New in AVOX Evo is the incorporation of Dr. Andy's groundbreaking Evo Voice Processing technology. First available in Auto-Tune Evo the result is faster more accurate pitch detection smoother artifact-free pitch shifting and seamless natural-sounding (if wanted) throat modeling. Other additions include redesigned user interfaces for the original 5 AVOX plug-ins 5 integrated channels of the CHOIR Vocal Multiplier in Harmony Engine Evo high-quality pitch shifting in THROAT Evo tempo-synced ali... Read more
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Antares Avox EVO
Antares Avox 2
Antares AVOX 2 Video Tour Part One of Three
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The AVOX Antares Vocal Toolkit includes: THROAT Physical Modeling Vocal Designer THROAT is a revolutionary new vocal tool that lets you process a vocal through a meticulously crafted physical model of the human vocal tract. THROAT begins by neutralizing the effect of the original singers vocal tract and then gives you the ability to specify the characteristics of the modeled vocal tract. THROATs controls allow you to modify the voices glottal waveform as well as globally stretch, shorten, widen or constrict the modeled vocal tract. For even more detailed control, THROATs graphical Throat Shaping display allows you to individually adjust the position and width of ve points in the vocal tract model, from the vocal chords, through the throat, mouth and out to the lips. Finally, THROATs Breathiness controls let you
SYBIL Variable Frequency De-Esser SYBIL tames vocal sibilance with threshold, ratio, attack and decay controls as well as a variable sidechain high pass frequency to match any vocal performance.
AVOX Processing Guidelines
While it might seem to be convenient to consolidate all of the AVOX functions in one integrated plug-in, some of the AVOX functions use quite a bit of processing power. By organizing them as separate plug-ins, you can choose to instantiate only those you need for each particular vocal track, thereby using only as much of your computers DSP power as you absolutely need. While its not likely that youll be using all ve plug-ins on every track, it is likely that youll often be using more than one. When thats the case, keep the following in mind: Normal Practice In general, you should progress from the cleanest possible source vocal through successive stages of processing. THROAT, DUO and CHOIR in particular are designed to process pitched monophonic voices and will function much more effectively with clean input signals. Effects like reverb and conventional chorus or anging should typically be applied after processing by the desired AVOX plug-ins. If a track requires de-essing, use SYBIL as the rst of the AVOX plug-ins. THROAT should be either rst in line (fed by a nice clean signal) or second after SYBIL. If you will be using PUNCH, it should come after SYBIL and/or THROAT. If you will be using DUO or CHOIR, they should typically be at the end of the AVOX processing chain.
Special Cases: While you will usually choose between DUO or CHOIR, you can use them together for a really huge vocal section. Assign DUO to your track and pan the original and doubled voices to opposite tracks. Then assign separate instances of CHOIR to each of the two tracks. Humongous! If you will be using a harmonizer to generate harmonies from a single vocal line, start with SYBIL (if necessary) and then THROAT and then feed its output to your harmonizer. Assign each of the harmonizers outputs to individual tracks and use DUO or CHOIR on each track to create a vocal group of the size of your choice. If desired, PUNCH can be used on THROATs output or on the individual harmonizer outputs prior to DUO or CHOIR. If you have a vocal with problematic vibrato (either too much or too little), you can use DUO for vibrato modication. Assign DUO to the track and use only the doubled output. Set all parameters to their minimum effect and use the Vibrato function to adjust the performances vibrato depth. See Chapter 4 for more details. For maximum control of the timbre of doubled voices (at the cost of increased CPU requirements), assign DUO to your vocal and pan the original and doubled voices to opposite tracks. Then assign an independent instance of THROAT to each part and create a unique timbre for each voice. But all that being said, always feel free to ignore any of the above suggestions. The AVOX tools offer entirely new realms of creative possibilities. There is no wrong way. Now on to the details.
