Auto Tune Evo Vst Best Settings
Now you can adjust the options and Autotune the vocals in the audio track. Using the GSnap to autotune in Audacity; Installing Auto-Tune Evo VST Plugin in Audacity. Auto-Tune Evo VST is created by Antares Audio Technologies. This tool is not free and the user must purchase it to use it.
- When I open up Autotune EVO and put the exact settings you do I get no effect or hardly any effect at all. Make sure that Auto-Tune is the first vst on the.
- If you're not a fan of YouTube or you're an addicted blogger, message me here, comment, if you need Auto-Tune settings I can help you get them, not just for commercial songs, but even for your own original songs! You can send requests to findthesesettings@gmail.com with the subject as 'AUTO-TUNE SETTINGS' That way my spam filter won't delete you!
- I use FL Studio, and the problem that occurs. When I open up Autotune EVO and put the exact settings you do I get no effect or hardly any effect at all. If it does give some type of effect it sounds awful. Make sure that Auto-Tune is the first vst on the channel which you have your vocal tracked to. Hold On We're Going Home Official.
- Download antares autotune evo VST setup.exe for free. Multimedia tools downloads - Antares Auto-Tune Evo RTAS by Antares Audio Technologies and many more.
- Mar 30, 2018 Hi, Any of y'all know the Antares auto tune evo vst settings for Nav/Offset/Lil Uzi Vert sound? Using Audacity for Mac and PC and i am needing the settings. I am also open to any settings for a dope auto tune for any other or even similar artists. Any help would be dope.
- Here's why your Auto-Tune doesn't sound like the pros: The pitch of the vocalist prior to Auto-Tune processing must be close enough to a note in the scale of the key of the song for Auto-Tune to work its best. In other words, the singer has to be at least near the right note for it to sound pleasing to the ears.
- Signal Processors >Pitch-shifters
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 Vst Plugin
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
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
Native version £299.99; TDM version £499.99. Prices include VAT.Sonic8 +44 (0)8701 657456.
Native version $399; TDM version $649.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.
/how-to-map-numark-mixtrack-pro-3-with-traktor.html. Whether you’re a home producer or work at a major recording studio, Autotune and other pitch correction software can help deal with a weak vocal performance.
In a hurry? I love Melodyne 4 Studio from Celemony. It’s sounds incredible, leaving little to no artifacts on vocals recorded in a treated space, but are in need of a little fixing.
But Autotune isn’t reserved exclusively for pitch correction. T-Pain popularized the hard-straightened pitch, even going as far as releasing an iOS app called “I Am T-Pain.”
Pitch correction software can also be utilized for other instruments as well. I’ve even used VariAudio (the “Autotune” built into Cubase) on bass guitar parts that were slightly out of tune. The result was surprisingly excellent, with little to no audio artifacts.
There’s a lot you can do with Autotune and similar software.
With so many options for producers, how can you decide on which one to use? Fortunately, I’ve had the experience working with many pitch correction plugins to weed out the good from the bad.
I’m going to include both free and paid options, so please read on!
Have an interest in virtual instruments? Don’t miss my other roundups!
Table of Contents
1) Antares Auto-Tune Pro (Paid)
Auto-Tune is the original pitch correction software. It’s so popular that its name is synonymous and is more of a colloquial term.
Antares gives you a couple of options to pick from depending on your needs — Pro, Artist, Access, or EFX+. As you’d guess, the price moves up the more features there are.
Auto-Tune is very hands-off. I’d even go as far as to say that it’s the most straightforward plugin for correcting pitch.
Pros
- Easy to use for beginners
- Lightweight on memory
- Great-looking user interface
Cons
- AUTO mode is limited
- Difficult for beginners to use GRAPH
- A little outdated compared
When using Auto-Tune on a vocal track in AUTO mode, set the key, the retune speed, and the amount of humanization. You should be able to hit the playback button now and hear hopefully great results.
Because it’s simplicity, I find that it doesn’t perform as well as others (when using the quick settings) that require more fine-tune vocal editing.
To fix an abysmal vocal performance, use the graph mode and hand tune each note to your liking. This process is much more complicated but yields a far better result. Little snitch no valid code signature.
I am not huge on Auto-Tune (I know many are), but it can deliver exceptional results. If you take the time to learn how to use it properly, you’ll have great-sounding vocals with ease.
Auto-Tune from Antares is available at Plugin Boutique.
2) Steinberg VariAudio — Cubase Pro (Paid)
Steinberg’s VariAudio is a pitch correction software included in Cubase Pro. It’s not a standalone plugin, so you won’t be able to use it if you don’t own Cubase Pro.
