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September <var year=\"\"></var>":1,"#Renews on <var renew-date=\"\"></var>.":1,"#Renews on <var renew-date=\"\"></var>, <var renewal-price=\"\"></var>/month":1,"#Pausing on <var date=\"\"></var>":1,"#Resumes on <var date=\"\"></var>":1,"#First charge on <var date=\"\"></var>, <var price=\"\"></var>/month":1,"#<var day=\"\"></var> August <var year=\"\"></var>":1,"#<var day=\"\"></var> June <var year=\"\"></var>":1,"#<var day=\"\"></var> July <var year=\"\"></var>":1,"#Buy It: <var price=\"\"></var>":1,"#<var percent=\"\"></var> off!":1,"#Coupon Discount: <var discount-amount=\"\"></var>":1,"#23 professional plug-ins (over $3,500 value)":1,"#TERMS AND CONDITIONS: You must provide a method of payment to authorize your free trial. If you don't cancel your free trial before it ends in 14 days, you will automatically be charged $24.99 to begin your paid monthly subscription to Auto-Tune Unlimited.":1,"#Auto-Tune Central is officially supported on macOS 11 and higher and Windows 10 and 11. Click<a ljsid-1=\"\">here</a>for additional plug-in compatibility.":1,"#Gain staging":1,"#<var day=\"\"></var> March <var year=\"\"></var>":1,"#<var day=\"\"></var> January <var year=\"\"></var>":1,"#<var day=\"\"></var> February <var year=\"\"></var>":1,"#<var number=\"\"></var> Month Free, Bills <var price=\"\"></var> per month after 1 months":1,"#Grand Total: <var price=\"\"></var>":1,"#You can continue to use all products in your Auto-Tune Unlimited One Year (Without Annual Rollover, FL Studio) subscription until the end of the current billing cycle, at which point your subscription will be deactivated.":1,"#Your subscription to Auto-Tune Unlimited One Year (Without Annual Rollover, FL Studio) has been cancelled.":1,"#There was an error cancelling your subscription to Auto-Tune Unlimited. Please open a support ticket":1,"#An overview of the Auto-Tune Controls in Auto-Tune Slice.":1,"#Learn the ultimate 10 songwriting tips from Antares Auto-Tune. Master the art of crafting songs with expert techniques, melody construction, and more.":1,"#February <var day=\"\"></var>, <var year=\"\"></var>":1,"#An overview of ARA2 Features in Auto-Tune Pro 11.":1,"#In this intuitive guide, we'll analyse the crucial role of compression in the mixing process and look at the most popular types of compression available.":1,"#June <var day=\"\"></var>, <var year=\"\"></var>":1,"#<var price=\"\"></var> / year":1,"#<var price=\"\"></var> / month":1,"#Subtotal: <var price=\"\"></var>":1,"#You may have missed the chance to see Che Pope talk, but you can still make your bid at greatness.":1,"#Free Upgrade to <var product=\"\"></var>":1,"#In ring modulation, the frequency of the original input signal is absent from the output, and is entirely replaced by sideband frequencies.":1,"#The Flanger Sync button lets you synchronize the rate of the Flanger modulation to the tempo of your DAW.":1,"#When Rectify is <em ljsid-1=\"\">on</em> the modulator signal is unipolar, resulting in amplitude modulation.":1,"#When Rectify is <em ljsid-1=\"\">off</em> the modulator signal is bipolar, resulting in ring modulation.":1,"#The Flanger Depth control lets you adjust the depth or intensity of the Flanger modulation.":1,"#The Rectify button lets you switch between classic ring modulation and amplitude modulation effects.":1,"#Use the Frequency knob to adjust the frequency of the modulator.":1,"#The Flanger Rate control determines the speed or frequency of modulation for the Flanger effect, either in hertz or in divisions of the beat.":1,"#The built-in Ring Mod module gives you access to classic ring modulation and amplitude modulation effects, perfect for special effects and character design.":1,"#Ring Mod":1,"#The Flanger Feedback control determines how much of the Flanger effect’s output is fed back into its input.":1,"#In amplitude modulation, the frequency of the original input signal is present in the output, along with the sideband frequencies.":1,"#Rectify":1,"#The Ring Mod L/R Offset control lets you create stereo width by offsetting the phase of the modulator signal between the left and right channels.":1,"#You can also sync the modulation rate to your DAW’s tempo.":1,"#Add some depth and character to your samples with the built-in Flanger module, complete with a stereo-widening L/R Offset effect.":1,"#The Flanger L/R Offset control lets