Chapter 3: THROAT Physical Modeling Vocal Designer
HROAT is a revolutionary new vocal tool that lets you process a vocal through a meticulously crafted physical model of the human vocal tract. THROAT begins by neutralizing the effect of the original singers vocal tract and then gives you the ability to specify the characteristics of the modeled vocal tract. THROATs controls allow you to modify the voices glottal waveform as well as globally stretch, shorten, widen or constrict the modeled vocal tract. For even more detailed
control, THROATs graphical Throat Shaping display allows you to individually adjust the position and width of ve points in the vocal tract model, from the vocal chords, through the throat, mouth and out to the lips. Finally, THROATs Breathiness controls let you add variable frequency noise to the model, resulting in a range of vocal effects from subtle breathiness, to raspiness, to a full whisper. While THROAT has been designed to allow subtle modications to a voices vocal quality, the range of the controls also allows the
creation of vocal tract models well beyond the limits of physical human anatomy, offering the possibility of vocal characteristics that are simply unattainable by any other means. In order to understand what THROAT is doing and how you can use it to process your vocal tracks, it helps to know how our throats actually work to create what we perceive as unique vocal qualities. Vocal production starts with the vocal chords. Air from our lungs is forced through the vocal chords, causing them to vibrate. The contour of this vibration is the glottal waveform. The actual shape of the waveform is affected by each individuals anatomy as well as the pressure applied to the vocal chords. From there, the voice is propagated through the throat, the mouth and out through the lips. It is the shape of these structures, both their length and width, that create the resonant characteristics that combine with the glottal waveform to dene a unique vocal identity. With THROAT, for the rst time, you have individual control over each of the elements that go into creating a distinct vocal character. Whether you are a producer or engineer looking to subtly enhance a singers performance, or a sound designer in pursuit of a totally new vocal effect, THROAT will give you creative capabilities that have simply never before existed.
Soprano Voice, Alto/Tenor Voice, Bass/ Baritone Voice and Instrument (a general setting for anything that isnt actually a vocal). Matching the appropriate algorithm to the input results in faster and more accurate pitch detection and more accurate modeling. To select vocal range, click on the Vocal Range pop-up and then select the desired range from the pop-up list. Note: Choosing the wrong Vocal Range (or just forgetting to set it at all) can result in compromised performance. Pay attention. Source Glottal Waveform The glottal waveform is the waveform produced by the vibration of the vocal chords. The range of an individuals possible waveforms is dened by their particular anatomy. Within that range, the waveform can change pretty dramatically depending on the performers singing style. Imagine, for example, the progression from a breathy whisper, to a straight-ahead pop vocal, to hard rock or full-on operatic aria. A lot of subtle factors inuence the glottal waveform, but for ease of setting, we have characterized the choices as loudness. Typically, as loudness increases, so does the pressure applied to the vocal chords and with that change in pressure a corresponding change in glottal waveform. When setting this control, select the loudness level (soft, medium, loud, intense) that most closely matches the performance you are processing. If youre not sure where your performance lies on this scale, dont worry. There is no need to obsess over subtle distinctions. If in doubt, just pick one. Once you have set up a model, you can always come back and try another setting and see if it makes a (positive) difference.
In order for THROAT to do the best possible job of modeling, it needs to know some basic things about the source audio. The following three controls are used to characterize the vocal that you will be processing: Vocal Range Use this control to select the range of the track you will be processing. Choices include
To select vocal type, click on the Vocal Type pop-up and then select the closest stylistic character of the vocal performance from the pop-up list. Source Throat Precision If youve already been poking around the THROAT interface, you might be asking yourself, What the heck is throat precision? And a good question it is. As it happens, this control works a bit differently than the previous two. Here, youre not being asked to tell THROAT something about the input, but instead to tell THROAT how precise to be in its attempt to calculate the characteristics of the input based on the type of modeling you intend doing (the choices being subtle, medium, or extreme). So why not always leave it at subtle? Another good question. The answer is that THROATs most precise analysis results in extremely accurate characterization of the source throat, which works well for models that are within the general range of human anatomy (i.e. subtle modications). However, for more extreme models, the subtle setting can in some cases result in artifacts most often a sort of whistling. In those cases, such artifacts can often be reduced or eliminated by choosing a different setting for this control. As a result, the strategy for this control should be to always start with subtle (which is the default) and, if a particular model results in artifacts (and you dont actually like those artifacts), change the precision one step at a time (i.e. to medium and then extreme) until you get the desired effect. To select source throat precision, click on the Precision pop-up and then select the appropriate model type from the pop-up list.
