with any DAW platform that supports VST, not simply Windows-based DAWs. Both 32 and 64-bit support is included. Completely free, it does come with limits. While there is more graphic information than iZotope offers, it doesn't offer direct edits.

While not as flexible as pro pitch correction, it's a low-cost alternative for users who can't swing the big time prices. It's difficult to use GSnap subtly. That's not an issue for those seeking pitch correction effects, such as Cher or T-Pain. Backup vocals are also a good candidate.

This is the entry level of pitch correction, and because of that, it's included here. The effect is so ubiquitous that anyone working in the field needs to know how it works. GSnap represents the place to start.

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Wrapping It Up

Love it or hate it, pitch correction is here to stay, both as tool and effect. These four plug-ins aren't the only ones out there, but they represent the spectrum of pitch correction treatment. Auto-Tune is the originator. Melodyne is the refinement. It works just as well as the Antares product in nearly every way with an interface that easy to grasp.

iZotope VocalSynth represents the cream of the mid-priced plug-ins. It's capable and creative, even if it's not as flexible on pitch correction as the top-line apps. GSnap represents pitch correction for everyman. You can't knock the price of freeware.

The debate will likely rage over the ethics of pitch correction in popular music. While you wait for the dust to settle, give one of these packages a try.

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• Signal Processors >Pitch-shifters

Is it really possible to carry out studio-quality pitch-correction in real time? Waves think so..

Love it or loathe it, automated pitch-correction is here to stay. Antares’ Auto-Tune first made it possible, and has become so well-known that its name is often used generically to describe all such tools, but there are plenty of other software-based pitch-correction tools out there. However, most are primarily intended for studio use, where they will be applied as post-recording processes.

For live performance there have, of course, been a number of dedicated hardware devices that offer pitch-correction in real time, including the now-discontinued Antares ATR-1 and various TC-Helicon products. It’s easy enough to see two sides to the desirability of such a tool in a live setting and I’ll leave you to have that discussion amongst yourselves but, in a world where the computer sits centre stage in so many music-making environments, the user control and flexibility offered by software-only solutions could have obvious benefits in a live context too.

Well, Antares obviously think so, because they have a version of Auto-Tune called Auto-Tune Live targeted at precisely this role, and Waves have now joined the roll-call with their own take on the genre: Tune Real-Time. Providing the rest of your system doesn’t create a processing bottleneck somewhere along the line, Tune Real-Time is designed to operate with sufficiently low latency to be fast enough for even the most demanding live-performance situation. And, as I’ll get to in a minute, the plug-in can also be used as a standard post-recording pitch-correction tool.

Holding A Tune

Waves are not new to the business of pitch-correction. Indeed, SOS reviewed the original Waves Tune way back in the November 2006 issue. While Tune can carry out pitch-correction automatically as well as manually, like the Melodyne plug-in it requires your audio to be ‘tracked’ into the plug-in before this can take place. However, faster computer systems mean that, 10 years on, real-time pitch-correction with a plug-in is now a viable prospect.

Once installed via the slick Waves Central licence management system, how you configure Tune Real-Time will depend upon your type of use. For routine automatic pitch-correction of previously tracked vocals, you would, of course, simply insert the plug-in on your vocal track and get cracking with tweaking the control set to suit. However, if you are interested in live pitch-correction — whether that’s during tracking in the studio or for live performances — a different arrangement is going to be required.

While the specifics will undoubtedly depend upon your exact hardware/software configuration, Tune Real-Time is going to need to be inserted in your signal flow in a way that allows the engineer (studio or front-of-house) and the singer to monitor through it in real time. As when applying any software processing to a live audio signal, that means a return journey for the audio through your computer system and back out to your monitor setup, making low latency all round an obvious requirement.

