2: Introducing AVOX Evo

The heart of any great song is a great vocal sound. With the AVOX Evo Antares Vocal Toolkit, weve combined ten state-of-the-art vocal processing modules that open up an entirely new world of vocal processing capabilities. AVOX Evo gives you the power you need to create stunning vocal tracks in any musical style as well as design unique vocal effects for audio postproduction applications. In the following chapters well deal with each AVOX tool in turn, but first lets take a brief look at whats in AVOX Evo and how you might use the tools in combination.

AVOX Evo Overview

The AVOX Evo Antares Vocal Toolkit includes:
Harmony Engine Evo Vocal Modeling Harmony Generator
Harmony Engine Evo is a realtime harmony generating plugin that puts professional-quality vocal harmony arrangements within reach of any songwriter, producer, musician or engineer. With four independent harmony voices, a variety of powerful harmony generating modes, humanization features for natural sounding performances, five integrated channels of CHOIR Evo Vocal
Multiplier, and a flexible real-time preset system for harmony and vocal type, Harmony Engine Evo provides incredibly easy-to-use tools to quickly and easily produce virtually any vocal arrangement you can imagine. Whether youre an experienced vocal arranger, a songwriter looking for that perfect backup vocal, or a composer experimenting with unique vocal effects, Harmony Engine Evo gives you entirely new ways to create the harmony parts you hear in your head. In fact, experimenting with different harmonies is so easy (and, dare we suggest, fun), you may find yourself using Harmony Engine Evo to explore harmonic alternatives you may have never otherwise considered.
DUO Evo Vocal Modeling Auto-Doubler
DUO Evo automatically generates a doubled vocal part from an existing vocal. In addition to allowing programmable variation in pitch, timing and vibrato depth, for even more realism, DUO also includes a simplified version of THROAT Evos vocal modeling to provide timbral variation for the doubled part. DUO Evos output section gives you independent control of the level and stereo position of the original and doubled voices.
CHOIR Evo Vocal Multiplier
Neither a harmonizer nor a conventional chorus effect, CHOIR Evo is a unique processor that actually turns a single voice into 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing and vibrato variations. The voices can, if desired, be spread across the stereo spectrum. Assign an instance of CHOIR Evo to each of four voices singing four-part harmony and voil, instant choir.

MUTATOR Evo

Tempo-Synced Alienization: Added the
option to sync the Alienization Dialect rate to the project tempo (or various divisions of the tempo).
AVOX Evo Processing Guidelines
While it might seem to be convenient to consolidate all of the AVOX Evo functions in one huge integrated plug-in, some of the AVOX Evo 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 ten plugins on every track, it is likely that youll often be using more than one. When thats the case, keep the following in mind:

Special Cases

General Guidelines
In general, you should progress from the cleanest possible source vocal through successive stages of processing. Harmony Engine Evo, THROAT Evo, ARTICULATOR Evo, MUTATOR Evo, ASPIRE Evo, DUO Evo and CHOIR Evo in particular are designed to process pitched monophonic voices and will function much more effectively with clean input signals. If a track requires de-essing, use SYBIL Evo as the first of the AVOX Evo plug-ins. Next in line would be one of the Voice Creation/Modification plug-ins, i.e., THROAT Evo, MUTATOR Evo and/or ASPIRE Evo. Once youve tweaked the voice exactly as you want it, you can double, multiply, or harmonize it with DUO Evo, CHOIR Evo or Harmony Engine Evo. Finally, WARM and PUNCH Evo work well with pretty much any input, so they would typically be the last of the AVOX Evo plug-ins in the chain. Effects like reverb and conventional chorus or flanging should typically be applied after processing by the desired AVOX Evo plug-ins.
While you will usually choose between DUO Evo or CHOIR Evo, you can use them together for a really huge vocal section. Assign DUO Evo to your track and pan the original and doubled voices to opposite tracks. Then assign separate instances of CHOIR Evo to each of the two tracks. Humongous! If you will be using Harmony Engine Evo to generate harmonies from a single vocal line, start with SYBIL Evo (if necessary) and then THROAT Evo and then feed its output to Harmony Engine Evo. If you have a vocal with problematic vibrato (either too much or too little), you can use DUO Evo for vibrato modification. Assign DUO Evo 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 5 for more details. For maximum control of the timbre of doubled voices (at the cost of increased CPU requirements), assign DUO Evo to your vocal and pan the original and doubled voices to opposite tracks. Then assign an independent instance of THROAT Evo 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 Evo tools offer entirely new realms of creative possibilities. There is no wrong way. Now on to the details.