The next two controls allow you to add a variety of breathiness effects to your modeled voice: Breathiness Mix This control lets you select the amount of breathiness component mixed into your modeled voice. With a setting of 0, there will be no breathiness (apart from what might be in the original vocal). At a setting of 100, the model will be all breathiness, with none of the original vocal characteristic present at all. Intermediate settings will produce mixes of the original vocal and the breathiness component. The sonic character of the breathiness will depend both on the articulation of the original vocal and, more dramatically, the setting of the Frequency control described below. Command (Mac)/Control (PC) click the control to reset it to its default value of 0. Breathiness Frequency This control lets you set the high pass frequency of the breathiness component (i.e., the frequency above which the breathiness will be present). This frequency determines the audio range and character of the breathiness effect. At high settings, the effect will be rather whispery and ethereal (depending, of course, on the original vocal and the Mix amount). At lower settings, the effect is more of a raspiness (again, depending on the mix). Experimentation is the best way to become familiar with the possibilities. Command (Mac)/Control (PC) click the control to reset it to its default value of 4000 Hz. The remaining controls are used to dene the model vocal tract:
Model Throat Length The Throat Length control allows you to globally lengthen or shorten the modeled throat. Values above 1.00 represent a lengthening of the throat while values below 1.00 represent a shortening of the throat. The actual values represent the percentage change in the throat length. For example, a value of 1.20 represents a 20% increase in throat length, while a value of 0.80 represents a 20% decrease in throat length. Changes made to this control are reected on the Graphic Throat Display described below. If you have used that display to create a custom throat contour, this control will preserve the overall contour while scaling it by the selected amount. Note: While this control gives you the ability to radically change the throat length, keep in mind that the variation in the length of human vocal tracts is rarely more than about 25% in either direction. If you are looking for a realistic vocal characteristic, start with modest settings of this control. (As a visual reference, this range is indicated by color on the control scale.) More extreme settings can produce dramatic results, but probably not what anyone would call realistic. Command (Mac)/Control (PC) click the control to reset it to its default value of 1.00. Model Throat Width The Throat Width control allows you to globally widen or constrict the modeled throat. Values above 1.00 represent a widening of the throat while values below 1.00 represent a narrowing of the throat. The actual values represent the percentage change in the throat width. For example, a value of 1.20 represents a 20% increase in throat width, while a value of 0.80 represents a 20% decrease in throat width.
Changes made to this control are reected on the Graphic Throat Display described below. If you have used that display to create a custom throat contour, this control will preserve the overall contour while scaling it by the selected amount. Note: Similar to the Length control above, this control gives you the ability to radically change the throat width. Again, if you are looking for a realistic vocal characteristic, start with modest settings of this control. (And again, this range is indicated by color on the control scale.) More extreme settings can produce dramatic results, but probably not what anyone would call realistic. Command (Mac)/Control (PC) click the control to reset it to its default value of 1.00. Model Glottal Waveform As was explained above in the Source Glottal Waveform section, the glottal waveform is the waveform produced by the vibration of the vocal chords. We used the Source Glottal Waveform control to help THROAT neutralize the effect of the original vocals glottal waveform. The Pulse Width and Voice Type controls let you dene the glottal waveform you want to model. Glottal Pulse Width This control allows you to select the pulse width of the modeled glottal waveform. If you are at all familiar with analog synthesizers, you can think of this as being vaguely similar to the variable pulse width control on a square wave oscillator (and if youre not familiar with analog synthesizers, dont worry, just move the slider and listen to what happens). You will nd that the most dramatic timbral changes are usually found at the extreme ends of this controls range. If youre looking for realistic, stay in the middle 80% of the range.