Waves can’t do anything about latency introduced elsewhere within your system, but by reporting zero latency to the host, Tune Real-Time ensures that no delay compensation is applied on its account. Its actual latency varies between 0 and 4 ms depending on the frequency of the current note. Different performers have differing sensitivities to audio latency. In order to achieve a more comfortable monitoring experience, I found myself having to change the buffer sizes for my audio interface from 256 samples to 64 samples in my 44.1kHz/24-bit project. Smaller buffer sizes do, of course, mean a higher system load, but that may be a price you have to pay in order to prioritise the pitch-corrected vocal monitoring. (Alternatively, by running Tune Real-Time on one of Waves’ SoundGrid servers, you could eradicate the round trip through your computer and DAW.)

The control set allows you to select a voice type to focus the pitch-correction within a certain note range.

Corrective Measures

You can define your own scale using the keyboard display, and the plug-in includes a huge number of preset scale types.The user interface shares many common elements with that of the studio-orientated Waves Tune and, indeed, other pitch-correction tools. For example, the bottom third of the panel provides scale/key selection and a choice of voice types — which, in turn, set a default note range within which pitch-correction will be applied. The small MIDI Input/Keyboard panel allows you to give your singer a reference tone or use an external MIDI keyboard to set target notes. Other parameters in the control set can also be controlled via MIDI, including the Speed parameter, so you can, for instance, apply ‘robotic’ pitch-correction just to a few notes as a special effect.

The central keyboard strip provides a visual guide to the notes being detected as the plug-in does its thing. As well as letting you drag the left/right boundaries of the active note range, this includes an interesting additional feature whereby clicking above each note allows you to toggle its behaviour in the pitch-correction process. This includes modes for ‘legal’ (grey), ‘illegal’ (pink with a ‘-‘ icon) or ‘bypass’ (grey with an ‘x’; the note is legal but no pitch-correction is applied); but there are also two other ‘illegal’ options, both with pink arrow icons that can point to notes above or below the current note. If the pitch-detection algorithm identifies such a note, it will force the correction in the direction indicated by the arrow. This is a useful feature, as it allows you to handle the correction of specific notes in a very particular fashion.

The keyboard section allows you to define how the pitch-correction behaves for individual notes.

For example, a singer might end up consistently flat with notes at the top of their range or sharp towards the bottom of it. Tune Real-Time can accommodate that and I could imagine that in a live setting, where an FOH engineer gets to know a specific singer’s strengths and weaknesses night after night, this could offer very precise control. You can set these five different correction states either on individual notes or, with the Group Octaves button engaged, for every octave.

House Of Correction

The topmost panel contains both familiar and less familiar elements. Familiar is the large arc-shaped pitch-correction display that shows the amount of correction being applied in real time. Also familiar is the Speed dial, which controls just how quickly pitch-correction is applied at the onset of a note. Values in the 40-60 ms range produce fairly aggressive correction, while slower speeds provide a more transparent result. And, yes, by setting it to zero you can get the ‘Cher effect’.

The Correction subpanel allows you to adjust just how tightly the pitch-correction is applied. Backing off from 100 percent here does help in terms of keeping the result transparent. If you want something more in the special effects category, you can also turn formant correction off; in conjunction with MIDI control of the notes, you can then move towards Micky Mouse or Darth Vader if you so wish.

The Note Transition controls provide interesting additional options for handling the pitch-correction process across note boundaries.

Perhaps more interesting are the Note Transition and Tolerance controls. While the Speed control deals with the first note of a legato phrase, in the Wave Tune algorithm (in both its real-time and non-real-time formats), the Note Transition control influences the speed of correction applied as one note transitions into another during a phrase. In addition, the Cents and Time controls provide further influence over note transitions, allowing you to tolerate wider pitch drift before correction kicks in. OK, so the pitch-correction is still automatic, but these additional options do seem to offer an extra level of control.

Rather neatly, you can also dampen or exaggerate any natural vibrato present in the vocal (although you can’t add artificial vibrato). This is actually well worth experimenting with as its on/off status, and the slider value, interacts with the pitch-correction process; if you find yourself with the occasional unwanted ‘pitch flutter’ on a sustained note, tweaking these settings can sometimes tame it.

