Auto-tune-8 Cents

Join Brian Lee White for an in-depth discussion in this video Working in Live mode and dealing with latency, part of Learning Auto-Tune 8. Lynda.com is now LinkedIn Learning! To access Lynda.com courses again, please join LinkedIn Learning. All the same Lynda.com content you know and love. Antares have a few new tricks up their sleeve with Auto-Tune 8. The most notable of which is ‘Flex-Tune’, a function decided to preserve the detailed, filigree antics of more proficient vocalists, whilst retaining the general embodiment of the ‘pitch-correct-everything-all-the-time’ Auto-Tune ethos throughout the rest of the vocal track.

• Auto-tune-8 Cents One
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• Signal Processors >Pitch-shifters

Auto-Tune is said to be the biggest-selling plug-in of all time. How does the new version shape up against the competition?

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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. Revolutionary when it first appeared in 1997, the brand name has become synonymous with pitch-correction, and many producers will now simply ask the engineer or Pro Tools operator to ‘Auto-Tune it’ — meaning, of course, to apply pitch-correction — when they think a vocal has intonation issues that require attention.

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.

Correct Me If I’m Wrong

Auto-Tune derives its name from its ability to automatically correct the pitch of monophonic audio such as vocals. This can be simply a case of tweaking a few key settings to taste and then letting the plug-in work its magic, and if your vocal is reasonably solid to start with, Auto-Tune’s Automatic Mode will just tighten the intonation up as much (or as little) as you require.

However, if a ‘set and forget’ approach doesn’t get the job done, then Auto-Tune also offers a Graphical Mode. Since the Evo release (in essence Auto-Tune 6, reviewed in March 2009: www.soundonsound.com/sos/mar09/articles/atevo.htm), Graphical Mode offers you the choice of three means of controlling the pitch: curves, lines or notes. 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.

Auto-Tune 8 running in Graphical Mode within Cubase Pro 8.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. Second, Auto-Tune 8 introduces a new low-latency mode which allows a singer to monitor his or her performance in real time with Auto-Tune 8’s automatic pitch-correction applied.

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. There are also some new hide/show options that can de-clutter the Auto-Tune window or make it more compact.

Auto-tune-8 Cents One

Autopilot

While Auto-Tune’s Automatic Mode can produce brilliant results, it is seldom completely transparent even on a very good vocal performance. If you want the pitch-correction to go unnoticed to even the most discerning of ears, the obvious thing to do is to automate the plug-in’s bypass button and only engage the automatic processing on those sections that need a little help. You can then configure the Tracking, Retune Speed and Humanize controls to suit just those sections where correction is to be applied.Auto-Tune’s classic Automatic Mode now includes both the Low Latency options and the Correction Style control for accessing the Flex-Tune feature.

However, in Auto-Tune 8, you get a new option that can refine this automatic process even further: the Correction Style control. 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. Other elements of the singer’s performance (and which may contain significant pitch variations used for expressive purposes) can be left unaltered.

I have to say I was quite impressed with this new option. It does take a little time for your ears to detect what’s going on, but the ability to dial in as much or as little of the Flex-Tune option as you wish means you can specify how wide a range around the scale note centre you want pitch-correction to be applied. This is probably a tool that would actually be of more benefit to a better singer, as audio close to scale notes get tightened up so they are ‘on pitch’ while the more expressive (and hopefully intentional) flourishes are left well alone, immune from the artifacts that automatic pitch-correction might otherwise induce.

Moving Faster

If Automatic Mode can’t quite nail it, you have to get down and dirty with some Graphical Mode pitch manipulation. As before (and with competing products such as Melodyne), this requires the program to first ‘track’ or analyse the pitch of the audio to be processed. 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.

As with any manual pitch-editing process, this can be a protracted task depending upon how much correction and/or manipulation is required. 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.