Important Note: Keep in mind that this control interacts with the Glottal Voice Type control below. Each Voice Type sets a default Pulse Width that is associated with it. So if you set this control and then select a new Voice Type below, the value of this control will change to the new voice types associated pulse width default. For that reason, it is usually best to select the Glottal Voice Type rst and then make any desired adjustments to the pulse width. Command (Mac)/Control (PC) click the control to reset it to its default value of 64. Glottal Voice Type This control is the converse of the Source Glottal Waveform control described above. We used that control to tell THROAT the characteristic of the original performance. We use this control to tell THROAT what kind of characteristic we would like to model. The choices here are the same as the choices for the Source Glottal Waveform control (i.e., soft, medium, loud, and intense). If you want to preserve the stylistic character of the original vocal, set this control to the same voice type as you set the Source Glottal Waveform (e.g., if you set Source Glottal Waveform to soft, set this control to soft). As mentioned above, this control interacts with the Glottal Pulse Width control. Each of the Voice Types sets a default Pulse Width that is associated with it. Once a Voice Type is set, the pulse width may then be adjusted separately.
for realistic vocal characteristics, you would do well to start with relatively small adjustments that result in all control points and plot lines remaining in the central light blue area. In addition to the plot point positions, watch the contour of the plot lines connecting them. Its possible to place the points in positions relative to each other that cause the plot lines to bow out towards the edges of the display (or even pin against an edge of the display). This will almost always result in artifacts of one sort or another. (Of course, if its artifacts youre looking for, they may be just what you want.) When you have created a custom model contour, the Model Throat Length and Width controls will adjust the overall throat length and width while retaining (and scaling) your custom contour. Extremely striking effects can be created by moving plot points in realtime. You can do this manually (for one point at a time) or, much more powerfully, you can use your hosts automation capabilities to program movements of all ve points simultaneously. For the purposes of automation, each point is represented by two parameters, one for horizontal position (length) and one for vertical position (width). In addition to the original and model plots, when THROAT is processing audio the display will also contain real-time representations of the original and modeled throat contours. As with the plots, the blue contour is the original throat and the red contour is the model throat. As you begin to get familiar with the Throat Shaping display, trial-and-error will no doubt be the rst order of the day. However, with a little experience, you will soon be able to predict what effect a particular plot adjustment will
have. Checking out the factory presets, with a particular eye towards model plot shapes, should help you on your way. Reset Clicking the Reset button cancels any custom contour you have programmed, but retains any global Stretch and Width settings set by the Model Throat Length and Width controls. To reset those controls, Command (Mac)/Control (PC) click them to set them to their default values. Output Gain This control lets you adjust the output level of the modeled vocal over a range of +/- 24 dB. As you will discover, some models result in substantial level changes. This control is used to bring them back up or down to the desired level. Command (Mac)/Control (PC) click the control to reset it to its default value of 0 dB. Level Matching As mentioned above, some model settings result in substantial level changes. The Level Matching function attempts to compensate for level differences between the original and processed versions by automatically applying gain adjustments to the modeled version. Very Important Note: This function is provided for ease of A/B comparisons with the original vocal. It inserts some processing into the modeled vocal path that can have a very small but nonetheless real effect on the overall audio quality. Once you have a model you like, turn the Level Matching function Off and use the Output Gain to adjust the proper level. Click the Level Matching button to toggle its state. The button will display On or Off as appropriate.
Bypass This control is used to (you guessed it) bypass the plug-in. It has been designed to provide artifact-free bypass switching so that you can use it to seamlessly enable THROAT only where desired on a track. Click the Bypass button to toggle its state. The button will display On or Off as appropriate. Keep in mind that On means that the Bypass function is on, i.e., the plug-in is bypassed.
THROAT is a monophonic processor. For best modeling performance, THROAT needs to be able to detect the pitch of the original performance. To do that, THROAT requires a clean, pitched, monophonic signal. If THROAT can not reliably detect the pitch of the input, either because of a noisy or effected signal or because the input is not a single monophonic voice, it will not fail, but will fall back to an alternative (but not quite as accurate) modeling method. As has been mentioned several times already, for natural, realistic results, always start with relatively small adjustments to the various throat modeling controls, whether the Length and Width sliders, or the Graphic Display control points. The actual range of variation in human anatomy is quite small relative to the overall range offered by THROAT. When youre rst getting started, try limiting control changes to around +/- 15%. As you get a feeling for the effect of various settings, slowly increase the ranges until things start sounding weird (not that thats necessarily a bad thing).