To select vocal type, click on the Vocal Type popup 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 Evo 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 Evo something about the input, but instead to tell THROAT Evo 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 THROAT Evos 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 modifications). 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 throat precision, click on the Source Throat Precision pop-up and then select the appropriate model type from the pop-up list.
The Pitch control is a new addition to THROAT Evo that allows you to shift your entire vocal up or down up to an octave in either direction in semitone increments. In combination with the various modeling functions, this allows the creation of voices that range from tiny creatures (or children) to growling monsters (as well, of course, as more subtle options). In practice, you should typically set your pitch shift range first and then adjust the modeling controls to create your desired vocal timbre. To adjust pitch shift, simply click and hold on the fader and move it to the desired position. Command (Mac)/Control (PC) click the fader to reset it to its default value of 0. The next two controls allow you to add a variety of breathiness effects to your modeled voice:
ADD Breathiness 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.

Important Note: Keep in mind that

Graphic Throat Display

Okay, heres where the fun really starts. The Graphic Throat Display allows detailed tweaking of the model throat. For the purpose of this control, the model throat is divided into four sections defined by five boundary points. For reference, these sections and boundary points are illustrated on the head graphic to the left of the Throat Shaping display. Point (1) starts at the vocal chords and the sections progress through the throat and the mouth out to the lips, which are at point (5). The Throat Shaping display itself consists of two elements: the original throat plot and the model throat plot. The original throat plot is colored blue and is not user-changeable. It represents the original length and width of the four throat sections and serves as a reference relative to which changes to the model throat are made. The model throat plot is colored red and includes five control points that can be grabbed and moved, effectively adjusting the length and width of individual sections of the throat. Additionally, the background of the display is divided into two sections by color. The lighter grey central area represents the range of adjustments that are consistent with typical human anatomy. As long as all control points and plot lines fall in this area, the results of your model will be more or less realistic. The darker grey area represents the range of adjustments that exceed the dimensions of typical human vocal tracts. When any control point or plot line falls in this area, the result may or may not sound like something that you might recognize as a human voice. The more points and/or plot lines fall in this area, the more extreme the effect. When you open a new instance of THROAT Evo, the default state of the Throat Shaping display is with the original and model throat plots exactly superimposed, indicating no difference. If you adjust the Throat Length and/or Throat Width sliders, you will see the entire red model plot move to reflect the changes. Length changes are self-evident. For width changes, any part of the model plot that lies above the original plot indicates a widening of the throat while any part of the model plot below the original plot indicates a narrowing of the throat.

6: CHOIR Evo

Vocal Multiplier
CHOIR Evo is a unique processor that turns a single monophonic voice into 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing and vibrato variations. The voices can, if desired, be spread across the stereo spectrum. When multiple instances of CHOIR Evo are assigned to individual harmony parts, the result is an amazingly realistic large vocal ensemble.
Variation 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 assigned a vibrato variation relative to the original voice. The higher the value of this control, the greater the possible vibrato variation. Command (Mac)/Control (PC) click the control to reset it to its default value of 30.
The Pitch Variation control lets you select the range of the random variation in pitch applied to each generated voice. Each voice is individually assigned a pitch variation relative to the original voice. The higher the value of this control, the larger the maximum amount of allowable variation. Command (Mac)/Control (PC) click the control to reset it to its default value of 30.

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.
The Timing Variation control lets you select the range of the random variation in timing applied to each generated voice. Each voice is individually assigned a timing variation relative to the original voice. The higher the value of this control, the larger the maximum amount of allowable variation. Command (Mac)/Control (PC) click the control to reset it to its default value of 100.

Stereo Spread

This control selects the extent to which the generated voices are spread across the stereo spectrum. At a setting of 0, all of the voices 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.
CHOIR Evo 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 Evo processes only the left channel. CHOIR Evo 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 Evo 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 Evo to give each the character of different voices. Then assign an instance of CHOIR Evo 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 Evo. Keep in mind that the greater the number of voices, the greater the CPU usage. If you will be using multiple instances of CHOIR Evo, it might be wise to limit each instance to 4 or 8 voices.

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 Evo requires a clean, pitched monophonic signal. If CHOIR Evo 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.

7: PUNCH Evo

Vocal Impact Enhancer
PUNCH Evo 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.
This control allows you to increase the gain of your vocal. It will typically be set in combination with the Impact control below. The effect of this control will be reflected on the Output Level display. Command (Mac)/Control (PC) click the control to reset it to its default value of 0.0.

