Antares Auto-tune Vocal Studio 8 Native – Download – Long & McQuade Musical Instruments
Together, they provide a comprehensive suite of tools for producing world-class vocal tracks. Whether you want to quickly touch up a few questionable notes or meticulously polish an entire performance, Auto-Tune 8 offers the natural sounding, pristine results you desire. Auto-Tune 8 comes loaded with new features, including Flex-Tune natural real-time pitch correction, an ultra low-latency mode and a more customizable interface to streamline your editing process. Auto-Tune 8 works in two modes:
Autotune 8 setup .exe
How does the new version shape up against the competition? Some items of technology have acquired such an iconic status that the product name has become a verb. The classic example is the Hoover vacuum cleaner, but in the world of music technology, the same thing has happened with Auto-Tune.
Of course, just as Hoover have plenty of competition when it comes to sucking up dust from your floor, Auto-Tune is now far from the only game in town when it comes to pitch-correction. Almost every top-end DAW includes its own pitch-correction tools and, as summarised in the Alternatives box, there are a number of very creditable third-party options also.
Auto-Tune is, however, still an industry standard, and the new version 8 includes a number of new features. Since the Evo release in essence Auto-Tune 6, reviewed in March While only one of these tools can be active at any point on the timeline, you can mix and match them as required within a single editing session in order to craft the best result. For a number of iterations, Auto-Tune has also offered the ability to adjust formants, and has featured basic throat modelling that allows you to shift the gender character of the voice, as well as global pitch transposition and the ability to adjust timing in some fairly surgical ways.
Add in various MIDI-related features and we have a pretty sophisticated tool set. You might, then, be wondering exactly what else there is left to do in terms of basic pitch-correction.
Well, manipulating the pitch and timing of vocals while still managing to create a natural-sounding result requires complex digital signal processing, and Antares have continued to refine and improve the core technology that underlies Auto-Tune — to the point where if you have projects based upon Evo v6 or earlier, Auto-Tune 8 will not open them. You can, however, run version 8 and earlier Auto-Tune versions side-by-side in the same project, so this is not a significant issue to work around.
Core processing algorithms aside, Automatic Mode has two new headline features. First, a new Flex-Tune option has been added that, rather like some MIDI quantise systems, allows you to apply pitch-correction only when the pitch is close to a scale note; other audio is left unprocessed. In Graphical Mode, Auto-Tune 8 brings a number of operational enhancements. For example, all the editing tools are now active during playback, and when you move Note objects, you can hear a pitched tone as you drag a note up or down to assist you in selecting the required pitch.
You can then configure the Tracking, Retune Speed and Humanize controls to suit just those sections where correction is to be applied. However, in Auto-Tune 8, you get a new option that can refine this automatic process even further: This runs from Classic at one end to None at the other via Flex-Tune and, depending upon where you set it, Auto-Tune applies its pitch-correction somewhat differently.
Classic does what Auto-Tune has always done, applying pitch-correction to every note with the degree and speed based upon the Tracking, Retune Speed and Humanize controls, while None is self-explanatory. With Flex-Tune, meanwhile, you can configure the pitch-correction so that only notes close to a scale note centre get correction applied.
I have to say I was quite impressed with this new option. Auto-Tune then provides you with a combination of curves, lines and note objects that you can manually edit to achieve maximum control over the end result. Thankfully, in version 8, the most tangible changes in Graphical Mode are aimed at speeding this process up. For example, all the editing tools are now active during playback, so you can tweak notes, curves or lines while looping through a section of your project, hearing the results instantly as you work.
I found this a very useful change, particularly when at the stage of adjusting Note objects. However, it is best done with Auto Scroll disabled otherwise things can get a bit graphically distracting, even with the scrolling behaviour adjustment available in the Options dialogue. This is a simple sine-wave tone and is very useful, but the default volume caught me by surprise when I first tried it; a means of adjusting the level would be a welcome addition.
As well as options for resizing the plug-in window, Antares have also added a couple of new layout options for streamlining the interface and making it more compact. For example, you can turn off the waveform display in the main edit area if you find it distracting although I found it automatically reappeared if I then engaged the Show Lanes option. Some comments on the current state of play on this front are therefore required.
It is as easy as basic pitch-correction gets, and if all your vocal needs is a gentle nudge in the right direction, it is a great tool for the job. I regularly turn to Auto-Tune 7 for that kind of task. The reasons have been twofold. First, to my ears, I thought I could push the pitch-shifting in Melodyne that bit harder before obvious audio artifacts appeared.