If you just want to start playing, try the following brief tutorial. Start by assigning THROAT to a vocal part and set the above contour on the Throat Shaping display: Be sure you have set the proper Vocal Range and Source Glottal settings and leave all the other controls at their default values. Now, while listening to your vocal, slowly move the Model Throat Length slider from 1.00 to 1.25. Note the effect. Depending, of course, on the source vocal, you might typically hear the vocal quality become subtly darker, more male, older, etc. Then try moving it back to 0.75. Again note the effect. In this case the result might be subtly more bright, female, young, etc. Next, return the Model Throat Length slider to 1.00 and repeat the above with the Model Throat Width. Finally, experiment with various combinations of the two controls. As you become familiar with their effects, try more extreme settings of the controls. Speaking of weird, it may be useful to understand just why extreme models are perceived as unrealistic or strange.
As mentioned above, the range of human vocal anatomy is actually relatively small. In order that we can differentiate between the voices of the many people we encounter in our lives, the auditory processing function in our brains is extremely sensitive to very small differences in vocal timbre within the typical range of variation. But as a result of this, we have no frame of reference for vocal timbres that fall outside of the range of common human anatomy. We cant picture the person who would sound like that. So we think more in terms of ltered, tubular, or whatever. Trust us, if there were people with vocal tracts of the more extreme dimensions THROAT is capable of, this is what theyd sound like. While THROAT has been designed for voice, experiments here have shown that it can produce quite striking effects when used on other instrumental tracks. Try it with drums, guitars, bass, in fact pretty much anything. (In particular, applying it to a drum loop and then following that up with PUNCH has resulted in some truly twisted beats. Give it a try.) Play, play, play.
A Few Words About the THROAT Factory Presets
Unlike synth presets, which will always sound the same for all users, the THROAT presets are heavily dependent on the vocal tracks that you use them on. Consequently, they serve primarily as starting points for various general effects, with the expectation that you will tweak them to work best with your particular audio. Specically, they all contain the default settings for Vocal Range and Source Glottal Waveform controls. After calling up a preset, you should be sure set each of those controls to reect your track. Also, although some presets are named to give a general idea of their intent, feel free to experiment with any preset on any source track. Their are no rules.
Chapter 4: DUO Vocal Modeling Auto-Doubler
Matching the appropriate algorithm to the input results in faster and more accurate pitch detection. To select the desired Vocal Range, click on the Vocal Range pop-up and then select the desired range from the pop-up list. Note: Choosing the wrong Vocal Range (or just forgetting to set it at all) can result in compromised performance. Pay attention. Vocal Timbre Behind this unassuming slider lies a compact version of the THROAT vocal modeler. When this control is set to 0, the doubled voice will have exactly the same character as the original voice. As you move the slider up or down, DUO sends the doubled voice through a progressively more extreme vocal model. I.e., near 0, the timbre is very close to the original voice. As the control approaches.40 or -.40, the vocal timbre undergoes a fairly radical change. As you might imagine, this slider simultaneously controls a number of vocal modeling parameters. Weve linked them together to give you quick and easy access to a range of useful timbres.
he DUO Vocal Modeling Auto-Doubler automatically generates a doubled vocal part from any existing monophonic vocal. Unlike conventional doublers that simply apply pitch and delay variation to the original part, DUO makes use of Antares unique vocal modeling and vibrato processing technologies to create a doubled part that actually sounds like another singer. There is no easier or quicker way to create a realistic doubled vocal part.
Choir Size This control allows you to select the number of individual voices that will be generated from the original voice. Choices are 4, 8, 16, and 32 voices. Vibrato Variation The Vibrato control allows you to select the range of variation in vibrato depth applied to the generated voices. Each voice is individually
appear in the center of the stereo soundstage. As the value is increased, the voices spread out from the center until, at the maximum value, they appear across the entire stereo soundstage. This control only functions in Stereo or Mono-> Stereo modes. Command (Mac)/Control (PC) click the control to reset it to its default value of 100.