Input Level

This meter displays the input level of the signal to be processed. purposes only. None of the following controls affect the input level. The result of all processing will be reflected on the Output Level display described below.
Note: This display is for reference

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 reflected 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 Evo 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. 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 Evo. The Gain, Impact, and Ceiling controls should be set in combination such that no clipping occurs.

PUNCH Evo is available in mono and stereo versions. Since the point of PUNCH Evo 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 Evo 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 Evo 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.

8: SYBIL Evo

Variable Frequency De-Esser
SYBIL Evo 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. The diagram below shows how a compressor and a high pass filter are traditionally configured to accomplish de-essing. IN
SYBIL Evo 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 above.

COMPRESSOR

HIGH PASS FILTER

SIDECHAIN INPUT

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.

Note: Stereo noise is only
Formant Extraction Section
The controls in this section allow you to optimize the formant extraction process for your specific Control Signal.
If, on the other hand, your Control Signal is noisy or not well-isolated, or you are dealing with a particularly breathy or guttural voice, it may be necessary to allow more signal variation (higher Tracking numbers). However, under these circumstances tracking is not guaranteed and a too relaxed setting may negatively affect the accuracy of the formant extraction. To adjust Tracking, click on the knob and move the cursor up to turn the knob clockwise, or down to turn it counterclockwise. Remember, higher numbers allow more variation, while lower numbers require less. Command (Mac)/Alt (PC) clicking on the knob will reset it to its default value of 25.

Voice Type

Use this control to select the range of the track you will be processing. Choices include soprano voice, alto/tenor voice, baritone/bass voice and instrument (a general setting for anything that isnt actually a vocal). Matching the appropriate algorithm to the input results in more accurate formant extraction. To select voice type, click on the Voice Type popup and then select the desired range from the pop-up list.
Note: Choosing the wrong Voice Type
Formant Modulation Section
Another way of looking at the Control Signals formant information is to think of it as a real time model of the vocal tract of the person singing or speaking. The controls in this section allow you to modify the extracted formant information by modifying the geometry of that modeled throat.

Throat Length

This control lets you increase or decrease the length of the modeled throat that is applied to the Audio Signal. 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. The effect of this control is so dependent on the combination of each specific Control Signal and Audio Signal that the only guideline for working with it is to just check out its entire range and discover what works best for your particular needs.

Internal Mode When using Internal Mode (i.e., when the Temp Sync button is not engaged), the Dialect control sets the length (in time) of the speech segments that are reversed. Low numbers result in short segments, while progressively higher numbers result in progressively longer segments. At very low numbers, the segments are so small that you can still easily understand the original spoken or sung words. At higher numbers intelligibility becomes progressively worse, until at very high numbers, each segment can include one or more entire words. Tempo Sync Mode To engage Tempo Sync Mode, click the Tempo Sync button so that it turns blue. In Tempo Sync Mode, the length of the speech segments are synced to beats or fractional beats relative to your hosts tempo. With the hosts transport running, the Receiving Clock LED will
light to indicate that MUTATOR Evo is in fact receiving the clock signal from your host. In Tempo Sync Mode, the Dialect control lets you select what division or multiplier of the beat will define the length and position of each speech segment. The choices are: 4/4 (4 beats) 3/4 (3 beats) 2/4 (2 beats) 1/4.(dotted quarter note) 1/4 (quarter note) 1/4T (quarter note triplet) 1/8. (dotted 8th note) 1/8 (8th note) 1/8T (8th note triplet) 1/16. (dotted 16th note) 1/16 (16th note) 1/16T (16th note triplet) 1/32. (dotted 32nd note) 1/32 (32nd note) 1/32T (32nd note triplet)
Note: It should be noted that Alienize is a real-time function, i.e., it doesnt simply analyze and reverse sections of a pre-recorded track. You could, in fact, connect a microphone and have MUTATOR Evo Alienize your voice as you speak or sing. Try it. Its fun.

Input/Output Section

Heres where you can adjust the output level, bypass the entire plug-in, and get a visual representation of the before and after versions of your audio.

Output Volume

This control applies gain or attenuation to the output signal. Since MUTATOR Evos various functions can substantially increase or decrease the level of the input, you can use this control, in combination with the output level meter, to ensure that your output is at an appropriate level without clipping. To adjust output volume, click on and move the fader to the desired position. The numeric display will indicate in dBs the exact amount of gain or attenuation applied. Command (Mac)/Alt (PC) clicking anywhere in the fader track will reset the control to its default value of 0dB.
function needs to store up a small bit of your speech before it can start Alienizing it, there will be a short delay between the beginning of the audio and when the alienized voice begins to sound (the exact delay depends on the selected Dialect setting). Conversely, depending on exactly when your audio ends, the alienized voice may continue for a very brief time after you stop while the last alienized segment is completed. (Think of it as Alien Timeshift.) To set the Dialect, click on the knob and move the cursor up to turn the knob clockwise, or down to turn it counterclockwise. The numeric display will indicate the segment length (in arbitrary units or beat divisions depending on Dialect mode). Command (Mac)/Alt (PC) clicking on the knob will reset it to its default value of 10.

