2000 Antares Audio Technologies. All rights reserved. All trademarks are the property of their respective owners. All names of microphone manufacturers and microphone model designations appearing in this manual are used solely to identify the microphones analysed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. Antares Audio Technologies 464 Monterey Avenue, 2nd Floor Los Gatos, California 95030 USA voice: (888) 332-2636 email: info@antarestech.com web: www.antarestech.com Printed in USA Rev 1.5-02/2000
The Obligatory Legal Mumbo-Jumbo
The Antares Microphone Modeler software and this Users Manual are protected by copyright law. Making copies, adaptations, or derivative works without the prior written authorization of Antares Audio Technologies, is prohibited by law and constitutes a punishable violation of the law. Antares Audio Technologies retains all ownership rights to the Microphone Modeler software and other software offered by Antares Audio Technologies and their documentation. Use of the Antares Microphone Modeler is limited by the following license agreement. Please carefully read all the terms and conditions of this license agreement. At the time of installation of the Antares Microphone Modeler software you will be presented with a copy of the agreement and asked whether or not you agree to it. Continuing with the installation process beyond that point constitutes such agreement.
Antares Microphone Modeler License Agreement
Antares Audio Technologies grants you a non-transferable, non-exclusive license to use the Antares Microphone Modeler under the terms and conditions stated in this agreement. Use of Antares Microphone Modeler indicates your agreement to the following terms and conditions.

License

You may: 1. Use Antares Microphone Modeler on only one computer at a time; 2. Physically transfer the program from one computer to another, provided that the program is used on only one computer at a time. You may not: 1. Make copies of Antares Microphone Modeler or of the user manual in whole or in part except as expressly provided for in this agreement. Your right to copy Antares Microphone Modeler and the user manual is limited by copyright law. Making copies, verbal or media translations, adaptations, derivative works, or telecommunication data transmission of Antares Microphone Modeler without prior written authorization of Antares Audio Technologies, is prohibited by law and constitutes a punishable violation of the law. 2. Make alteration or modifications to Antares Microphone Modeler (or any copy) or disassemble or de-compile Antares Microphone Modeler (or any copy), or attempt to discover the source code of Antares Microphone Modeler. 3. Sub-license, lease, lend, rent, or grant other rights in all or any portion of Antares Microphone Modeler (or any copy) to others.

Term of the Agreement

This agreement is effective until terminated by you or Antares Audio Technologies. You may terminate the agreement at any time by notifying Antares Audio Technologies and destroying all copies of the manual, and erasing Antares Microphone Modeler from all machine-readable media, whether on-line or on archival copies. In the event of breach of any of the terms of this agreement, you shall pay the attorneys fees of Antares Audio Technologies that are reasonably necessary to enforce the agreement plus resulting damages.
Limited Warranty and Disclaimer
ANTARES MICROPHONE MODELER AND ACCOMPANYING MATERIALS ARE PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. Antares Audio Technologies does not warrant that the functions contained in the program will meet your requirements. The entire risk as to the use, quality, and performance of Antares Microphone Modeler is with you. Antares Audio Technologies warrants the media on which the program is furnished to be free from defects in materials and workmanship under normal use for a period of ninety (90) days from the day of delivery to you as evidenced by a copy of your receipt. Antares Audio Technologies entire liability and your exclusive remedy as to the media will be the replacement of the media. SOME JURISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS. YOU MAY ALSO HAVE OTHER RIGHTS WHICH VARY FROM JURISDICTION TO JURISDICTION.

Chapter 1: Getting Started
Installing Antares Microphone Modeler
Instructions for installing Antares Microphone Modeler for your specific platform are located in the Microphone Modeler Read Me file on the CD ROM. This file may also contain any last-minute Microphone Modeler information that didnt make it into this manual.
Authorizing Antares Microphone Modeler
Authorization (the process by which the Microphone Modeler software installed on you computer is allowed to run) is accomplished by a technique called Challenge/Response. This is described in detail in the Read Me file, but basically, the first time you launch Microphone Modeler you will be presented with a string of letters (the Challenge) and will be asked to enter another string of letters (the Response). To receive the appropriate Response, you will need to provide us with both proof of purchase and your Challenge string. Here are the options for accomplishing this:

Proof of Purchase:

Fax a copy of your warranty card with the serial number sticker attached to (408) 399-0036. This is a preferred option in that you can be certain that it has arrived prior to your requesting your Response. If you have access to a scanner, scan your warranty card with the serial number sticker attached and send it as a JPEG attachment in the same email as your Response request (see below). Mail us your warranty card with the serial number sticker attached. You should only rely on this if you dont have access to either of the other options, as you can never predict when its actually going to arrive. (However, you should still mail the warranty card in any case, so that we can have it physically on file.)

