![]() ![]() ![]() Though Auto-Tune Pro operates in sessions with sample rates up to 192 kHz, audio is still down-sampled while running higher resolutions (48 kHz for 192 or 96 kHz, and 44.1kHz for 176 or 88.2 kHz), and then up-sampled after processing. There is also a new automatic key and scale detection via the Auto-Key plug-in, which will listen and give you the key a piece is in a great boon to some of us who are as musically ignorant (intuitive?) as myself. I tried it out and ran screaming from the room, but for others this might be their retro-nirvana processing moment. Antares also added a Classic mode for the "Auto-Tune 5 sound." Oh boy, yeah - it glitches in that certain way. I can see some hot shots getting pretty creative with this, in either overtly weird or subtle ways. I'm not gonna mess with this next feature, but many Auto-Tune Pro parameters can be accessed in real time via a MIDI controller. I performed more vocal tuning stunts after this, and even pushed Auto-Tune Pro hard a few times to see what would break, and I was happier with better, more usable, and natural results than in the past. I like this, as it reflects how I work and what I need. As with any technology like this, it seems as the years go by the sound quality is better and the software reacts more intuitively for the user. Compared to Evo, I felt that the immediate results were less artificial sounding, and more natural. In the middle of a session I first opened up Auto-Tune Pro in the default setting, set Flex-Tune and Humanize to 12 o'clock, and processed some flat vocal notes for a mix I was working on (that I hadn't tracked). A new feature is this initial Basic View and a button that unlocks the Advanced View, with MIDI tools, scale editing, vibrato features, and a lot more controls. But I've never used Auto-Tune as a plug-in running on an entire vocal track, since I don't trust any tuning software to make the right choice every time, nor do I see a musical reason to blindly tune every note! So, for me to be the reviewer of the new Auto-Tune Pro might seem like a mistake, but I think that many engineers and musicians are working in a similar, simple way like mine, and that power users are a rarer breed than one may think.įirst impressions? The opening GUI of Auto Mode is a lot cleaner, simpler, and nicer than the cluttered and sterile-looking Evo version I'd purchased previously. But when I have used Auto-Tune in the past, it's been to simply process and fix single notes that were rubbing or sticking out of a mix in a bad way, and I've always double checked that there were no odd glitches or issues with crossfades (the dreaded "thump"). In the studio I'd rather ask for new passes of a vocal than to tune any, and luckily a lot of my sessions are ones I'm producing where I can work this way. In fact, I only now learned how to use the Graph mode for this review (hey, it's cool), as previously I would open it up and sit there staring at the graph window utterly confused. ![]() I will admit that I am not a power user of any tuning software, and I use Auto-Tune so infrequently that I never have fully learned any of the ins and outs or details. Since then Auto-Tune has become an industry standard - even non-studio geeks know its name - despite some healthy competition from Celemony's Melodyne, Waves' Tune, Serato's Pitch 'N Time, Synchro Arts' Revoice Pro, and others. It might not have worked well (dreadful performances), but it did get the tracks closer to the proper pitch. I remember renting the ATR-1 hardware version from a local studio back then and trying to tune some poorly pitched slide and violin by processing back to open tracks on 2-inch tape. I didn't realize Auto-Tune was 20 years old this year, and I'm sort of in shock. ![]()
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