you create stereo width by offsetting the phase of the modulator signal between the left and right channels.":1,"#The Shape control morphs the shape of the modulator from a sine wave to a triangle wave.":1,"#November <var day=\"\"></var>, <var year=\"\"></var>":1,"#Next Charge Amount: <var price=\"\"></var>":1,"#<var price=\"\"></var>/year":1,"#Coupon Redeemed: <var coupon-value=\"\"></var>":1,"#“I'm Not in Love.”":1,"#Of course, hearing is believing. Let's use the <a ljsid-1=\"\">Harmony Engine</a> vocal harmonizer plug-in to produce a similarly dramatic vocal harmony effect. In the sample below, you can hear a simple loop of a single sustained, vocalized note–similar to how 10cc started things with “I'm Not In Love.” (I've also added a little reverb for atmosphere.)":1,"#We've barely scratched the surface of what <a ljsid-1=\"\">Harmony Engine</a> can do. But as you can see it gives you a lot to work with. If you're ready to explore the possibilities of Harmony Engine, download a free trial of<a ljsid-3=\"\"> Auto-Tune Unlimited</a>. Auto-Tune Unlimited comes complete with <a ljsid-5=\"\">Harmony Engine</a>, <a ljsid-7=\"\">every current version of Auto-Tune</a>, professional <a ljsid-9=\"\">vocal production effects</a>, FREE upgrades, and more.":1,"#To understand how harmony generators work in the context of a track, the best reference is 10cc's classic hit <a ljsid-1=\"\">“I'm Not in Love.”</a> To create the effect, 10cc's Eric Stewart recorded the band's three other members singing 16 iterations of the “ahhh” vocalization for each note in the chromatic scale. Each was laid down as a tape loop, creating 48 different loops per note, and 576 loops in total. These loops were then faded in and out using a mixer. The result was one of the most pioneering and dramatic vocal effects of its time.":1,"#You already know that the Auto-Tune <a ljsid-1=\"\">Harmony Engine</a> is the best vocal harmonizer plug-in for creating big, lush choir effects like the one I've outlined above. But what is a vocal harmony generator, anyway? Simply put, it's a process that produces harmony vocal arrangements—usually in real-time—from a single vocal track.":1,"#<var day=\"\"></var>. April <var year=\"\"></var>":1,"#August <var day=\"\"></var>, <var year=\"\"></var>":1,"#Important Note:":1,"#, the Interval controls let you transpose each oscillator up or down by a fixed number of semitones (up to 12).":1,"#control in the Oscillator section (not to be confused with the one in the Envelope section) is only active when Pitch Track is set to MIDI.":1,"#might result in a transposition of 3 semitones or 4, depending on the context within the current scale.":1,"#the oscillator will generate a sawtooth wave. At the maximum setting, it generates a square wave. Settings in between produce a pulse wave of varying pulse widths.":1,"#When the Shape control is set to":1,"#, etc).":1,"#The <strong ljsid-1=\"\">Octave</strong> control lets you transpose the pitch of the synth up to two octaves up or down.":1,"#controls allow you to create harmonies between the two oscillators, by individually transposing them.":1,"#When Scale is":1,"#The <strong ljsid-1=\"\">Oscillator Gain</strong> sliders (labeled OSC 1 and OSC 2) set the relative levels of the two oscillators.":1,"#The <strong ljsid-1=\"\">Detune</strong> control allows you to introduce slight detuning between oscillator 1 and oscillator 2, to create a chorusing effect. The units represent the tuning difference between the two oscillators in cents.":1,"#The <strong ljsid-1=\"\">Cross Mod</strong> slider lets you multiply the outputs of the two oscillators to create a cross modulation effect (also known as ring modulation).":1,"#As a result, when Scale is":1,"#Depending on the state of the Scale button, transpositions can be specified either in semitones (":1,"#control lets you choose the number of polyphonic voices for the oscillators (up to 8).":1,"#button lets you choose between two different methods of pitch transposition when using the Interval controls.":1,"#This control is only active when Pitch Track is set to":1,"#controls let you set the waveshape independently for each of the two oscillators.":1,"#), or by scale intervals (e.g.":1,"#, transpositions are specified in scale intervals, and the resulting pitches will always conform to the current Key and Scale settings.":1,"#The <strong ljsid-1=\"\">Oscillator</strong> controls