The Options page also lets you toggle on/off an option to hear a pitched tone as you drag a note up or down to assist you in selecting the required pitch. 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). Perhaps more likely to be useful is the option to toggle on/off the separate envelope display pane which appears below the main edit pane, especially if you are working on a smaller laptop display.

Better & Better

As mentioned earlier, Antares have not only added new features, but have also continued to improve the underlying algorithms used in Auto-Tune for both its pitch and time correction processes. Some comments on the current state of play on this front are therefore required. I’ve always liked the combination of simplicity and transparency (relative to most alternatives) that Auto-Tune’s Automatic Mode achieves. 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.

However, over recent years, when I’ve had any significant manual editing of pitch to do — whether creative or corrective — I’ve got into the habit of reaching for Celemony’s Melodyne instead. 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.

However, having run through a few different vocal-processing tasks with Auto-Tune 8, I’m beginning to think I might have cause to change my habits. 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. When you shift Note objects, small pitch-corrections are, of course, pretty much transparent; but when I wanted to restructure a melody line, shifts of several semitones were often possible before things got too extreme to be natural, and even then, selectively applying a touch of the formant/throat modelling could help a little. 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.Auto-Tune’s Options dialogue includes settings for customising the screen layout, as well as for the scrolling and audio guidance options in Graphical Mode.Of course, like Melodyne, Auto-Tune’s Graphical Mode also offers tools for adjusting the timing of a performance. 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.

I’m not sure Auto-Tune 8 will have existing Melodyne users involved in a mass migration but, if you haven’t given Auto-Tune a look for a little while, version 8 is a very impressive piece of software. 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. Whether it’s for automatic pitch-correction duties, the delights of the ‘Auto-Tune effect’ (yes, it can do that) or more detailed pitch and time manipulation, Auto-Tune 8 is still a classic.

Alternatives

Almost every major DAW now includes pitch-correction/manipulation tools within its feature set. However, when it comes to specialised third-party alternatives, the obvious competition to Auto-Tune 8 is Celemony’s Melodyne; the popular Editor version is currently €399, but there are less expensive options available. 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. Further options include Waves’ Tune and iZotope’s Nectar 2 Production Suite, which includes not only sophisticated pitch-correction/manipulation options but also a range of other vocal production tools, including very intuitive auto-harmony generation features.

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. Kill the dry signal and I suspect that the majority of vocalists who feel the need for a bit of Auto-Tune moral support during tracking wouldn’t even notice the processing delay in their headphone monitoring mixes.

Providing you don’t get too extreme with the Tracking and Retune Speed controls, the results are fairly transparent and, if this gives a vocalist a bit of extra confidence, might help them to leave their inhibitions behind to focus on getting the emotional side of the performance right. 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

Auto-tune-8 Cents Symbol

• 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.
• You can still create the ‘Auto-Tune effect’.

Cons

• A few graphical quirks when editing with Auto Scroll engaged.
• A volume control for the note preview mode would be helpful.
• You can still create the ‘Auto-Tune effect’.

Summary

Whether you want simple automatic pitch-correction or detailed control for corrective or creative purposes, the latest incarnation of Antares’ classic plug-in is a fabulous tool for the task.

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Test Spec

Auto-tune-8 Cents 1

• Auto-Tune 8.0.1.
• Apple iMac with 3.5GHz quad-core i7 CPU, 32GB RAM and Focusrite Scarlett 8i6, running Mac OS 10.9.5.
• Tested with Steinberg Cubase Pro 8.0.5.

Auto Tune 8 Trial

I amwondering if there is any software that can help me autotune or change my voice like some iOS apps (“I am T-Pain” or “LaDiDa”) out there.

I tried something in Audacity but that’s something really tedious. But can try it again if you will provide some help.

I want that software for Windows 7 Ultimate.

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Auto-tune-8 Cents Worth

1. Hi

   •Download Audacity: http://audacity.sourceforge.net/
   •Download Gsnap: http://www.gvst.co.uk/gsnap.htm
   •Download VST Bridge Enabler.http://web.audacityteam.org/vst/

   How do I install VST plug-ins?
   vst-bridge-1.1.exe
   http://audacityteam.org/vst/
   1.First, download and unzip the VST Enabler.

