Antares TASCAM TA-1VP Manuale Utente

intonation correction to be performed on all vocals and 

almost all instruments.
Of course, the TA-1VP will not detect pitch when the input 

waveform is not periodic. As demonstrated above, the 

TA-1VP will fail to tune up even a unison violin section. 

But this can also occasionally be a problem with solo 

voice and solo instruments as well. Consider, for example, 

an exceptionally breathy voice, or a voice recorded in an 

unavoidably noisy environment. The added signal is non-

periodic, and the TA-1VP will have difficulty determining 

the pitch of the composite (voice + noise) sound. Luckily, 

there is a control (the Sensitivity control, discussed in 

Chapter 5) that will let the TA-1VP be a bit more casual 

about what it considers “periodic.” Experimenting with 

this setting will often allow the TA-1VP to track even noisy 

signals.

Auto-Tune 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. If the input pitch varies 

from the desired scale pitch, an output pitch is generated 

which is closer to the scale tone than the input pitch. (The 

exact amount of correction is controlled by the Speed 

parameter, described below and in Chapter 5.)

The heart of Auto-Tune pitch correction is the Scale. The 

TA-1VP comes with 25 preprogrammed scales. For each 

Scale you can define which notes will sound and which 

won’t. And for each note that will sound, you can decide 

whether the TA-1VP will apply pitch correction to input 

pitches near that note or leave those pitches uncorrected.
You can also edit any of the preprogrammed scales and 

save your custom scale as part of a Preset.

You also have control over how rapidly, in time, the pitch 

adjustment is made toward the scale tone. This is set with 

the Speed control (see Chapter 5 for more details).

• 

 settings are more appropriate for short 

duration notes and for mechanical instruments, like an 

oboe or clarinet, whose pitch typically changes almost 

instantly. A fast enough setting will also minimize or 

completely remove a vibrato. At the fastest setting, you 

will produce the now-infamous “Cher effect.”
Slow Speed

• 

 settings, on the other hand, are 

appropriate for longer notes where you want 

expressive pitch gestures (like vibrato) to come through 

at the output and for vocal and instrumental styles that 

are typified by gradual slides (portamento) between 

pitches. An appropriately selected slow setting can 

leave a vibrato unmodified while the average pitch is 

accurately adjusted to be in tune.

As an example, consider this before-and-after graphic 

representation of the pitch of a vocal phrase that contains 

both vibrato and expressive gestures.

10.0

10.5

11.0

D3

B2

C

#

3

ORIGINAL

PERFORMANCE

CORRECTED 

BY TA-1VP

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. The “after” plot is the result of passing this phrase 

through the TA-1VP set to a D Major Scale (with C# and 

B set to ”Blank”) and a Speed setting of 10. That Speed 

causes the pitch center to be moved to D, while still 

retaining the vibrato and expressive gestures. (Setting 

C# and B to ”Blank” is necessary to keep the TA-1VP from 

trying to correct the seriously flat tail of the last note to 

those pitches. See Chapter 5 for more details.)

If you’ve spent any time flipping through the pages of pro 

audio magazines, you have almost certainly noticed the 

intense focus on microphones. From the proliferation of 

exotic new mics to the almost cult-like following of certain 

historical classics, never has the choice been greater. But 

amassing a substantial collection of high-end mics is 

financially prohibitive for all but the most well-off studios.
Now, using Antare's patented Spectral Shaping Tool™ 

technology, we’ve created digital models of a variety 

of microphones. Simply tell the TA-1VP what type of 

microphone you are actually using and what type of 

microphone you’d like it to sound like. It’s as simple as 

that.
With the TA-1VP, you can record each track through a 

model of the type of mic that will best produce that ideal 

sound you’re looking for. Or use it in live performance 

to get the sound of mics you’d never consider using on 

stage. You can even use it during mixdown to effectively 

change the mic on an already recorded track. And for that 

final touch of perfection, you can even add some tasty 

tube saturation.