let you configure Auto-Tune Vocodist’s powerful built-in 8-voice, dual-oscillators. When the Source control is set to Oscillator, these oscillators function as the synthesis channel input into the vocoder.":1,"#The <strong ljsid-1=\"\">Glide</strong> control sets the amount of time (in milliseconds) that the oscillators take to glide from one pitch to another.":1,"#the exact amount of transposition will sometimes vary. For example, an Interval setting of":1,"#on,":1,"#An overview of the Global Controls in Auto-Tune Pro X.":1,"#rising":1,"#At lower Smear settings, envelope release times are":1,"#In addition, Band Shift includes three extra settings (":1,"#control determines how quickly (in milliseconds) the envelope follower attached to each filter band reacts to":1,"#for each band, from the lowest to highest band. Similarly, at higher settings, release times are":1,"#falling":1,"#control determines how quickly (in milliseconds) the envelope follower attached to each analysis filter band reacts to":1,"#X1":1,"#signal level.":1,"#increased":1,"#control is useful to create ringing reverb-like effects.":1,"#Another feature inspired by vintage hardware vocoders, the":1,"#lets you individually set the gain for each filter band. It functions very much like a graphic EQ, allowing you to sculpt the frequency response of the vocoder output.":1,"#Similar to the Slide control in the Filter Design section, the":1,"#for each band, from lowest to highest.":1,"#controls let you configure the volume level of each filter bank independently, and also how the filter banks respond to the detected amplitude of audio input (e.g. your voice).":1,"#) that implement a ‘criss-cross’ re-routing to create speech scrambling effects (turning your voice into something very alien).":1,"#control creates a formant shifting effect by offsetting the synthesis filter bands from their corresponding analysis filter bands.":1,"#X3":1,"#button lets you lock the vocoder onto the current frequency spectrum of the voice input signal.":1,"#decreased":1,"#It's a beautiful effect, but it's worth noting that it took Eric Stewart <a ljsid-1=\"\">three weeks to produce</a>. With the <a ljsid-3=\"\">Harmony Engine</a> plug-in from Antares, the process takes just seconds and can be generated from a single human voice.":1,"#To see how we accomplished this, take a look at the screenshot below. We've adjusted the Humanize controls to add natural vibrato and timing variation to the virtual voices. That's a key reason that <a ljsid-1=\"\">Harmony Engine</a> is the best vocal harmony plug-in for this process, because it allows you to create an effect that doesn't sound like a bunch of clones. There's also a global Glide control to smooth transitions between notes, and dedicated Vibrato controls which we'll explore when examining the voices.":1,"#Harmony Engine's":1,"#You can also multiply things exponentially using the Choir feature. The <a ljsid-1=\"\">Choir effect</a> can be enabled or disabled individually for each of the 4 voices and the original input voice. You can add up to sixteen extra voices per voice channel for a total size of up to eighty voices. Let's hear that phrase again with Choir enabled.":1,"#Today, Antares' <a ljsid-1=\"\">Harmony Engine</a> vocal harmony generator produces the same effect, instantaneously and with stunning realism. Let's look at using Vocal Harmonizer with <a ljsid-3=\"\">Harmony Engine</a> to create a virtual ensemble from a single voice.":1,"#I'm Not in Love (With Painstaking Workflows)":1,"#On the next screenshot below, you'll see the controls that you get individually for each of <a ljsid-1=\"\">Harmony Engine's</a> 4 harmony voices.":1,"#25,94 €":1,"#When Voice Mix is set to":1,"#, the Chorus effect is applied to the source vocal as well as the vocoder output.":1,"#Output + FX":1,"#control lets you adjust how much of the voice input’s amplitude envelope is impressed onto the vocoder output.":1,"#Voice HPF is disabled when Voice Mix is set to":1,"#control sets the cutoff frequency of a high-pass filter which is applied to the source vocal before it’s mixed with the vocoder output.":1,"#control sets the level of the vocoder output (in dB.)":1,"#, then turn up the Voice Mix to hear a combined vocoder and Auto-Tune Effect.":1,"#control offers a choice of three different chorus effects, modeled after a famous vintage hardware chorus unit.":1,"#When this arrow button is set to":1,"#The <strong ljsid-1=\"\">Output Meter</strong> displays the current level of Auto-Tune Vocodist’s output during playback.":1,"#controls are the last stage of Vocodist’s signal path.":1,"#control you can adjust the width of the stereo spread of the vocoder output.":1,"#When it’s":1,"#, Chorus is only applied to the vocoder output, and not the source vocal.":1,"#The <strong ljsid-1=\"\">Voice Mod </strong>control lets you choose from 24 different varieties of pitch-tracking ring modulation effects. Voice Mod is disabled when Voice Mix is set to <em ljsid-3=\"\">0.