Challenge String:

Once you have reason to believe that we have received your proof of purchase (or if youve attached it as a scan), copy and paste your Challenge string into an email along with your name, the product name (e.g., Microphone Modeler for MAS) and your serial number and send it to: register@antarestech.com. You will receive your Response string by return email, usually within 24 hours (unless you have sent the email over a weekend, in which case you should receive it the following Monday). If you do not have access to email, fax us your Challenge string along with your proof of purchase as described above. Be sure to include your fax number, We will fax the Response string back to you at that number. When initially installed, Microphone Modeler will run for ten days without authorization, so even if your cant contact us right away you can still use your software in the meantime. (During this period, click the Continue button whenever you are presented with the Authorization dialog box.) But dont procrastinate too long. After those ten days are up, you will no longer be able to launch Microphone Modeler until the correct Response is entered.

Technical Support

In the unlikely event that you experience a problem using Antares Microphone Modeler, try the following: 1. Make another quick scan through this manual. Who knows? You may have stumbled onto some feature that you didnt notice the first time through. 2. Check our web page for tips, techniques, or any late-breaking information: www.antarestech.com 3. Call your local Antares dealer. 4. Call us at (888) 332-2636, or (408) 399-0008 Monday through Friday between 9am and 5pm USA Pacific Standard Time. 5. Email us at: techsupport@antarestech.com For options 3, 4 and 5, please be prepared to provide the serial number of your copy of Antares Microphone Modeler.
Chapter 2: Introducing the Antares Microphone Modeler

Overview

If youve spent any time lately flipping through the pages of pro audio magazines, you have almost certainly noticed the intense focus on microphones. From the proliferation of exotic new mics to the almost cult-like following of certain historical classics, never has the choice been greater. But amassing a substantial collection of high-end mics is financially prohibitive for all but the most wellheeled studios. Enter the Antares Microphone Modeler. Using our patented Spectral Shaping Tool technology, weve created precise digital models of a wide variety of microphones, from historical classics to modern exotics, as well as a selection of industry-standard workhorses. Simply tell the Microphone Modeler what microphone you are actually using and what microphone youd like it to sound like. Its as simple as that. With the Microphone Modeler, you can afford to record each track through a model of the specific mic that will best produce that ideal sound youre looking for. Or use it in live performance to get the sound of mics youd never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mics specific options. Does the mic have a low cut filter? If so, its in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation.

And with the ability to download new models from our web site, the Microphone Modeler will always keep you at the forefront of the microphone art.

About The Technology

The models employed by the Microphone Modeler are not derived from theoretical considerations. They are generated by a proprietary analysis process that is applied to each physical mic modeled. Not only the sonic characteristics, but the behavior of other parameters such as low-cut filters or proximity effects accurately reflect the specific performance of each individual microphone we model. The precision of these models allows the Microphone Modeler to reproduce even the subtle (and sometimes not-so-subtle) sonic variations that one often finds in different samples of the same model of microphone. Consequently, for some important mics, weve provided multiple models, each based on measurements taken from individual mics. Another advantage of our model-based approach is that there is essentially no processing delay apart from the natural phase effects of the microphones being modeled and any delay inherent in the operation of the host application or hardware environment. Finally, the quality and signal-to-noise characteristics of the processing are pristine. Because of our commitment to model-based processing, there are none of the limitations or distortions characteristic of FFT-based algorithms. The quality of the output is limited only by the quality of the input.
So What Exactly Does It Do?
While there is a lot of fairly complicated stuff going on under the hood, the essential functionality of the Microphone Modeler is really quite simple. Basically, audio from a microphone is input to the Microphone Modeler where it is first processed by a Source Model which serves to neutralize the known characteristics of the input mic. The audio is then processed by a second Modeled Mic model which imposes the characteristics of the modeled mic onto the previously neutralized signal. Finally, the audio is passed through a model of a high-quality tube preamp offering the option of classic tube saturation distortion. The details are found in the next chapter.