Along those same lines, even if you have tons of CPU power, more is not always better. Match the choir size to the style of your music. Not every song needs the Mormon Tabernacle Choir. Experiment with different combinations of the Pitch and Timing controls. They can create dramatically different vocal ensembles. With Timing at its minimum and substantial Pitch Variation, you have a choir thats rhythmically tight but a bit loose with intonation. Conversely, reversing those settings gives you a group thats solidly in tune, but rhythmically loose. And there are of course many variations in between. Match the performance style to the style of your music. For best performance, CHOIR requires a clean, pitched monophonic signal. If CHOIR can not reliably detect the pitch of the input, either because of a noisy or effected signal or because the input is not a single monophonic voice, it will apply Timing variations only.
CHOIR is available in mono and stereo versions and, depending on the capabilities of your host program, a mono -> stereo version (which in most cases is the preferred routing). In the case of the stereo version, CHOIR processes only the left channel. CHOIR is dramatically more effective with the voices panned across the stereo spectrum, so if at all possible, try always to use it with stereo output. The real power of CHOIR comes not as a processor for one voice, but as a processor to assign to each of a number of harmony parts. Even if you have only one singer, have them overdub the basic harmony parts and then process those parts through THROAT to give each the character of different voices. Then assign an instance of CHOIR to each of those parts and create your vocal ensemble. Alternatively, create harmony parts by processing a single vocal part through a harmonizer and then assigning each individual harmonizer output to an instance of CHOIR. Keep in mind that the greater the number of voices, the greater the CPU usage. If you will be using multiple instances of CHOIR, it might be wise to limit each instance to 4 or 8 voices.
Chapter 6: PUNCH Vocal Impact Enhancer
your vocal. It will typically be set in combination with the Impact control below. The effect of this control will be reected on the Output Level display. Command (Mac)/Control (PC) click the control to reset it to its default value of 0.0. Impact This control lets you select the amount of punch that is added to the vocal. As you increase the value of this control, level variations in the vocal performance are equalized and their level raised. The effect of the control will be reected on the Output Level display. Command (Mac)/Control (PC) click the control to reset it to its default value of 0. Ceiling This control allows you to attenuate the signal after all other processing. Although PUNCH allows you to create a fulllevel signal without risk of ugly distortion, it will usually be wise to apply at least a little attenuation here to allow yourself some room for any further processing that might apply gain. The default setting of -3.0 dB is a good starting point, and you can always come back and add in more if necessary as you continue processing and the mix takes shape.
UNCH is a processor that is designed to optimize the level of a vocal track to allow it to cut through a dense mix with power and clarity. It provides a combination of compression, gain, limiting, and overload protection with a user interface designed for speed and simplicity.
Input Level This meter displays the input level of the signal to be processed. Note: This display is for reference purposes only. None of the following controls affect the input level. The result of all processing will be reected on the Output Level display described below. Gain This control allows you to increase the gain of
Command (Mac)/Control (PC) click the control to reset it to its default value of -3.0 dB. Output Level This meter displays the level of the signal after all processing by PUNCH. The Gain, Impact, and Ceiling controls should be set in combination such that no clipping occurs.
PUNCH is available in mono and stereo versions. Since the point of PUNCH is to optimize the impact of your vocal track in the mix, it makes sense to set the controls while listening to the track in the context of the entire mix. Every vocal performance is unique. Finding the optimum settings for PUNCH is very much a matter of experimentation. Luckily there are only two controls that really matter, so the prospect is not exactly daunting. The Impact control has been purposely designed with a wide enough range to produce some pretty odd effects at its extreme. If youre looking for that sort of thing, check it out. While PUNCH has been designed for the voice, it can perform its magic effectively on pretty much any recorded part. It will even do interesting things to entire recorded mixes. Check it out.
Chapter 7: SYBIL Variable Frequency De-Esser
The diagram below shows how a compressor and a high pass lter are traditionally congured to accomplish de-essing. SYBIL uses a digital algorithm to implement the de-esser function. While the details of the algorithm are quite complex, the resulting effect is functionally equivalent to the diagram below.
YBIL is a digital equivalent of a traditional vocal de-esser.
When recording spoken or sung material, the sibilant sounds (Ss, Ts, CHs, and SHs) in the track sometimes (depending on the individual performer) appear louder than the rest of the signal. The effect can sound unnatural and often irritating. The solution to this problem is to compress only the sibilants, thereby lowering their level relative to the rest of the track. Processing a signal this way is called de-essing.