</em>":1,"#Try setting Retune Speed to":1,"#Voice Envelope":1,"#control lets you mix in your original input vocal (with or without Auto-Tune) with the vocoded output.":1,"#control adds modeled analog tube-style saturation to the vocoder output.":1,"#, you’ll only hear the output of the vocoder. Additionally, the Voice HPF and Voice Mutate controls are disabled (since no original input vocal is present to be filtered or mutated).":1,"#Master EQ in your vocal mixes with this complete guide. Learn tips for clarity, balance, and depth. Ideal for beginners and pros alike.":1,"#Use it in combination with the Voice Mix, Voice Env, and Warmth controls, while keeping an eye on the Output Meter, to optimize Vocodist’s overall output level.":1,"#To enhance voice intelligibility, try turning the Voice HPF control all the way up to 5KHz - 6KHz, and then increase voice mix.":1,"#At maximum spread, odd numbered filter bands are panned all the way to the left, and even bands to the right.":1,"#Try mapping different pairs the Oscillator controls to XY Pad or automating them in your DAW to create dynamically morphing textures and shifting harmonies.":1,"#Voice Env":1,"#Specifically, it sets the drive gain of the modeled tube saturation, in dB.":1,"#Glide (Portamento)":1,"#Spread":1,"#Voice HPF":1,"#Unlike Detune, which slightly detunes oscillator 1 and oscillator 2 from one another, Unison introduces detuning among 8 stacked unison voices, for each of the two oscillators.":1,"#Similar to Detune, Unison slightly detunes the oscillators for a thickening or chorusing effect.":1,"#Unison":1,"#Voice Mod":1,"#Output + FX Controls":1,"#Output Meter":1,"#Send Source Vocal to Chorus (right arrow button)":1,"#You can also set the number of polyphonic voices (up to 8), determine the glide rate when moving from one pitch to another, add some depth by introducing slight detuning.":1,"#Voice Mix":1,"#By default, Chorus applies to the output of the vocoder, but you can also add it to your input vocal by turning on the Send Source Vocal to Chorus button.":1,"#With the Oscillator controls, you can set the mix between oscillator 1 and 2, create harmonies by transposing them by chromatic or scale intervals, morph their waveshapes independently, and even add some cross modulation.":1,"#It controls how long it takes the oscillators to fade out the end of a MIDI note (or after you release a key on your MIDI keyboard).":1,"#Warmth":1,"#Combined with the Noise Model control, it allows you to sculpt the timbre of the noise used for sibilance substitution":1,"#Try using the Glide control in conjunction with Retune Speed to set different glide rates between your Auto-Tuned input voice and vocoded voice (be sure to turn up Voice Mix to hear the input voice).":1,"#This section is where you make gain adjustments, dial in the mix of dry vs. vocoded signals, and even add some finishing touches like modeled tube saturation, chorus, and ring modulation effects.":1,"#Turn this control up to make the vocoded output more closely follow the dynamics of the voice input.":1,"#Oscillator Gain (Osc 1 and Osc 2)":1,"#Cross Mod (X)":1,"#Try assigning the Shape controls to the XY Pad or automating them in your DAW to create dynamic, real-time morphing effects.":1,"#Octave":1,"#In this mode, the harmonic relationship between the two oscillators remains fixed, and the resulting pitches may not conform to the Key and Scale.":1,"#These controls are continuously variable, so you can smoothly adjust between sawtooth, pulse, and square waves.":1,"#Plug-in":1,"#<var day=\"\"></var>. August <var year=\"\"></var>":1,"#The newly created track will use separate data and parameters of the original region – it is considered":1,"#To duplicate a track containing an ARA instance of Auto-Tune Pro 11, right click on the