Chapter 3: Operation

Live or Mixdown?
The Microphone Modeler functions equally well processing audio during its original performance or later during the mixdown process. However, if you have the choice (which you typically will for everything but a live stage performance), we strongly recommend using the Microphone Modeler as an insert effect during mixdown. This will allow you to experiment with mic choice and various mic settings while auditioning their effect in the context of the entire mix. If you do choose to work this way, it is important that you carefully document all mic data for each recorded track. This should include the mic used, any settings such as low-cut filter and/or response pattern selected, as well as the average distance between the mic and the signal source (singer, instrument, etc.). This information will be required to properly set the Source Mic controls during the mix.

Signal Flow

The Microphone Modeler is divided into a number of discreet functional blocks as follows (in the order of signal flow):
For setting the input level of the audio to be processed.

Source Mic

For indicating the mic (and the state of its various parameters) that was actually used to record the audio.

Modeled Mic

For selecting the mic (and the state of its various parameters) whose sound you would like to model.

Tube Saturation

For adding a model of analog tube saturation distortion.

Controls: Input Section

Output
For setting the output level of the processed audio. The use of each of the individual controls is covered below.

Controls

Input Section
The Input Gain slider, as is no doubt obvious, is used to set the level of the incoming audio. The exact amount of gain or attenuation is displayed numerically above the slider. In most instances, the input gain should be set at the highest level that does not cause the 0 dB LED of the graphic level meter to light. The Level Meter displays the level of the audio as it is being processed by both the Source and Modeled Mic models. Because some models (or combinations of models) can result in increased amplitude at various frequencies, changing to a different mic model or changing a models settings may require an adjustment of the Input Gain to avoid clipping.
Controls: Source Mic Section
In practice, you should start out by setting the Input Gain at a bit under the optimum level. Once youre confident that youve found the right mic settings for your track, you should go back and fine tune the gain for maximum level without clipping.

Source Mic Section

The SOURCE MIC section is where you specify the mic and the settings that were (or will be) used to capture the input sound. The purpose of these selections is to remove the effect of the source microphone, resulting in the signal that would have been recorded by an ideal instrumentation microphone with no proximity effect.

Source Mic Menu

The Source Mic pop-up menu is used to select a specific model of mic. In some cases a mic will have a second listing with (w) appended to the mics name. This indicates that the mic we modeled was supplied with a windscreen and this is the model of the mic with the windscreen attached. If your audio was captured using the windscreen, you should select this version of the model. When you first install the Microphone Modeler, the menu will include all of the mics that we had modeled up to the point at which the CD ROM was released for duplication. You should be sure to check the Antares web site (www.antarestech.com) for new models completed since that release. Additionally, the menu offers a selection called Bypass. When Bypass is selected, the source signal is passed unmodified to the Modeled Mic section. You should select Bypass when your source was not recorded with a microphone (e.g., guitar via direct box, direct synth input, etc.). If your desired mic is not listed in the menu (nor available as an additional model on our web site), you can try one of the following (in order of preference): 1) Use a different mic that is listed this is, of course, only an option if youve not yet recorded the audio and do, in fact, have another listed mic.

2) Select another mic on the list whose characteristics are known to be similar to your mic (a similar model from the same manufacturer, for example). 3) Select another mic of the same general type as your mic, e.g., dynamic, large diaphragm condenser, etc. 4) Select Bypass from the menu It must be stressed that selecting option 2, 3 or, especially, 4, will compromise the Microphone Modelers ability to accurately reproduce the sound of the desired modeled mic. Thats not to say that you wont be able to get something that sounds great, just that its unlikely to be an accurate simulation of whichever mic you chose in the Modeled Mic section. In particular, if you choose Bypass as the Source Mic and any mic as the Modeled Mic, the resulting effect is equivalent to having recorded the audio with the actual physical mic (which you, of course, did) and then having played back that track through a perfect set of speakers and rerecorded it with the Modeled Mic. Again, maybe a great sounding creative effect, but not an accurate representation of the Modeled Mic. Note: If we dont have a model of your mic and you really, really want to use it as a source mic, you might consider giving us a call and seeing if were interested in modeling it. If so, youd have to be willing to send it to us and have it out of your possession for about 5 working days.