But, for those of you with Cubase who didn’t realize your DAW has pitch correction, rejoice!
I love VariAudio — so much so that I couldn’t imagine switching DAWs. I’ve been on Cubase for ten years, so I know my way around, but VariAudio is the one thing that will keep me as a forever customer.
Pros
- Integrated into Cubase
- Quick to edit any clip
- Very fast and no CPU
Cons
- Audio artifacts are very noticeable if not careful
- Limited cutting resolution
- Not intuitive at first
VariAudio functions similar to Melodyne and Auto-Tune’s graph mode. Double-clicking on a clip opens up the editor, where you can choose to enable VariAudio — no plugin required.
From here, it’s simple as using Pitch Quantize and Straighten Pitch on each clip. Cutting clips also helps pitch only individual sections of a waveform.
The newest version of VariAudio introduced some incredible options for adjusting pitch that make the software even more valuable.
I highly recommend considering Cubase Pro if you plan to switch DAWs — for VariAudio exclusively!
Steinberg’s Cubase Pro is available from Plugin Fox.
3) Celemony Melodyne (Paid)
We’re moving up the price ladder, but for a good reason. Melodyne from Celemony is one of the most utilized pitch correction plugins used by professional vocal editors and producers.
Melodyne offers (to my ears) the most accurate and musical sounding algorithm, leaving no tuning artifacts that are easily recognizable to the untrained ear.
Pros
- Incredible-sounding algorithm
- Tons of flexibility when vocals sound poor
- Zero audio artifacts in most cases
Cons
- Difficult for new users
- Rather expensive
The software has incredible note detection allowing for more accurate tuning. I find that in VariAudio, there are times that the software cannot understand individual notes, so they are omitted. It’s not too often this occurs, but Melodyne does it better.
Melodyne is available at Plugin Boutique.
4) Waves Tune (Paid)
Waves Tune operates similarly to Auto-Tune and Melodyne. Before you begin tuning, the software scans the audio track and displays audio waveforms.
The process of editing is quite similar as well, though the interface is slightly dated.
Pros
- Included in many of Wave’s plugin bundles
- Relatively lightweight on CPU
Cons
- Outdated
- Difficult to use
I have never enjoyed using Waves Tune but figured it needed a mention since Waves is one of the most popular audio plugin companies.
5) Waves Tune Real-Time (Paid)
While cheaper than the regular version of Tune, Tune Real-Time offers a quick and user-friendly experience for tuning vocals. I’d compare this plugin to using Auto-Tune on AUTO mode.
Note transition is iffy at best and artifacts are present throughout (at least when I used it). The plugin isn’t smooth sounding at all, and there aren’t many parameter changes available.
I’d recommend Real-Time for two different scenarios. The first being someone new to audio production looking to fix a vocal without technical knowledge of tuning vocals. You won’t get the most professional sound, but it will be acceptable.
The second scenario is for producers working with singers in the studio who struggle to sing on pitch.
Using a pitch-correction software can boost the confidence of the singer in the booth, though I can’t say for sure if this will lead to a better sounding vocal take.
Despite the marketing of Waves Tune Real-Time, claiming instant vocal tuning, I could envision latency becoming an issue in some home studio settings.
Free Auto-Tune VST Plugins
If you’re on the fence about which one to get or want to save a little cash, try some of these free pitch correction plugins I’ve listed below.
Things To Consider When Choosing a Pitch Correction Software Plugin
Despite all the choices I’ve laid out, you still may be confused on the correct option. Here are some things to consider before making a decision.
Does the software maker provide a trial?
Auto-tune Evo Free Download
If so, take the trial and check out the software! There’s nothing more frustrating than buying a plugin only to find out that it’s non-refundable.
Do you need graph editing functionality?
Graph editing, like seen in Melodyne and VariAudio, is for advanced vocal editors. If you need a quick tuning for a little enhancement of a track, you may not need to edit each note.
If you want to draw in the notes physically, a more advanced pitch correction software will be necessary.
Further features you may desire are formant control, MIDI input (for vocoder), and note straightness. These types of effects are often essential in a lot of today’s popular music.
Does your DAW already have pitch processing?
Mine does — that’s why I’ve included VariAudio in this list. Digital audio workstations like Propellerhead’s Reason and MOTU Digital Performer also come with their native pitch correction software.
Wrapping Up
Best Settings For Auto Tune Evo
Which one do I like most? If I didn’t have VariAudio included in Cubase, I’d most likely be using Melodyne exclusively. It sounds incredible, and the workflow is so intuitive.
So there you have it — my list of the best Auto-Tune/pitch correction VST plugins. Which one do you currently use in the studio? I’d love to hear from you down below in the comments. Thanks for reading!
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