There's even a window resizing function for the Pitch Graph mode unfortunately, like the synchronisation feature, this only works in compatible hosts.Īt the time of writing, our test host (Cubase 4) didn't support real-time window resizing, although the default is reasonably sized and it's possible to configure custom sizes from the Options menu. Simple pitch corrections are a doddle and unruly effects just as quick to create. This means that you can repeat corrections elsewhere in the project. Professional results are very easy to accomplish using this system, especially as it allows free copying and pasting of Correction Objects. In useīecause Evo synchronises playback with the host sequencer, it's a lot like having an extra editing window in your DAW. Once you've made your tweaks, you'll see three contours: the original tracked pitch, the Correction Object pitch and the actual output pitch (the latter is new for Evo). Correction Curves and Correction Lines can also be used for wilder adjustments or for designing transitions between Note Objects. You can then make virtually unlimited adjustments to the tuning using dedicated tools. Clicking the Make Notes button creates Note Objects based on the original pitch contour, using bold white blocks to indicate where each note falls. The Pitch Graph generates Evo's interpretation of the pitch, represented by a red line. To get started, click the Track Pitch button and play back the section of audio to be processed. The editor has its own unique set of controls, which vaguely resemble Melodyne's. However, whereas in previous versions you edited a continuous line representing frequency, Evo can make musical sense of the content and present it to you as Note Objects - it's like a monophonic piano roll for audio, which will be familiar to users of Celemony's Melodyne. This shares many common controls with the classic Auto mode, such as the key/scale, throat modelling and transpose settings. Instead of snapping to a predefined musical scale, this plots a clear graph of time against pitch, known as the Pitch Graph.

Working with Auto-Tune is now much quicker in the classic Auto mode, but the improved pitch tracking is perhaps even more essential in the offline Graphical mode. For example, earlier Auto-Tunes sometimes had trouble with octave tracking, resulting in nasty side effects.Īnd while vocals are the main focus, other monophonic instruments are also catered for - including bass - by way of the Input Type control.

Auto-Tune Evo certainly pulls no punches and is noticeably more accurate than previous versions, and over a broader variety of signal sources, too.

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