Low-Cut Menu

If the mic you select in the Source Mic menu is equipped with a userselectable low-cut filter, the Low-Cut pop-up menu will allow you to select from among the actual filter settings available on that mic. (If the selected mic does not have a low-cut filter, the menu will be grayed out.) If the source mic does include a low-cut filter, select the low-cut setting that was (or will be) used when capturing your audio. Note: It is important to keep in mind that the purpose of this setting is to undo the effect of any low-cut filter that was used to capture your audio. If you play around with this setting, you may initially think that its working backwards. That is, changing the menu selection from OFF to any filter setting will actually cause a bass boost in the monitored audio.
However, once you think about it, you will realize that this is the way its supposed to work. The purpose of all the controls in the Source Mic section is to neutralize the effects of the source mic. So, when you select a low-cut filter, youre telling the Microphone Modeler that the source mic recorded the audio with that much bass attenuation and, therefore, the model must now boost the bass an equal amount to remove the source mics sonic coloration. (Trust us, this fried our brains a bit at first, too.)

Pattern

If the mic you select in the Source Mic menu is equipped with userselectable pick-up patterns (i.e., omni, cardioid, hypercardioid, etc.), the Pattern pop-up menu will allow you to select from the actual pattern settings available on that mic. (If the source mic does not have selectable patterns, the menu will be grayed out.) If the source mic does include multiple patterns, select the pattern that was (or will be) used when capturing your audio. Note: The purpose of the Pattern selection is to neutralize the varying frequency characteristics that result from each of the available pattern settings, with the assumption that the audio was recorded on axis (i.e., from the front of the microphone). Since the Microphone Modeler has no way of knowing the actual placement of the signal source, it does not attempt to simulate off-axis performance.

Proximity

The Proximity knob in the Source Mic section should be used to set the average distance that separated the mic and the signal source during the recording of the audio. The purpose of this control is to allow the model to remove any Proximity Effect that may have been introduced by the source mic. Note: Proximity Effect is a boost in bass frequencies resulting from placing a directional mic in close proximity to a signal source. The amount of the effect varies from mic to mic, and is inversely proportional to the distance from the mic to the source (i.e., the smaller the distance, the greater the bass boost). Mics operating in omnidirectional mode do not exhibit a proximity effect. Consequently, if the source mic is an omni mic, or the source mic has selectable patterns and omni is chosen, the Proximity control will be disabled.
Controls: Modeled Mic Section
Note: Like the Low-Cut control described above, the Source Mic Proximity control may initially seem to be working backwards (i.e., setting a shorter distance will result in an audible bass attenuation). Refer to the explanation back up in the Low-Cut section to understand why this is actually how it is supposed to work. Also note that the effect of the Proximity control is unique for each model of microphone. The Microphone Modeler does not use a generalized approximation of proximity effect. Each model reflects the specific physical properties that create the proximity effect for that individual mic.

Modeled Mic Section

Heres where the fun really starts. The MODELED MIC section is where you select the mic (and its settings) whose characteristics you want to apply to your audio.

Modeled Mic Menu

The Modeled Mic pop-up menu is used to select your desired mic. In some cases a mic will have a second listing with (w) appended to the mics name. This indicates that the mic we modeled was supplied with a windscreen and this is the model of the mic with the windscreen attached. If you wish to simulate the use of the windscreen, you should select this version of the model. When you first install the Microphone Modeler, the menu will include all of the mics that we had modeled up to the point at which the CD ROM was released for duplication. You should be sure to check the Antares web site (www.antarestech.com) for new models completed since that release. Additionally, the menu offers a selection called Bypass. When Bypass is selected, no mic model is applied. The net sonic effect of selecting Bypass here depends on the setting of the Source Mic menu:

If the correct source mic is selected in the Source Mic menu and Bypass is selected in the Modeled Mic menu, the final output of the Microphone Modeler will be stripped of the characteristics of the source mic, resulting in the signal that would have been recorded by an ideal instrumentation microphone with no proximity effect. If Bypass is selected in the Source Mic menu and Bypass is selected in the Modeled Mic menu, the final output of the Microphone Modeler will be identical to the original input signal (with the exception of any added tube saturation).
If the mic you select in the Modeled Mic menu is equipped with a user-selectable low-cut filter, the Low-Cut pop-up menu will allow you to select from among the filter settings available on that mic. (If the selected mic does not have a low-cut filter, the menu will be grayed out.) If the modeled mic does include a low-cut filter, selecting a low-cut setting will reproduce the same effect that selecting that setting would have on the actual modeled mic. Note: The setting labels that appear in the menu are those that appear on the physical mic. In some cases, the label is the cut-off frequency of the low-cut filter as specified by the mics manufacturer. However, the Microphone Modeler does not simply apply a generic low-cut filter at the stated frequency, but instead models the actual filter performance of each modeled mic. In other words, a stated cut-off frequency is only as accurate as the filter on the actual mic. Another Note: Although its always best to let your ears be your guide, if your audio was recorded with the source mics low-cut filter turned on, in most cases it will be best to turn on the modeled mics low-cut filter as well. (After all, there was presumably some reason that someone chose to use that filter in the first place.)
If the mic you select in the Modeled Mic menu is equipped with user-selectable pick-up patterns (i.e., omni, cardioid, hypercardioid, etc.), the Pattern pop-up menu will allow you to select from the actual pattern settings available on that mic. (If the modeled mic does not have selectable patterns, the menu will be grayed out.)
If the modeled mic does include multiple patterns, select the pattern whose characteristics produce the effect you desire. Note: The purpose of the Pattern selection is to model the varying frequency characteristics that result from each of the available pattern settings, with the assumption that the audio was recorded on axis (i.e., from the front of the microphone). Since the Microphone Modeler has no way of knowing the actual placement of the signal source, it does not attempt to simulate off-axis performance.
The Proximity knob in the Modeled Mic section can be used to select a desired amount of proximity effect. Note: Proximity Effect is a boost in bass frequencies resulting from placing a directional mic in close proximity to the signal source. The amount of the effect varies from mic to mic, but is generally inversely proportional to the distance from the mic to the source (i.e., the smaller the distance, the greater the bass boost). Using the Proximity knob to set a particular distance will result in the amount of proximity effect that would be produced by the actual modeled mic when placed at that distance from the signal source. The effect of the Proximity control is unique for each model of microphone. The Microphone Modeler does not use a generalized approximation of proximity effect. Each model reflects the specific physical properties that create the individual proximity effect for that mic. Note: A secondary effect of mic-to-source distance is the extent to which environmental ambience is picked up by a mic. For example, as a mic is moved away from the source, the proximity effect decreases, but the amount of room tone increases (assuming that you are not in an anechoic chamber). The Microphone Modeler does not model this effect. However, judicious use of the Proximity control in combination with some appropriately programmed reverb will allow you to create the same effect, with the additional bonus of being able to control the exact nature of the room tone. Mics operating in omnidirectional mode do not exhibit a proximity effect. Consequently, if the modeled mic is an omni mic, or the modeled mic has selectable patterns and omni is chosen, the Proximity control will be disabled.

Output Level

The Output Level control is used to fine-tune the Microphone Modelers output level. This control is strictly an attenuator (i.e., no gain is available). You should always start with it at 0dB (the top of its range) and then reduce level as necessary. It is particularly useful when adding large amounts of tube saturation.
Chapter 4: The Microphone Models
Your copy of Microphone Modeler comes with a collection of mic models that is automatically installed along with the plug-in application. These mics will appear in the Source Mic and Modeled Mic menus. In addition, we are constantly modeling more mics. Whether new mics that have just come to market, or classics weve just managed to get ahold of, you should find an ever-growing collection to download from our website. Wed also appreciate any suggestions you have for specific mics to model. Email your suggestions to us at info@antarestech.com with the words Mic Suggestion in the subject line. We cant guarantee that well be able to include every mic suggested, but if we see certain mics getting a lot of votes well do our best to include them.