Gain Reduction Meter The Gain Reduction Meter displays the amount of compression taking place. If the frequency and threshold controls are set properly, the meter will display little gain reduction during vowel sounds and soft consonants, and substantial gain reduction during sibilants. For this reason, the meter is a useful tool when setting the other controls. High Pass Frequency This control sets the frequency of SYBILs side-chain high pass lter. The goal is to set the frequency such that the lter passes any sibilance (thereby keying the compressor), but not any of the desired signal. Command (Mac)/Control (PC) click the control to reset it to its default value of 8000 Hz. Threshold This control sets the threshold level of SYBILs compressor. The range is from 0 dB to -80 dB.
In most cases, the default value of -48 dB is a good place to start. Command (Mac)/Control (PC) click the control to reset it to its default value of -48 dB. Compression This control sets the compression ratio of SYBILs compressor. The range is from 1.0:1 to 99:1. In most cases, the default value of 2.4:1 is a good place to start. Command (Mac)/Control (PC) click the control to reset it to its default value of 2.4:1. Attack Time This control adjusts the speed with which SYBILs compressor responds to peaks in the signal coming from the high pass lter. The range of the control is from 3 milliseconds to 100 milliseconds. Command (Mac)/Control (PC) click the control to reset it to its default value of 10 milliseconds. Release Time This control adjusts the time it takes the compressors gain to increase 6 dB after the signal coming from the high pass lter drops below the threshold. The range of the control is from 3 milliseconds to 200 milliseconds. Command (Mac)/Control (PC) click the control to reset it to its default value of 20 milliseconds.
SYBIL functions solely as a mono processor. If the high pass frequency is set too low, non-sibilant components of the signal will be compressed and the vocal will have its highs attenuated. If it is set too high, some sibilance will still remain. The trick is to nd that ideal point where only the sibilance is affected. When set correctly, you cant tell that there is processing going on. If you can hear something happening, SYBIL needs to have its settings tweaked.
Authorizing AVOX 4 AVOX Overview 5 CHOIR 5 DUO 5 PUNCH 5 SYBIL 6 THROAT 5
Installing AVOX 3
License Agreement iii
CHOIR 21 Choir Size 21 Controls 21 Pitch Variation 21 Stereo Spread 21 Timing Variation 21 Usage Tips 22 Vibrato Variation 21 contact info ii
Processing Guidelines 6 PUNCH 23 Ceiling 23 Controls 23 Impact 23 Input Level 23 Output Level 24 Usage Tips 24
DUO 17 Controls 17 Double Level 18 Double Pan Position 19 Original Level 18 Original Pan Position 18 Pitch Variation 18 Timing Variation 18 Usage Tips 19 Vibrato 18 Vocal Range 17 Vocal Timbre 17
SYBIL 25 Attack Time 26 Compression 26 Controls 25 Gain Reduction Meter 25 High Pass Frequency 25 Release Time 26 Threshold 25 Usage Tips 26
Technical Support 1 THROAT 7 Breathiness Frequency 9 Breathiness Mix 9 Bypass 13 Controls 8 Factory Presets 15 Glottal Pulse Width 10 Glottal Voice Type 11 Graphic Throat Display 11 Level Matching 13 Model Glottal Waveform 10 Model Throat Length 10 Model Throat Width 10 Output Gain 13 Reset 13 Source Glottal Waveform 8 Source Throat Precision 9 Tutorial 14 Usage Tips 13 Vocal Range 8
New in AVOX Evo is the incorporation of Dr. Andy's groundbreaking Evo Voice Processing technology. First available in Auto-Tune Evo the result is faster more accurate pitch detection smoother artifact-free pitch shifting and seamless natural-sounding (if wanted) throat modeling. Other additions include redesigned user interfaces for the original 5 AVOX plug-ins 5 integrated channels of the CHOIR Vocal Multiplier in Harmony Engine Evo high-quality pitch shifting in THROAT Evo tempo-synced alienization rate in MUTATOR Evo and more. All modules function as Audio Units RTAS or VST plug-in for use with Mac OS X or Windows based audio software. For more detailed information about each processor please click on the individual links in the What's in the Box section.
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