Mic Preamp With Pitch Correction

Art Auto-tune Pre Tube Microphone Instrument Preamp Single Channels
Art Auto-tune Pre Tube Microphone Instrument Preamp Single Channel 3

ART Auto-Tune Pre Single-channel Microphone Preamplifier Features: An excellent and affordable tube microphone preamp that lets you get perfectly in-tune vocals live or in the studio Built-in Antares Auto-Tune EFX technology provides 3 stages of tuning, from subtle pitch correction to hard tuning. The Auto-Tune Pre combines an ART tube preamp channel with integrated Antares Auto-Tune processing in a compact accessible package ideal for studio or stage, offering live artists high quality Antares pitch processing without the complexity and cost of an external computer and software. The ART Auto-tune Pre Tube Preamp solves this problem. It allows for the user to manually control several parameters, including selecting a musical key, then further specify the notes that should be put in/taken out, all represented in a visual, user-friendly way on the front panel of the device. Apr 08, 2017 Whats inside ART Voice channel Microphone preamp voice over. ART Tube MP Studio Pre-Amp Testing and Re. DeadKoby 20,556 views. ZZounds.com: ART Voice Channel Tube Microphone Preamp. TubeMP with Autotune. The Auto-Tune Pre combines an ART tube preamp channel with integrated Antares Auto-Tune processing in a compact accessible package ideal for studio or stage. Now live artists can easily add high-quality Antares pitch processing without the complexity and cost of an external computer and software.

Art Auto-tune Pre Tube Microphone Instrument Preamp Single Channels

This combination of preamp and Auto‑Tune processor could be just the thing for adding a radio‑friendly sheen to your live performances.

ART have teamed up with Antares to produce this DI‑box‑sized Auto‑Tune Pre, a mic/line preamplifier with a hardware version of Auto‑Tune built in. Clearly, such a product will hold little appeal for the DAW user as pitch correction is invariably best applied after recording, usually via plug‑ins, to allow scope for adjustment and parameter automation, but for live performance it has very clear applications. The Auto‑Tune Pre could also prove very useful for those using hardware multitrack systems that don't have the capability to run plug‑ins, as recorded tracks may be re‑processed via the line input of the Auto‑Tune Pre.

The Auto‑Tune section of the preamp, which claims a low latency of around five milliseconds, has a user interface designed to work as much like the plug‑in version as possible, and that extends to 'piano layout' note‑selection buttons on the front panel. These allow the user to create custom scales, as well as to select straightforward major or minor scales according to the key, though there's also a straightforward chromatic mode. Else without a previous if dev c++. Five user presets are available for storing the scales appropriate to specific songs, and these may be stepped through using an optional footswitch where required.

While the plug‑in version of Auto‑Tune has a fully variable control to set the speed of pitch correction, the Auto‑Tune Pre has just three speed modes, labelled Pitch Correct, Soft EFX and Hard EFX. The last two are special effects settings that capitalise on the now well‑known (and some would say overused) side‑effects of over‑fast pitch correction. Hard EFX produces the familiar hard‑quantised robotic or pseudo-vocoder sound recognisable from countless records, while Soft EFX imparts a hint of Auto‑Tune in a less obvious way.

On the mic amp side, a discrete‑component front end feeds a 12AX7A valve circuit to add a little warmth and character to the signal path. Internal step‑up circuitry boosts the valve supply voltage to well above what the power supply rating might suggest,and also supplies the phantom power. A +20dB gain switch operates in conjunction with the variable input gain control, where a pair of LEDs show signal present and clip status for level-setting purposes. A further rotary control sets the output level.

A TRS insert jack permits external processing to be interposed in the signal path between the preamp and Auto‑Tune sections, while a TRS footswitch jack socket on the rear panel provides a means of remotely bypassing the Auto‑Tune section and stepping through the five presets using a dual, momentary action (non‑latching) footswitch.

As well as the audio I/O, the Auto‑Tune Pre features a footswitch input, allowing you to remotely bypass the Auto‑Tune processing.

A 'combi' XLR/jack socket is used for the mic/line input, with the main output being present on both balanced XLR and unbalanced jack connectors. Three rear‑panel button switches select +4dBu or ‑10dBV output levels, low‑cut filter on or off, and 48V phantom power on or off. A further button functions as a power switch, with power coming from the included 9V AC power adaptor. ART quote a dynamic range of better than 104dB (A‑weighted), with the frequency response staying flat from 10Hz to 20KHz, ±1dB. The maximum output level is +24dBu (balanced).

Operation

The preamp section is quite straightforward in terms of control, so you only need to adjust the input gain until the red peak LED (which comes on 3dB below clipping) flashes only briefly and very occasionally on the loudest peaks. You may also need to engage the low‑cut switch, which will help combat vocal popping in live performance. A maximum of 66dB of gain is available if the output control is also set to full (+5dB), and that's plenty for a typical live performance using a close‑up dynamic mic.

For the Auto‑Tune section to work reliably, the mic should be positioned to pick up as little spill as possible, so the vocalist will probably need to work quite close to the mic, as excessive spill can defeat or confuse the pitch-tracking process. Individual scale notes can be toggled on or off via the note keys on the front panel, which have illuminated switch caps to show which notes are active.

When setting a simple major or minor scale, a 'key' button allows the 12 scale options to be cycled through, and a row of 12 LEDs indicates the currently selected key. A similar arrangement allows stepping through the major, minor or chromatic scale options, and the lighted 'note' buttons change according to your selection so that they always reflect the target notes for the current setting. Of course it doesn't matter what scale you select if you use chromatic mode, as the pitch is always nudged towards the closest semitone (and in this mode, allthe note buttons light up to show that they are all 'valid').

A useful setup aid is provided in the form of pitch oscillators, which can be activated by pressing and holding the button of the note pitch you want to hear for two seconds or more. There's no mention of any means of offsetting the internal pitch reference from its A440Hz setting, so if you're playing along to a non‑concert‑pitch instrument, the Auto‑Tune function should be bypassed. Pressing Store saves your setting to the current Preset, as shown by the LEDs on the right-hand edge of the panel. The state of the bypass switch is also saved with each preset.

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Tested with my acoustic guitar combo's mic input and a dynamic microphone connected to the Auto‑Tune Pre, I was a little disturbed to be greeted by a low level, but still annoyingly audible, background hum/buzz that wasn't there when I plugged the mic straight into the combo. I made sure that the Auto‑Tune Pre and its cables were well away from the amplifier, and other powered devices in the vicinity were also unplugged to avoid interference, but the buzz remained unless the Auto‑Tune Pre was switched off. Oddly enough the level of buzz changed very little when the output level switch was operated, but with the output level set to +4dBu, the buzz would almost certainly