   2.Place the unzipped VST Enabler, along with your VST plug-ins, into the “Plug-ins” folder in the Audacity installation folder.

   3.The next time you start Audacity, your VST effects will appear at the bottom of the “Effect” menu.

   Unfortunately, Audacity doesn’t natively support VST effects so it will require a VST Bridge Plug-in to be installed. After the bridge is installed Audacity should handle any VST effect installed into the plug-ins folder. Finally, the last thing required is a microphone. It doesn’t have to be expensive, a cheap microphone will work just fine.

   Install VST-Bridge:
   Visit the dedicated page editor http://audacityteam.org/vst/ official site
   1. Download: vst-bridge-1.1.
   After unpacking.
   You get a VST Bridge 1.1 folder containing the 'vst - bridge library (.dll based platforms).
   2 Place '.so bridge' (.dll depending on the platforms), as well as VST 'Plug-ins' of Audacity folder modules. C:Program FilesAudacityPlug-Ins. the easiest way is to have it install the bridge into Audacity's Plug-Ins folder. Unzip with 7zip
   3. At the next startup of Audacity, VST effects will appear in the menu 'Effects' (while permitted by default, be sure to check in the 'Audacity preferences').
   'Preferences' tab Effects, Audacity, box VST Effects.
   Check the box 'Search VST effects at the next startup of Audacity'
   Restart Audacity.

   1-To download G-snap plug-in : http://www.gvst.co.uk/gsnap.htm and choose 'Download GSnap / Grymmjack skin' .

   2-You will have a folder containing two icons : GSnap-GJ.dll and and GVSTLicense .so copy the ' GSnap-GJ.dll ' .

   3-Open My Computer->Local Disk->Program Files->Audacity->Plug-ins and paste ' GSnap-GJ.dll ' ( you should have Audacity 1.3 Beta (Unicode) ) .

   4-Open Audacity and open the file already recorded .

   5-Effect-> GSnap .

   6-Apply some settings

   7-The effect will be applied and play the track

   Here are the steps to begin auto-tuning:
   1. Have Audacity, the VST Bridge Plug-in, and Gsnap installed.
   2. Start Audacity, and make a recording or open up a sound.
   3. Go to the effects menu and select the GVST: Gsnap effect. From there you need to set all the settings to the following values:
   Min Frequency: 80 Hz
   Max Frequency: 2000 Hz
   Gate: –80 dB
   Speed: 1
   Threshold: 100 cents
   Amount: 100%
   Attack: 1 or 2 ms
   Release: 4 ms
   Pitch Blend: 0 cents
   Vibrato: 0 cents
   Vib Speed: 0 cents
   Calibrate: 440 Hz

   4. Press the OK button and allow Audacity to render the effect. (Tip: For a better sounding effect, go to the effects menu and repeat the effect.)

   LiveProfessor
   http://ifoundasound.com/?cat=3

   Wavosaur free audio editor
   http://www.wavosaur.com/

2. can you pls tell me step by step how to get autotune to actually work on windows 7. please.

