Auto Tune 8 License

Versions of Antares Auto-Tune. After its launch in 1997 till now, Auto-Tune kept updating its features. Last year it launched its 8th version called Auto-Tune 8 which got quite an appreciation from the professional musicians. Auto-Tune 8 acquire the best features which make it working in the Graphic mode and Automatic mode. Auto-Tune EFX 2 is the quickest, easiest-to-use tool for real-time pitch correction and creating the iconic Auto-Tune Vocal Effect. Antares Auto-Tune Live VST. Antares Auto-Tune is one of the most comprehensive vocal processing and pitch correction software in the world. Compared to Equalizer APO, Wavepad, and other similar programs, Auto Tune comes with an interactive interface and a wide range of features.The latest version is sophisticated, and allows you to navigate the tool without much trouble.

Auto-Tune 8

Building on 20 years as the overwhelming choice of professional musicians, producers and engineers, Auto-Tune 8 is the new generation of genuine Auto-Tune pitch and time correction.

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New in Auto-Tune 8 is Antares’ revolutionary new Flex-Tune real-time pitch correction technology. While providing the seamless, natural pitch correction and audio quality that Auto-Tune is known for, Flex-Tune correction gives singers unmatched freedom to exercise their vocal creativity.

In addition to the option of Flex-Tune, Auto-Tune 8 features a new Low Latency Mode for use during tracking or for live performance, along with a variety of workflow enhancements designed to let you address your pitch and time correction tasks with a maximum of creativity and a minimum of frustration.

COMPARE AUTO-TUNE VERSIONS

Wondering what the differences are? Click here to compare the key features of Auto-Tune EFX 3, Auto-Tune Live and Auto-Tune 8.


Auto-Tune 8 Automatic Mode (click for full size)


Auto-Tune 8 Graphical Mode (click for full size)

License

Auto Tune 8 License Codes

Press and Reviews

Auto Tune 8 License Code

The New Yorker examines Auto-Tune's dramatic impact on the music industry in an article by pop-music critic Sasha Frere-Jones.