Another Note: Because the Alienize

Output Level Meter

Use this meter in combination with the output level control to set the optimum output level. Ideally, the meter should peak in the upper area of its range without repeatedly pegging at 0 dB.
The Bypass control lets you completely bypass the plug-in. When the Bypass button is blue, the plug-in is processing normally. When it is red, it is bypassed. Click the button to toggle its state.
The effects of the various MUTATOR Evo functions are so dependent on the nature of each individual voice, its hard to give useful general guidelines. If there was ever a plug-in that rewarded just messing around, this is it. With that caveat:

Audio Display

The Audio Display gives you a visual indication of the original and processed versions of your audio (and is just kind of cool to watch). The blue plot is the waveform of the original audio, The red plot is the processed audio. For hours of fun, try changing the various controls while watching their effect on the red plot.
If youre looking to create the voice of a demon, try shifting pretty much any voice down 8-12 semitones (depending on how low the voice is to begin with), set Throat Length to 1.10, and set Mutation to 2. Then tweak as desired. To turn a woman into a child, shift the voice up 5 semitones, set Throat Length to 1.30, and set Throat Width to 0.60. Then tweak as desired. The effect of Alienization Dialect settings are entirely dependent on the specific speech its applied to. However, for an interesting musical effect, use a long cycle period and try matching the period to the tempo of your song.

11: WARM

Tube Saturation Generator
Based on Antares legendary (at least among those of us who work here and, based on the volume of emails weve gotten since we discontinued it, a fair number of others as well) Tube plug-in, WARM, warms up your vocals with Antares world-renown tube modeling technology, while being so processing-efficient, you can put an instance on pretty much every track in your project and still barely see your CPU meter twitch.

So what exactly is WARM?

WARM is an easy-to-use plug-in that accurately models the sonic effects of recording audio through a high quality analog tube preamplifier. It offers the choice of two different tube models as well as a unique OmniTube function that allows the application of the tube effect to the entire signal (as opposed to only the transients, as is typically the case with a tube preamp). WARMs extended parameter ranges have been designed to allow the creation of a wide variety of sonic effects beyond the classic subtle

tube warmth. Additionally, WARM has been designed to be extremely DSP efficient, so that even a relatively modest native system will be capable of running WARM on an almost unlimited number of tracks simultaneously.
This control applies gain to the input signal before its passed to the tube model. It is typically used to ensure that the level of the input is high enough to exceed the clipping level in the tube model. As a starting point, adjust the gain such that the input level meter needle spends most of its time in the top two (gray and purple) meter segments. Further adjustments can be made in combination with the Drive setting (see below). To adjust gain, click on and move the fader to the desired position. The numeric display will indicate in dBs the exact amount of gain applied. Command (Mac)/Alt (PC) clicking anywhere in the fader track will reset the control to its default value of 0dB. capable of a maximum of 12dB of gain, the input signal transients must be at least above -12dB to produce any tube effect. If the input meter never enters the top segments of the meter, no tube effect will be audible with even maximum Drive. for some special effect, you do not want to have clipping at the input stage. This is not the good clipping that happens in the tube model. Input clipping is that nasty digital kind.
ANOTHER NOTE: Unless you are going NOTE: Since the Drive control is
Whats the big deal with tubes anyway?
For most of us in audio recording, distortion is a bad word. We typically want the cleanest possible recordings, free of any audible distortion. But for certain types of audio there is an exception: the distortion that comes from transient clipping in a high quality tube preamplifier. When high quality tube pre-amps are operated in their linear range, there is virtually no signal distortion and their audio qualities are essentially identical to that of high quality solid state preamps. However, it is common for transients to exceed the preamps linear voltage range, resulting in distortion. And heres where things get interesting. The distortion characteristics of a vacuum tube pre-amp are vastly different than those of solid state amplifiers. Specifically, the overtones produced by tube distortion are generally harmonically related to the fundamental input pitch, whereas solid state overdrive distortion generally produces non-harmonic overtones. This tube distortion is often described as adding a certain warmth to a sound. This is in contrast to what is often described as the brittleness of the solid state sound. As a result, many people pay large sums of money for tube preamps designed to provide this desirable but elusive quality. It was the best sonic qualities of a number of these preamps that served as the sources for WARMs digital models.