3. HiAutotalent is a LADSPA effect and should work on any platform but is only available as source code, so that will mostly be Linux users. But To install new plug-ins, place them in the Plug-Ins folder inside the Audacity installation folder. On Windows computers, this is usually under 'Program Files'.Restart Audacity, then the Plug-ins should?l appear underneath the divider in the 'Effect', 'Generate' or 'Analyze' menus. http://web.mit.edu/tbaran/www/autotalent-0.2_refcard.pdfGVST plug-ins http://www.gvst.co.uk/basics.htmhttp://www.gvst.co.uk/beta.htm•GGrain is one of the more experimental GVST effects. It can require high levels of CPU power and is usually best used off-line.•You can create especially interesting vocal effects using GGrain. There are a couple of useful presets to get you started. How do I install VST plug-ins? vst-bridge-1.1.exe http://audacityteam.org/vst/1.First, download and unzip the VST Enabler.2.Place the unzipped VST Enabler, along with your VST plug-ins, into the “Plug-ins” folder in the Audacity installation folder. 3.The next time you start Audacity, your VST effects will appear at the bottom of the “Effect” menu.Install VST-Bridge:Visit the dedicated page editor http://audacityteam.org/vst/ official site1. Download: vst-bridge-1.1. After unpacking.You get a VST Bridge 1.1 folder containing the 'vst - bridge library (.dll based platforms).2 Place '.so bridge' (.dll depending on the platforms), as well as VST 'Plug-ins' of Audacity folder modules. C:Program FilesAudacityPlug-Ins. the easiest way is to have it install the bridge into Audacity's Plug-Ins folder. Unzip with 7zip3. At the next startup of Audacity, VST effects will appear in the menu 'Effects' (while permitted by default, be sure to check in the 'Audacity preferences').'Preferences' tab Effects, Audacity, box VST Effects. Check the box 'Search VST effects at the next startup of Audacity'Restart Audacity.freewareMiniHost is a powerful and full-fledged ASIO host that loads a VSTplugin (instrument or effect) and processes it in realtime. http://www.tobybear.de/p_minihost.htmlAnwida Soft DX Reverb Light http://www.anwida.com/product.asp?pid=7Psyclehttp://psycle.pastnotecut.org/stuff.php?action=docshttp://psycle.pastnotecut.org/database.php?action=view&fid=89&cid=1&styleid=1Wavosaurhttp://www.wavosaur.com/Aodix and stardusthttp://www.aodix.com/products.htmlFor these VST host to work, your PC must be equipped with an ASIO driver. If this is not the case, you get the message 'No. ASIO driver!' you can download ASIO4ALL which should solve this problemhttp://www.asio4all.com/sharewareMaize Studiohttp://www.maizesoft.cn/cms/?q=node/3Bidule 0.9705http://www.plogue.com/?page_id=274

   Auto-Tune EVO VST
   http://www.antarestech.com/products/auto-tune-evo.shtml

   for a full T-Pain effect you need to set the effect to track a MIDI input (same if using Antares Autotune) but Audacity does not support MIDI. So you can get an approximation to the T-Pain effect (basically by setting everything to the extreme settings), but to get the real effect you need to use a VST host program that also supports MIDI (such as Cubase, Sonar, Reaper ..).
   Even with auto tune, you still have to sing to get results, and good singing will result in a better sound. Auto tune will not make someone with no musical talent sound as good as T-Pain. It will take some practice to get your voice to sound the way you want to with Auto Tune

4. Hi
   well its not easy and there is no one click solution, so you have to try the freewares or to go to sharewares;

   Here is another ideas?
   To get auto tune to work in audacity you must follow these steps.

   http://www.audacityteam.org/vst/ go there and download the plugin.

   go to my computer --> LocalDisc (c:) --> program files

   there should be two folders that say audacity..one simply says 'audacity' the other says audacity 1.3 beta or w/e u have..open the AUDACITY folder

   Click plugins..copy the file vst-bridge.dll

   go back to program files open up AUDACITY 1.3 BETA folder

   go to plugins and past the vst-bridge.dll file in there.

   restart and open audacity.look in the effects menu and autotune should be there

   To get the t-pain effect. set your auto tune to these settings

   key = c
   scale = major
   retune speed = 0
   scale detune = 4 cents, 441.0 hertz
   humanize = 0
   natural vibrato = 0.0

   now whats most important
   rate = .1
   onset delay = 0
   variation = 0
   onset rate = 0
   pitch amount = 0
   amplitude amount =30
   formant amount = 100

   or
   To get the t-pain effect. set your auto tune to these settings

   key = c
   scale = major
   retune speed = 0
   scale detune = .04 cents, 441.0 hertz
   humanize = 0
   natural vibrato = 0.0

   now whats most important
   rate = .1
   onset delay = 0
   variation = 0
   onset rate = 0
   pitch amount = 0
   amplitude amount =.3
   formant amount = 1

   1-To download G-snap plug-in : http://www.gvst.co.uk/gsnap.htm and choose 'Download GSnap / Grymmjack skin' .

