And while there are certainly improvements, this latest release takes a similar approach to what’s gone before, and can best be viewed as an evolution of the already impressive feature set. We’ve reviewed several iterations of Auto‑Tune over the years, including the first to be given the ‘Pro’ suffix in SOS October 2018. Does it offer anything your DAW doesn’t already? Let’s find out.
Nonetheless, Antares have continued to refine Auto‑Tune and expand its capabilities, as well as embedding the algorithms in various hardware products, and recently the company released Auto‑Tune Pro‑X, the latest iteration of the software/plug‑in version.
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Its name quickly made the transition from proper noun to popular verb! Of course, it’s now far from the only game in town, and competition has increased to the point that both real‑time and offline pitch‑correction processors are bundled with most serious DAW software. It’s hard to underestimate the impact that Antares’ Auto‑Tune had on the world of music production when it was launched in 1996, when it broke the link between pitch and time changes, made pitch correction quick and convenient - and created the warbly ‘Cher effect’ that’s been used by countless other artists since. We check out Antares’ latest fine‑tuning of their flagship product. Pro‑X lets you dig very deep with your pitch correction, but its Auto mode helps keep things incredibly simple.
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