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. Real‑time pitch‑shifting is also included within the common controls area and is available in all versions of Evo. 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. 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). 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. The most obvious visual change has been the expansion of the common controls section along the top of the main window.
If the tuning problems are more significant, the 'graphical' mode provides tools for editing indvidual notes via curves and lines.Īll these functions are retained in Evo, but they have been accompanied by some significant new features and a reorganisation of the user interface.
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. All About EvoĪuto‑Tune Evo retains the basic dual‑mode operation of earlier releases. However, the new version is named Auto‑Tune Evo, and includes some significant new features. 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. 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.
Antares were pioneers of this technology and Auto‑Tune became a clear industry standard soon after its release in 1997. Love it or loathe it, pitch‑correction software is now a ubiquitous part of the modern computer‑based recording studio. Graphical editing now includes note objects as well as curves, and object-specific settings for the Retune speed. Does the latest Evo version keep the competition at bay? Auto-Tune has been the industry‑standard pitch‑correction tool ever since its 1997 release.
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