AutoTune Evo VST Is Good For Music Producers And Singers: Most individuals do not acquaint that the Auto-tune Evo RTAS is one of a lot of plug-ins of the Antares AutoTunes. It is the one that’ll signify that a lot in the universal standard because it is one of the reasonable professional pitch tweaks. May 17, 2019  All in all, Auto-Tune Evo VST is certainly worth a look as its really professional tools can make a world of difference in optimizing and perfecting the sound of audio tracks. Compability and license This download is licensed as shareware for the Windows operating system from audio and video editors and can be used as a free trial until the trial period ends (after an unspecified number of days). May 01, 2019  Auto-Tune Ac. Which autotune plugin is the best? In this video, we will put head to head some of your favorite autotune plugins and see which one is the best. So if you put Auto-Tune on a voice and some areas sound good, some sound too robotic and a bit off, those are the areas that the singer needs to work on. Sometimes it can be difficult for non-singers to hear slight sharp or flat notes, or notes that aren't in the scale of the song.

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• Signal Processors >Pitch-shifters

Sep 17, 2018 Auto-Tune and other vocal treatments serve for Thug a role similar to the wah-wah effects that Miles Davis applied to his trumpet during his wild ’70s phase of fevered fusion. And Tumay is. WeAreTheMusicMakers (WatMM) is a subreddit for hobbyists, professional musicians, and enthusiasts to discuss music-related topics, ask questions and share. Apr 28, 2018 I will suggest you Autotune Antares EVO as im also using it its free and interface is simple.

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. Download serum plugin with crack. 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

Is Auto Tune Evo Good For Free

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.

Auto-tune Evo Free Download

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.

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The following sentence might come as a huge shock to teens and Millennials, so stop tweeting for a second, kids, and get prepared for a totally outlandish statement. Here it is: Once upon a time, pop singers were actual singers.

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Yes, I know. That’s hard to comprehend since the pop charts are now dominated by artists who use Auto-Tune, the software plug-in that corrects the pitch of those who can’t really cut it in the vocal department and turns their vocals into robo-voices. While everyone under 30 recovers from that revelation, here’s what I mean by “actual singers.”

Back in the day, pop artists like Frank Sinatra and the Beatles used to be able to record albums in just a few days. Country musicians like Patsy Cline and George Jones trudged through grueling tours in out-of-the-way rural locales yet still missed nary a note. R&B musicians like the Supremes and the Four Tops navigated their way through complex choreography but still belted out songs out like their lives depended on it.

And while today, we still have singers with massively impressive pipes, a whole lotta them could never have rocked it for real like the Motown gang. These days, artists are able to get by on looks, publicity and aid from Auto-Tune.

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You can hear the robotic, processed sound of the plug-in on recent hit records like “Blame It” by Jamie Foxx and T-Pain, “Just Dance” by Lady Gaga and “Right Now (Na Na Na)” by Akon. It’s also heard on tracks by Kanye West, Britney Spears and Lil Wayne. When West attempted to sing “Love Lockdown” without the plug-in on “Saturday Night Live,” the results were none too impressive and got ridiculed online. You can hear 10 examples of “Auto-Tune Abuse in Pop Music” on Hometracked, a blog geared toward home recording enthusiasts.

Paula Abdul also uses Auto-Tune on her new song, “Here for the Music,” which she performed (i.e. lip-synched) on “American Idol” May 6. It was evident just how artificial Abdul’s vocals were when she was followed by Gwen Stefani, who gave a warts-and-all live vocal on No Doubt’s “Just a Girl.”

Country and rock singers are said to use Auto-Tune to protect themselves from hitting bum notes in concert. Pop singers use it when they have a hard time singing while executing complicated dance moves (raising the question as to why they’re letting their dancing take precedence over their music). Auto-Tune has become so ubiquitous that indie rockers Death Cab for Cutie wore blue ribbons at this year’s Grammy Awards ceremony to protest its overuse.

Building the ‘perfect’ beast
The prevalence of Auto-Tune comes from two longstanding pop music traditions — the desire to alter the human voice and the quest for perfection at the expense of real talent and emotion.

The first of these can lead to inspiring moments, as the New Yorker’s Sasha Frere-Jones noted in an essay last year. Pioneering voice tweakers include producer Quincy Jones, who punched up Lesley Gore’s vocals with double tracking on “It’s My Party,” and George Martin, who gave us a childlike sped-up John Lennon on “Lucy in the Sky with Diamonds.” Later on, Peter Frampton wowed audiences with his talk box guitar effect and a decade later, vocals were being put through harmonizers to get jarring outer space effects.

Of course, to pull off any of those effects, you had still had to be able to sing. With Auto-Tune you don’t.

Then there’s the quest for perfection. By the 1970s, producers were able to edit or splice together vocal takes from various tracks and eventually they started to use hardware that corrected vocal pitch to create “perfect” performances. When the sound editing program Pro Tools became the industry norm in the 1990s, kludged-together vocal tracks became the norm.

But too much meticulousness in pop music strips away passion. And the very reason we listen to music, noted the late rock critic Lester Bangs, is to hear “passion expressed.” Auto-Tune makes people sound like robots. And if there’s no feeling, why listen at all?

Some people apparently aren’t listening anymore. Sales of major label CDs are down. But more authentic sounding music still has fans. Paste magazine recently reported that indie music is selling more, and the one area of commercial music that’s remained popular is “American Idol,” where you can’t fake it (unless you’re Paula Abdul). Download cooking fever mod unlimited gems.

The producers speak
A lot of producers like to use Auto-Tune because it saves time, says producer Craig Street, who has worked with Norah Jones, k. d. lang and Cassandra Wilson. “If you have a smaller budget what you’re doing is trying to cram a lot of work into a small period of time,” Street says. “So you may not have as much time to do a vocal.”

Craig Anderton, a producer and music writer, observes that Auto-Tune “gets no respect because when it’s done correctly, you can’t hear that it’s working.

“If someone uses it tastefully just to correct a few notes here and there, you don’t even know that it’s been used so it doesn’t get any props for doing a good job,” Anderton notes. “But if someone misuses it, it’s very obvious — the sound quality of the voice changes and people say ‘Oh, it’s that Auto-Tune — it’s a terrible thing that’s contributing to the decline and fall of Western music as we know it.”

One producer who dislikes Auto-Tune is Jon Tiven, who cut his musical teeth in the punk rock era with his band the Yankees, and went on to produce soul singers Wilson Pickett and Don Covey as well as Pixies founder Frank Black. Tiven thinks Auto-Tune has led to the destruction of great singing.

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“I don’t know how many levels you want to drop the bar for what it takes to become a successful musical person,” Tiven says. “You could sacrifice on some levels, but it would seem to me one of the first things you would really be hard pressed to sacrifice is if the person could sing in tune or not.”

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Street says the like or dislike of Auto-Tune largely comes down to aesthetics, and likens people’s feelings about listening to unnatural sounds with the way some people feel about unnatural body modifications, such as breast implants.

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And that makes sense. After all, today we have models and actors whose faces and bodies were never intended by nature, reality TV that’s not real, and sports “heroes” whose strength comes from pills not practice. It’s totally understandable that the commercial pop world would embrace an unnatural aesthetic. Whether audiences will someday want pop singers who are first and foremost singers remains to be seen.

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