track, then click ‘Duplicate Track’.":1,"#Duplicated events will be considered":1,"#3. Select Auto-Tune Pro from the dropdown list:":1,"#by default in Cubase, meaning they will share data and parameters with the original copy.":1,"#After opening Auto-Tune Pro 11 as an ARA plug-in, all of the audio data from the selected event will be transferred to the plug-in instantaneously.":1,"#Dependent":1,"#When using ARA in Cubase, Auto-Tune Pro 11 will be instantiated directly onto an audio event instead of on the channel strip. To do this, please follow the steps below:":1,"#Duplicated events created in the following ways do not share data and parameters with the original copy – they are considered":1,"#For more information about Auto-Tune Pro 11’s ARA implementation in Cubase, please visit the Antares Knowledge Base <span ljsid-1=\"\"><a ljsid-1-0=\"\">here</a></span>.":1,"#Band Gains Down (Bypass All)":1,"#Random Band Gains":1,"#It staggers, or “smears” the follower release times across all of the bands, either up or down, depending on which way you move the control.":1,"#Higher Release settings make the envelope followers react more slowly to falling signal, resulting in longer decays and a more sustained sound.":1,"#If you notice excessive boominess or high-end sizzle on the vocoded output, try lowering a few of the sliders in the low end or high end (respectively) to tame these issues.":1,"#Then you can experiment with the Auto-Tune settings on your input vocal before mixing the vocoder output back in with the Band Gains Up button.":1,"#Just click the Band Gains Down button to mute the vocoder, and turn up Voice Mix to bring in the input signal.":1,"#This is a great way to quickly experiment with different filter band gain settings and get a sense of the different types of effects you can create with them.":1,"#Longer settings make the envelope followers react more slowly to peaks in the analysis signal. This tends to soften and blur the articulations, for a less percussive sound.":1,"#Try drawing different curves across the Multi-Slider, and listen to the effect it has on the vocoder’s output. Or click the Random Band Gains button to try out different randomly generated filter settings.":1,"#Smear":1,"#If the voice input signal is a vocal, Freeze will lock onto the current vocal formant and hold it indefinitely (until you turn Freeze off).":1,"#To visualize how this works, imagine a patch bay with a cable that connects each filter band in the analysis filter bank with the corresponding filter band in the synthesis filter bank.":1,"#By default (when Band Shift is set to 0) analysis band 1 maps to synthesis band 1, 2 maps to 2, and so on.":1,"#Band Gain Multi-Slider":1,"#This button turns all the bands in the Multi-Slider all the way down, which mutes the output of the vocoder entirely.":1,"#But unlike Slide, which slides the synthesis bands continuously, Band Shift creates a formant shifting effect in a way inspired by a feature found on some old vintage hardware vocoders–by “re-patching” the connections between the analysis and synthesis filter banks.":1,"#Multi-Slider Control Buttons":1,"#This button sets all the bands in the Multi-Slider to the default value of 0 dB.":1,"#This button is useful if you want to dial in the Auto-Tune settings and other effects on your input vocal without hearing the vocoder output.":1,"#Band Shift":1,"#Shorter Attack settings cause the envelope followers to react more quickly to peaks in the analysis signal. This results in quicker, more responsive articulation, and generally better intelligibility in the vocoder output.":1,"#This can be useful for creating sustained vowel sounds in the vocoder output without having to pause and take a breath.":1,"#The Band Shift control offsets this mapping, shifting it over in either a positive or negative direction. Positive Band Shift settings will shift the pitch of the resynthesized formants up, and negative settings will shift them down.":1,"#This button sets each of the bands in the Multi-Slider to a different random value.":1,"#Shorter Release settings mean that the envelope followers react quickly to falling signal levels, so that the amplitude decay of the vocoder output more closely follows the analysis signal.":1,"#When you adjust a band gain slider, its corresponding band filter is highlighted in the Filter Graph.":1,"#Freeze":1,"#These controls can affect