Antares auto-tune 4 Manual Do Utilizador
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Chapter 6:
Creative Applications for Auto-Tune
Creative Applications for Auto-Tune
Auto-Tune 4 works on vocals so well you may think that’s all it can do.
Actually, lots of instruments can use it to great advantage. Fretless bass,
electric violin, trombone, even the theremin, all feature continuous pitch
potential, unconstrained by frets or keys. Here are some other ideas for
using Auto-Tune 4:
Actually, lots of instruments can use it to great advantage. Fretless bass,
electric violin, trombone, even the theremin, all feature continuous pitch
potential, unconstrained by frets or keys. Here are some other ideas for
using Auto-Tune 4:
• Produce instant double tracking in one take! Record onto two tracks,
processing only one of the tracks through Auto-Tune 4. If you’re going
for a tight double track, set Retune Speed rather fast and Detune
Auto-Tune 4 slightly. Increase both of these parameters to broaden the
doubled effect. You can also use some Vibrato to make a more dynamic
effect (small depth and rate values are best, with medium delay). Of
course, you can also decide to record a single virgin track, and bounce
that to another, processing through Auto-Tune 4. This way you can dial
in the effect while auditioning the mix.
for a tight double track, set Retune Speed rather fast and Detune
Auto-Tune 4 slightly. Increase both of these parameters to broaden the
doubled effect. You can also use some Vibrato to make a more dynamic
effect (small depth and rate values are best, with medium delay). Of
course, you can also decide to record a single virgin track, and bounce
that to another, processing through Auto-Tune 4. This way you can dial
in the effect while auditioning the mix.
• Recording with two mics (as above) while improvising can also produce
heterophonic effects (the effect of two players and instruments playing
the ‘same’ melody, which actually varies with some different pitch
material). The more constrained your scale is in Auto-Tune 4, the
morevariation there will be between the two performances.
the ‘same’ melody, which actually varies with some different pitch
material). The more constrained your scale is in Auto-Tune 4, the
morevariation there will be between the two performances.
• To set up a drone or ambient aura behind a melodic performance, try
sending some of the signal to Auto-Tune 4 with an extremely con-
strained scale (for example, in the key of C: C, F, G, A#) and then on to
a lush, long reverb. The effect produced will be a steady backdrop of
chanting tones behind the main melodic material.
strained scale (for example, in the key of C: C, F, G, A#) and then on to
a lush, long reverb. The effect produced will be a steady backdrop of
chanting tones behind the main melodic material.
• Don’t be afraid to use just as little of Auto-Tune 4 as you need. It’s
quite possible that a performer has really quite good intonation, but
fails consistently on one or two notes. In this case, use Auto-Tune 4’s
individual Bypass function (using the Edit Scale display or on the Virtual
Keyboard) to bypass all the notes except the one(s) which need the
retuning. This way, Auto-Tune 4 is working in a completely transparent
mode, and only when needed.
fails consistently on one or two notes. In this case, use Auto-Tune 4’s
individual Bypass function (using the Edit Scale display or on the Virtual
Keyboard) to bypass all the notes except the one(s) which need the
retuning. This way, Auto-Tune 4 is working in a completely transparent
mode, and only when needed.
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