Tube Selector

WARM includes two different tube models. The Velvet (blue) tube models the subtle effects of a classic high-quality tube preamp. While this model is perfect for adding warmth to vocals, its just as useful for acoustic guitar, horns, strings, synth pads, in fact pretty much anything. The Crunch (red) tube models the deep, warm distortion of an overdriven tube amplifier. Use it in moderation to impart a subtle (or not-sosubtle) effect to almost any track. Or crank it up for that industrial vocal sound, electric guitar, bass, or synths. To select a tube, simply click the appropriate button.

Drive Amount

The amount of tube saturation effect applied to your audio is controlled by the Drive control in combination with the Input Gain control described above. The Drive control determines the amplification factor of the modeled tube pre-amp with the numeric display indicating the amplification in dB. At 0 dB , no distortion occurs, even for full amplitude (+1 or -1) signal levels. These levels represent the rails of the amplifier. As the Drive is increased, the amplification is increased. Any regions of the signal that increase beyond the rails generate saturation distortion. Because the maximum Drive amount is +12 dB, generating the tube effect requires the original signal to be at a level greater than -12 dB. If this is not the case, you should adjust the Input Gain control to increase the level of the sound. (Be certain that Input Gain is not increased so much as to cause clipping.) It may be necessary to go back and forth between Drive and Input Gain a few times to get exactly the effect you want. an exceptionally low level, it may be that even maximum Input Gain and maximum Drive will still not result in a level high enough to generate distortion. In that case, either rerecord your audio at a higher level (if possible) or use your waveform editing program to digitally increase the level (keeping in mind that this may negatively affect the signal quality).
NOTE: If your audio was recorded at
To adjust the Drive amount, click on the fader handle and move it left or right to the desired setting. The numerical display will indicate the amplification factor in dB and the tube graphics will glow will change to provide an additional visual indication (i.e., eye candy). Command (Mac)/Alt (PC) clicking anywhere in the scale will reset the Drive value to 0dB

Output Attenuation

This control applies attenuation to the signal after its passed through the tube model. It is typically used to ensure that no clipping occurs as a result of the gain applied by the Drive control. As a starting point, set the attenuation to 0dB (i.e., no attenuation). If the Clip indicator lights, apply just enough attenuation to avoid the clipping and cause the output level meter needle to spend most of its time in the top two meter segments. (The top of the level meters range is 0dB. To adjust attenuation, click on and move the fader to the desired position. The numeric display will indicate in dBs the exact amount of attenuation applied. Command (Mac)/Alt (PC) clicking anywhere in the fader track will reset the control to its default value of 0dB.

CHOIR Evo 5, 23 Controls 23 Choir Size 23 Stereo Spread 24 Variation 23 Usage Tips 25
DUO Evo 5, 19 Controls 19 Levels 21 Variation 20 Vocal Range 19 Usage Tips 22
Evo Voice Processing Technology 6
Harmony Engine Evo 4, 6, 8
Installing AVOX Evo 2 Intervals 41

Breathiness 51

License Agreement iii
MUTATOR Evo 5, 6, 40 Controls 41 Alienize Section 43 Input/Output Section 44 Mutate Section 42 Vocal Range 41 Voice Design Section 41 Usage Tips 45
Upgrading 2 Usage Tips 16, 22, 25, 27, 30, 39, 45, 50, 54
Processing Guidelines 7 PUNCH Evo 5, 26 Controls 26 Ceiling 27 Input Level 26 Output Level 27 Usage Tips 27
WARM 6, 46 Controls Drive Amount 48 Input Level 47 OmniTube 49 Output Attenuation 49 Tube Selector 48 Usage Tips 50 Whats aspiration noise? 51 Whats New in AVOX Evo 6 Whats the big deal with tubes anyway? 47
SYBIL Evo 5, 28 Controls 29 Compressor 29 Gain Reduction Meter 29 Side Chain 29 Usage Tips 30
Technical Support 3 THROAT Evo 5, 6, 9 Controls 10 Add Breathiness 11 Graphic Throat Display 14 Model Glottal Waveform 13 Output 16 Pitch 11 Settings 10 Throat Modeling 12 factory presets 18 Usage Tips 16 Tubes 47

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To order this product, call us toll-free at (800) 433-3655. This PDF document copyright 2011 by Folkcraft Instruments, Inc.