the intelligibility of vocoded vocals, and can also be modified to produce many other elaborate effects, such as completely alien vocals for sound and character design (see Band Shift).":1,"#You can also use the Play (Audition) button to send broadband pink noise through the filter to get an even clearer sense of how the Multi-Slider affects the frequency response of the filter banks.":1,"#These buttons function as macro controls that let you quickly set all the bands in the Multi-Slider at once.":1,"#Band Gains Up (Reset All)":1,"#Auto-Tune-Slice":1,"#allow you to assign your most commonly used Graph Mode tools and controls to the row of number keys at the top of your keyboard. Click on the dropdown menu for each key to reveal several dozen functions to choose from.":1,"#Explore easy steps to harmonize vocals using Antares' Harmony Engine in our latest blog. Ideal for enhancing your music production skills.":1,"#In 1998, Cher filled the airwaves with ‘Believe,’ and the classic “Auto-Tune Effect” became the most instantly recognizable vocal effect of all time. Since then, Auto-Tune has played an ever-increasing role in defining the sound of modern music and has earned its place as the undisputed industry-standard for transparent pitch correction. Today, the biggest artists in the world rely on <a ljsid-1=\"\">Auto-Tune</a> as an indispensable tool for producing perfect vocals—whether you hear the effect or not.":1,"#Lateinish":1,"#Thanks for purchasing a subscription through Thomann! To receive your license, please enter the code they provided you.":1,"#\"Graphic Mode is where I’m at home. It’s the most transparent and fast tuning workflow I can imagine.\"":1,"#The Pitch Envelope (<strong ljsid-1=\"\">Pitch Env</strong>) determines how sounds change in pitch over time. Changes can be applied in absolute time (milliseconds – seconds), or in musical divisions of time. The graph illustrates the envelope applied to the sound.":1,"#The Attack knob determines the amount of time it takes to shift to the target pitch when the key is pressed.":1,"#Use the Release<strong ljsid-1=\"\"></strong>knob to adjust the amount of time it takes to return to the original pitch, once the key is released.":1,"#The Pitch Env controls are global, meaning they apply to all slices during playback.":1,"#When Sync is <em ljsid-1=\"\">On</em>, the time-based envelope parameter values (Attack, Decay, Release) are displayed as musical note subdivisions, and timing is based on the tempo of your DAW project.":1,"#Use the<strong ljsid-1=\"\"></strong>Decay<strong ljsid-3=\"\"></strong>knob to adjust<strong ljsid-5=\"\"></strong>the amount of time it takes to reach the sustain pitch from the peak attack level.":1,"#It’s specified as a percentage of the total pitch shift (Depth).":1,"#When Sync is off, those parameters are specified in milliseconds/seconds.":1,"#The Sustain setting determines the pitch held throughout a sound's duration, until the key is released.":1,"#Pitch Depth describes the change in pitch in semitones. Pitch can be shifted from -48 – +48 semitones.":1,"#When Sync is <em ljsid-1=\"\">on</em> the Rate is specified in divisions of the beat (e.g. 1/8 or 1/4). When it’s <em ljsid-3=\"\">off</em>, the Rate is specified in hertz (cycles per second).":1,"#L/R Offset":1,"#The <a ljsid-1=\"\">Asher Postman</a> <a ljsid-3=\"\">Auto-Tune EFX+</a> review rates Auto-Tune EFX+ as “very cool” and “a super simple Auto-Tune and sounds amazing obviously.” A nice video that shows-off this version of Auto-Tune in <a ljsid-5=\"\">FL Studio</a>.":1,"#This Asher Postman Auto-Tune EFX+ review rates Auto-Tune EFX+ as \"very cool\" and “a super simple Auto-Tune and sounds amazing obviously.\"":1,"#An introduction to the in-depth guide on Auto-Tune Pro X.":1,"#Balance":1,"#Reviewed by: Asher Postman Music":1,"#<a ljsid-0=\"\">Asher Postman</a> is an <a ljsid-2=\"\">FL Studio</a> expert, makes meme videos and tutorials as well as legit music.":1,"#Asher Postman Music":1,"#Arabe":1,"#Recommended:":1,"#In ARA2 instances, the":1,"#In all ARA2 instances of Auto-Tune Pro 11, tracked audio will include Pitch & Time information.":1,"#Re-Track":1,"#After loading an ARA instance of Auto-Tune Pro 11, pitch and time data for the entire track will instantly be available to edit in Graph Mode.":1,"#button takes the place of the Track Pitch and Track Pitch & Time buttons.":1},"version":7241}]