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It has an improved classic mode to change the job to the Auto-Tune 5 algorithm. The new version is more attractive and understandable. The new user interface looks sharper, sharper, and darker to inspire creative potential. It comes with the latest automatic mode. Also, it allows users to adjust tones in real-time. ↓↓↓ Click en Descargar ↓↓↓ Requisitos del Sistema Windows XP,SP2, 7,8,10,Vista MacOS 10.5 o posterior ↓ Descrip.
And now, with its new-from-the-ground-up time manipulation capabilities, Auto-Tune 7 represents the most substantial advancement in functionality since Auto-Tune's original introduction in 1997.
For most common pitch problems, Auto-Tune 7's Automatic Mode instantaneously detects the pitch of the input, identifies the closest pitch in a user-specified scale (including minor, major, chromatic and 26 historical and microtonal scales), and corrects the input pitch to match the scale pitch. A Retune Speed control lets you match the retune rate to virtually any performance style as well as create the iconic Auto-Tune Vocal Effect.
For meticulous pitch and time editing, Auto-Tune 7's Graphical Mode displays the performance's detected pitch envelope and allows you to modify pitch and timing with a variety of easy-to-use graphics tools. This mode gives complete control over the correction or modification of the most elaborate pitch and rhythmic gestures.
Auto-Tune is used daily by thousands of audio professionals around the world. Whether to save studio and editing time, ease the frustration of endless retakes, save that otherwise once-in-a-lifetime performance, or create the Auto-Tune Vocal Effect, Auto-Tune is the overwhelming tool of choice.
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Auto-Tune can also be used as an effect to distort the human voice when pitch is raised or lowered significantly, such that the voice is heard to leap from note to note stepwise, like a synthesizer.
Auto-Tune has become standard equipment in professional recording studios. Instruments such as the Peavey AT-200 guitar seamlessly use Auto Tune technology for real time pitch correction.
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Antares AutoTune History
Auto-Tune was launched in September 1997 by Andy Hildebrand, a Ph.D. research engineer specialized in stochastic estimation theory and digital signal processing. His method for detecting pitch involved the use of autocorrelation and proved to be superior to earlier attempts based on feature extraction that had problems processing certain aspects of the human voice such as diphthongs, leading to sound artifacts.
Music industry engineers had previously considered the use of autocorrelation impractical because of the extremely large computational effort required, but Hildebrand found a “simplification [that] changed a million multiply adds into just four. It was a trick — a mathematical trick.” Over several months in early 1996, he implemented the algorithm on a custom Macintosh computer, and presented the result at the NAMM Show later that year, where “it was instantly a massive hit.”
Hildebrand had come up with the idea for a vocal pitch correction technology on the suggestion of a colleague’s wife, who had joked that she could benefit from a device to help her sing in tune. Originally, Auto-Tune was designed to discreetly correct imprecise intonations, in order to make music more expressive, with the original patent asserting that “When voices or instruments are out of tune, the emotional qualities of the performance are lost.”
According to Chris Lee of the Los Angeles Times, Cher’s 1998 song “Believe” is “widely credited with injecting Auto-Tune’s mechanical modulations into pop consciousness”. Cher’s producers used the device to “exaggerate the artificiality of abrupt pitch correction”, contrary to its original purpose.
While working with Cher on the song “Believe” in 1998, producers Mark Taylor and Brian Rawling discovered that if they set Auto-Tune on its most aggressive setting, so that it corrected the pitch at the exact moment it received the signal, the result was an unsettlingly robotic tone.
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In an early interview, the producers of “Believe” claimed they had used a DigiTech Talker FX pedal, in what Sound on Sound’s editors felt was an attempt to preserve a trade secret. After the success of “Believe” the technique was initially referred to as the “Cher Effect”. In the year 2000, the single “Naive Song” performed by Mirwais Ahmadzai from his album Production was the first ever track using Auto-Tune on the complete vocals.
The use of Auto-Tune as a vocal effect was bolstered in the late 2000s by hip hop/R&B recording artist T-Pain who elaborated on the effect and made active use of Auto-Tune in his songs. Download lagu terbaru pop indonesia. He cites new jack swing producer Teddy Riley and funk artist Roger Troutman’s use of the Talk Box as inspirations for his own use of Auto-Tune. T-Pain became so associated with Auto-Tune that he had an iPhone App named after him that simulated the effect, called “I Am T-Pain”.
Eventually dubbed the “T-Pain effect”, the use of Auto-Tune became a popular fixture of late 2000s music, where it was notably used in other hip hop/R&B artists’ works, including Snoop Dogg’s single “Sexual Eruption”, Lil Wayne’s “Lollipop”,[26] and Kanye West’s album 808s & Heartbreak. In 2009, riding on the wave of Auto-Tune’s popularity, The Black Eyed Peas’ number-one hit, “Boom Boom Pow”, made heavy use of Auto-Tune on all the group’s vocals to create a futuristic sound.
Radiohead used Auto-Tune on their 2001 album Amnesiac to create a “nasal, depersonalised sound” and to process speech into melody. According to singer Thom Yorke, the software “desperately tries to search for the music in your speech, and produces notes at random. If you’ve assigned it a key, you’ve got music.”
The use of Auto-Tune in hip hop gained a resurgence in the mid-2010s, especially in trap music.[15] Hip hop artists like Future, Migos, Travis Scott, and Lil Uzi Vert use Auto-Tune to create a signature sound.
The effect has also become popular in raï music and other genres from Northern Africa. According to the Boston Herald, country stars Faith Hill, Shania Twain, and Tim McGraw use Auto-Tune in performance, calling it a safety net that guarantees a good performance. However, other country music singers, such as Allison Moorer, Garth Brooks, Big & Rich, Trisha Yearwood, Vince Gill and Martina McBride, have refused to use Auto-Tune.
Japanese idol band PassCode make heavy use of Auto-Tune.
The latest[when?] version of Auto-Tune is Auto-Tune Artist, which is optimized for low latency performance. The most popular version of Auto-Tune is Auto-Tune Pro,[citation needed] the third newest release.
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| File Details: | |
|---|---|
| File Name | Antares AutoTune 5 Free Share By Musical Sanjeet YouTube Channel.zip |
| File Size | 685.25 KB |
| Publisher | Steinberg Media Technologies |
| Release Date | 24th, August, 2009 |
| Operating Systems | Windows 7/Windows 8.x/Windows 10 x86/x64 etc. |