Bypass Auto Tune For One Note 1

The Real Thing?

If Waves Tune Real-Time is to be considered a success, it must be able to satisfy on two obvious points. First, is the processing actually fast enough for real-time use? Second, is the quality, flexibility and stability of the automatic pitch-correction processing up to the job?

While my own testing was studio-based, in terms of the first question, I think the answer is a very clear yes. OK, in a recording session, I’m not sure I’d generally want to track with pitch-correction in my signal chain but, if it is something you need — perhaps as a special effect or to provide a bit of a comfort blanket to an insecure singer — Tune Real-Time can do it. The trick, both in the studio and in a live performance context, is to ensure that the rest of your monitoring signal chain doesn’t scupper the plug-in’s efficient, low-latency operation. In a mission-critical live context, that might mean putting Tune Real-Time’s needs at the top of your performance priority list.

In terms of the second question, as an automatic pitch-correction tool, Tune Real-Time is most certainly competitive with the other leading contenders. I tested it alongside Antares Auto-Tune Live; both were capable of meeting the need for speed required for real-time use and, with the obvious qualification that I’ll get to next, both delivered very good results. What’s more, the Waves control set — and in particular the note transition features and ability to configure the direction of pitch-correction on individual notes — makes for a lot of flexibility. Yes, you are still in the hands of an automated correction process, but these controls give you useful ways to influence the operation of that process.

And that obvious qualification? Automatic pitch-correction will not turn a Friday night karaoke singer into a Christina Aguilera or a Michael Bublé; this technology is impressive, and in many ways remarkable, but is not a substitute for actual vocal skills. If you set Tune Real-Time to fast pitch-quantise, even a pub singer might get away with a few bars of ‘special Cher effect’ but, if it’s a more natural performance you are seeking, Tune Real-Time will not rescue someone who really can’t sing.

That is, of course, a very good thing and, in one sense, it means the whole argument about pitch-correction in a live-performance context is still a bit moot. If your singer has his or her skills down, yes, software like Waves Tune Real-Time can support and enhance their performance, and perhaps help compensate for situations where poor monitoring or tiredness can make even a good singer’s pitch a little off. In the studio, it is perhaps possible to do more to overcome a singer’s limitations, but this would really require the offline processing options provided by the likes of Melodyne or the full version of Auto-Tune. However, it is worth emphasising that Tune Real-Time is also a great option in the studio providing all you need is automatic pitch-correction. Don’t expect miracles of this or any automatic pitch-correction tool, but if you are starting with a solid singer, Waves Tune Real-Time is more than capable of tidying up any loose edges that might occur.

Alternatives

From a software perspective, the obvious competition is Antares’ Auto-Tune Live, currently costing about the same as Tune Real-Time at its full price.

There are also hardware alternatives, and in particular, TC-Helicon have developed a number of products aimed at live performance that include some pitch-correction options. A current example is the Mic Mechanic footpedal: this includes chromatic pitch-correction and is competitively priced, but does not provide the flexibility or level of user control offered by Tune Real-Time.

Pros

• Latency of the plug-in is low enough for live use, providing the rest of the system configuration is up to the task.
• For an automated process, it offers plenty of user control.
• The quality of the automated pitch-correction processing is certainly a match for the obvious competition.

Cons

• Requires a low-latency computer/audio system for ‘live’ real-time use.

Summary

If you don’t need the option of manual pitch editing, Waves Tune Real-Time is a very capable automatic pitch-correction tool for studio use and, given the low latency of the plug-in itself, a viable option for use in a live performance context — providing you are dealing with a competent singer in the first place.

information

£195 including VAT.

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$199.

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Test Spec

Bypass Auto Tune For Onenote Download

• Waves Tune Real-Time v9.6.14.12 Build 87243.
• Apple iMac with 3.5GHz Intel Core i7 CPU and 32GB RAM, running Mac OS 10.10.5, with Soundcraft Signature 12MTK mixer/interface.
• Tested with Steinberg Cubase Pro 8.5.