Auto-Tune corrects intonation and timing problems in vocals or solo instruments, without distortion or artifacts, while preserving all of the expressive nuance of the original performance – with audio quality so pristine that the only difference between what goes in and what comes out is the intonation and timing.
All with a user-interface that is a model of clarity, speed and ease-of-use.
By far the most dramatic addition to Auto-Tune 7 is its entirely new time correction and manipulation system. Seamlessly integrated into the Graphical Mode interface, Auto-Tune 7’s time control capabilities allow you to quickly and easily edit the timing of your vocals right along with their pitch. Auto-Tune 7 also features the second generation of Antares’ Evo™ Voice Processing Technology, offering even more natural pitch shifting and throat modeling, along with a host of time-saving workflow enhancements.
Integrated time correction and manipulation: Auto-Tune 7’s time control capabilities combine an extremely high-quality time shifting algorithm with an exceedingly intuitive user interface designed to make it quick and easy to correct timing errors or exercise your creative imagination. Auto-Tune 7’s time manipulation functions include the ability to move a point in time within a selected range as well as move a range in time within a larger range. The time functions have their own Undo/Redo controls independent of the pitch correction controls and an Enable button that allows you to instantly switch between your original audio and your time shifted audio.
AVOX – Antares Vocal Toolkit
Physical Modeling Vocal Designer
THROAT is a radical new vocal tool that, for the first time, lets you process a vocal through a meticulously crafted physical model of the human vocal tract. THROAT begins by neutralizing the effect of the original singer’s vocal tract and then gives you the ability to specify the characteristics of the modeled vocal tract.
THROAT’s controls allow you modify the voice’s glottal waveform as well as globally stretch, shorten, widen or constrict the modeled vocal tract. For even more detailed control, THROAT’s graphical Throat Shaping display allows you to individually adjust the position and width of five points in the vocal tract model, from the vocal cords, through the throat, mouth and out to the lips. Finally, THROAT’s Breathiness controls let you add variable frequency noise to the model, resulting in a range of vocal effects from subtle breathiness, to raspiness, to a full whisper.
While THROAT has been designed to allow subtle modifications to a voice’s vocal quality, the range of the controls also allows the creation of vocal tract models well beyond the limits of physical human anatomy, offering the possibility of vocal characteristics that are simply unattainable by any other means.
Vocal Modeling Auto-Doubler
DUO automatically generates a doubled vocal part from an existing vocal. In addition to allowing programmable variation in pitch, timing and vibrato depth, for even more realism, DUO also includes a simplified version of THROAT’s vocal modeling to provide timbral variation for the doubled part. DUO’s output section gives you independent control of the level and stereo position of the original and doubled voices.
Neither a harmonizer nor a conventional chorus effect, CHOIR is a unique processor that actually turns a single voice into 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing and vibrato variations. The voices can, if desired, be spread across the stereo spectrum. Assign an instance of CHOIR to each of four voices singing four-part harmony and voilà, instant choir.
Vocal Impact Enhancer
Variable Frequency De-Esser
Rhythmic Multimode Filter
At the core of Filter are four true stereo multimode filters that provide all the warmth and smoothness you’d expect from classic analog filters. With low-pass, highpass, bandpass and notch modes, variable cutoff slope, four independent delay sections, and a variety of filter routing options, you’ll have the power to create dynamic filter effects that range from extremely subtle to just plain extreme.
Since filters sound the coolest when they’re whizzing around, we’ve given Filter a modulation section that would make many a full-blown synthesizer jealous. Pretty much everything that matters can be modulated. Control sources include four multi-shape LFOs, four Envelope Generators with delay and hold times, two Rhythm Generators, an Envelope Follower and a slew of MIDI controllers. All routed through a Mod Matrix with more than enough patches to get yourself into serious trouble.
To really get you dancing, Filter includes two drum-machine style Rhythm Generators for loop-based grooves or complex polyrhythms. And to make sure everybody stays in step, every time-based parameter — from tempos, to delay times to envelope rates — can be locked to Filter’s internal master tempo or your host’s MIDI clock.
Whether you want to burnish your tracks to an angelic warmth or heat things up with some rich, devilish distortion, Antares’s Tube plug-in gives you the tools to create a wide range of modeled analog tube effects.
Based on technology from our multi-award-winning Microphone Modeler plug-in, Tube is incredibly easy to use and so DSP efficient that even a modest native system will support dozens of tracks’ worth. (In our informal tests, a Mac PowerBook G4 400MHz was able to provide well over 40 instances of Tube.) And with an astonishingly low price, you won’t have to sell your soul to afford it.
Choose our heavenly blue tube to add the warmth of a classic tube preamp to vocals, acoustic guitar, horns, strings, synth pads, in fact pretty much anything. The Drive control lets you select the degree of dynamic saturation. Or engage OmniTube to add subtle body to the entire signal. Give in to the temptation of our fiery orange tube and ignite your tracks with the deep, warm distortion of an overdriven tube amplifier. Use it in moderation to impart a subtle (or not-so-subtle) effect to almost any track. Or crank it up on electric guitar, bass, synths, even voice.
In addition to the tube models, Tube includes a unique OmniTube function. Without OmniTube engaged, Tube functions exactly like a tube preamp, i.e., only the regions of the input signal that exceed the clipping level (typically transients) are affected and all other regions are passed with no change. With OmniTube on, a compressor is inserted into the signal path before the tube model. This compressor is set to compress the signal and then apply sufficient makeup gain to ensure that Tube’s Drive control can drive the entire signal above the clipping level. After the tube effect is applied to the entire signal, an inverse gain function restores the signal’s original dynamics.