And second, I found the workflow within Melodyne to be a little more streamlined than the combination of curves, lines and notes found in Auto-Tune. Although the Graphical Mode workflow improvements mentioned above have certainly helped — particularly the ability to edit during playback — I think the key changes are the underlying engine improvements and what seems to me a gradual maturing of how the Antares tool set functions.
While you can get involved with the line and curve editing, and these options are still great to have, I was particularly impressed with just how far I could go in using Note objects to manually correct or creatively adjust the pitch of my vocals, and how quickly I could do it. What particularly impressed me with these more radical pitch changes, however, was how well Auto-Tune 8 automatically handles the transitions between Note objects.
And, if you resize these objects so that their ends butt up against one another on the timeline, you can get some remarkably smooth results without needing to go near the more detailed line or curve editing options.
You can adjust the automatic pitch-correction behaviour by shifting the balance between the Classic, Flex-Tune or None modes. Yes, you can move whole words forwards and backwards in time, but the most impressive element is how easy the Move Point tool makes it to select a word or short phrase and to then adjust its relative internal timing for example, to stretch one a syllable while compressing another so that the whole word occupies the same overall length.
As with the pitch manipulation, the processing algorithm used here is top-drawer. Melodyne may still have some areas that it can claim as its own, such as polyphonic pitch-correction, but in terms of automatic easy correction, Auto-Tune has always been the market leader.
However, I think with this release, for pitch manipulation of monophonic audio such as vocals or instrumental melody lines, Graphical Mode editing has reached a point where, both in terms of ease of use and the naturalness of the results, it can slug it out toe-to-toe with Melodyne. Leaving aside the arguments over whether pitch-correction this sophisticated is a desirable thing for the music industry, Auto-Tune deserves its iconic status but, equally, it remains at the cutting edge.
Melodyne lacks the true automatic mode found in Auto-Tune, but its graphic editing options for both pitch and timing are hugely impressive, and the polyphonic editing offered by the Editor and Studio versions is jaw-dropping. Low Latency Mode One of the two new Automatic Mode features is perhaps aimed at the less experienced singer, but will also prove invaluable to those who deliberately use Auto-Tune as an effect. If you monitor a live vocal through Auto-Tune 8 with the Low Latency option switched off, unsurprisingly, there is a short processing delay, and if you are also listening to the unprocessed vocal, the effect is not unlike a very short slapback echo.
Engage the Low Latency option and that delay pretty much disappears completely, to the point where if you monitor both dry and processed signals, all you are left with is the faintest of phasing between the two signals.
Perhaps this feature is not something a more experienced or technically proficient singer might need, but I can see how it would be useful when working with a less confident performer. Pros Very transparent pitch and time manipulation. Graphical Mode has become a mature and powerful working environment. Flex-Tune is a great addition to Automatic Mode. Cons A few graphical quirks when editing with Auto Scroll engaged.
A volume control for the note preview mode would be helpful.
Software Downloads. Select a product installer to download: the AVOX 4 installer. For Auto-Tune Vocal Studio, download Auto-Tune Pro and AVOX 4. Get the guaranteed best price on Vocal Software like the Antares Auto-Tune 8 Native Software Download at Musician’s Friend. Get a low price and free shipping. New in Auto-Tune 8 is Antares’ revolutionary new Flex-Tune At all other times, they are free to sing with whatever vocal gestures best.
Discontinued Software Downloads
How does the new version shape up against the competition? Some items of technology have acquired such an iconic status that the product name has become a verb. The classic example is the Hoover vacuum cleaner, but in the world of music technology, the same thing has happened with Auto-Tune. Of course, just as Hoover have plenty of competition when it comes to sucking up dust from your floor, Auto-Tune is now far from the only game in town when it comes to pitch-correction.
SOUND ON SOUND
Download When it comes to recording a song you can encounter certain problems with the tone and the tempo of a voice or instrument, and as a consequence of this it may be necessary to record it all several times until it is perfect, or at least that was what happened until Antares Auto-Tune was launched, a program that combines perfectly with Pro Tools to fix these problems automatically or manually. Your songs as perfect as ever Antares Auto-Tune includes a tool which can automatically fix the tone and brings it to the nearest one, offering you the possibility to mark a target tone so that the changes take place during the recording.
Watch: Auto-Tune Pro Download ( Latest) for Windows 10, 8, 7
Auto-Tune is said to be the biggest-selling plug-in of all time. How does the new version shape up against the competition?. Autotune and pitch correction has a variety of uses, from fixing subtle vocal effects. Click here to check out our list of free autotune plugins! Download it here. 7/10 ( votes) – Download Antares Auto-Tune Free. Antares Auto-Tune is the ultimate professional tool to be able to solve tone problems during the recording.