   2-You will have a folder containing two icons : GSnap-GJ.dll and and GVSTLicense .so copy the ' GSnap-GJ.dll ' .

   3-Open My Computer->Local Disk->Program Files->Audacity->Plug-ins and paste ' GSnap-GJ.dll ' ( you should have Audacity 1.3 Beta (Unicode) ) .

   4-Open Audacity and open the file already recorded .

   5-Effect-> GSnap .

   6-Apply these settings : MIN. FREQ 40 Hz - MAX. FREQ 2000 Hz - GATE (-80)dB - SPEED 1

   THRESH 100 cents - AMOUNT 90% - ATTACK 1ms - RELEASE 1ms

   P.BEND 0 cents - VIBRATO 0 cents - VIB. SPEED 0.1HZ - CALIBRATE 430 Hz

   INPUT SOURCE TRACKING : FIXED CONFIGURE : Key : G Scale : Major and Check Set Threshold to Fill Gaps OK , and Ok

   7-The effect will be applied and play the track

   P.S: If you had no change to the voice , apply the effect many times.
   http://www.youtube.com/watch?v=dZGVDy6aWNQ&feature=related

   there is also
   AutoTalent Filter in AudaCity
   http://www.olilarkin.co.uk/index.php?p=freeplugins

   • Thnks for replying and giving such info..but unfortunately from all the methods you referred only GSnap works for me..I have copied AutoTalent.dll to Plugins folder but it won't show up in Effects Menu..any Help???

5. HiFor audacityHere are the steps to begin auto-tuning:1. Have Audacity, the VST Bridge Plug-in, and Gsnap installed. http://www.gvst.co.uk/gsnap.htmhttp://audacityteam.org/vst/2. Start Audacity, and make a recording or open up a sound. 3. Go to the effects menu and select the GVST: Gsnap effect. From there you need to set all the settings to the following values:Min Frequency: 80 HzMax Frequency: 2000 HzGate: –80 dBSpeed: 1Threshold: 100 centsAmount: 100%Attack: 1 or 2 msRelease: 4 msPitch Blend: 0 centsVibrato: 0 centsVib Speed: 0 centsCalibrate: 440 Hz4. Press the OK button and allow Audacity to render the effect. (Tip: For a better sounding effect, go to the effects menu and repeat the effect.)

   The following explanations concerning the use of the AUTOTUNE VST version only and non-DX!
   Start with 'automatic detection' mode and not graphic
   Chord of C major
   Retune = 0
   Tracking =67
   In section vibrato you can put any parameter at. 0 except:
   -Amplitude =30
   -Formant =100
   Pitch button can be 'tweaked' for voice over effect.
   Voice input type: it is your choice but I advise alto/tenor
   The main objective of Autotune is to correct the imperfections of voice, 'amplitude and forming' function
   must be at their maximum if you want to find the 'T-Pain' effect

   tips:
   After you have saved a good voice, use software that allows to change the pitch of a wav.. (melodyne waves vocal bundle, soundforge) and adjust the pitch on a major chord (ideally the same as your autotune). The final will much more smooth, mellow and less assaulting a ear.

   AnalogX Vocoder
   http://www.analogx.com/contents/download/Audio/vocoder/Freeware.htm
   allows you to load up two wave files and modulate one based off the other for a very useful effect. The effect is very common in dance music, but can also be use to make sounds pulse with the beat, etc.

   shareware magix music maker; cubase, adobe audition

   • I wasn't able to get any change to my recording with your settings.