The Mic Model Files

Each mic model consists of two files: the model file, which is named for the modeled mic, and a matching source mic file whose name also includes the name of the modeled mic with the addition of the suffix, inv. These model files are found in a folder named Antares Models. On Macintosh systems, this folder is located in the Preferences folder inside the System folder. On PC systems, this folder is located inside the same folder as the Microphone Modeler plug-in. The Antares Models folder in turn contains a Modeled Mics folder and a Source Mics folder. Each folder contains one file for each microphone. This version of Microphone Modeler includes the ability to add one level of sub-folders in the Source Mics and Modeled Mics folders. This results in easy-to-organize hierarchical menus in the Source Mic and Modeled Mic pop-ups. As you will see, we have used this feature to organize the mic models by manufacturer. However, you are free to change this organization to anything that works well for you. Simply add or rename subfolders as desired and put the appropriate models in each folder.

Customizing Mic Menus

Note that the model files are not cross-platform compatible. When downloading new models from the Antares web site, be sure to select the files that are intended for your computer. For each new model you download from the Antares web site, you will end up with two files. As is probably obvious, you should place the model mic file in the Modeled Mics folder and the source mic file (the one with the inv suffix) in the Source Mics folder.
Customizing the Source and Model Mic Menus
The Source Mic and Modeled Mic menus will always reflect the subfolders and model files in their respective folders. Adding a new file or sub-folder to either folder will cause that sub-folder or model to become available in the appropriate menu. Here are a few hints for managing your mic menus: It is not necessary to have the same mic models in each folder. You could, for example, put only the source model files for the mics you actually own at the top level of the Source Mic folder, eliminating the need to constantly hunt in sub-folders for the few you usually use. For quick access to a few specific mics on a particular project, create two temporary sub-folders named Project Source Mics and Project Modeled Mics and put all the mics you plan to use for that particular project in them. When you finish your project, just move all the models back into their respective folders. The mic names that appear in the menus reflect the names of the model files. We have assumed that the actual mic names are probably the most informative. However, if youd prefer something else, you can change the names of the model files and those new names will appear in the menus. If you choose to do this, we strongly recommend that you give both the source and model files the same name and keep the inv suffix for the source file. (The Microphone Modeler will automatically strip the inv from the end of the name when displaying it in the Source Mic menu. However, if you accidentally (or purposely) put a source mic file in the Modeled Mic folder, the inv will appear as part of the name in the Modeled Mic menu.)

Microphone Technique In getting the best possible recorded sound, mic technique and placement are at least as important as mic choice (if not more so). A good engineer can record a great track with an SM57 while a poor one can make a U47 sound like doo doo. If your audio is not well-recorded in the first place, the Microphone Modeler can to do very little to improve it. If you start with a poorly recorded track, all the Microphone Modeler will do is make it sound like a track that was poorly recorded with a great mic. Excessive Frequency Boost Although the Microphone Modelers processing does not itself add noise to your signal, any noise in your original audio or noise added by intervening processes (e.g., A/D conversion, pre-Microphone Modeler dynamics processing, etc.) will be accentuated by any large amount of frequency boost. This should only be a problem when your source mic has a substantial bass or treble roll-off and the modeled mic has a corresponding boost or, more likely, when your audio was recorded with a low-cut filter on the source mic and you do not use a low-cut on the modeled mic. In both of these cases, the models will apply substantial gain to the affected frequency ranges, raising the level of added noise along with the desired signal. If the resulting noise level is unacceptable, you should choose a different combination of mics and/or turn on the modeled mics low-cut filter. Polar Pattern Selection The Microphone Modeler cant recover information that was not recorded as part of the original signal. For example, if the original audio was recorded with a highly directional pattern (hence picking up little room tone), you cant set the modeled mic to Omni and expect the room tone that would have been recorded if the original was set to Omni suddenly to appear. You can however, simulate that effect with some judicious use of reverb or an environmental simulator. Conversely, if your source was recorded with an omni mic and it picked up some unwanted audio from the rear, you cant realistically expect to set the modeled mic to hypercardioid and have the unwanted audio disappear. Off-Axis Response The purpose of the Pattern selection is to model the varying frequency characteristics that result from each of the available pattern settings, with the assumption that the audio was recorded on axis (i.e., from the front of the microphone). Since the Microphone Modeler has no way of knowing the actual placement of the signal source, it does not attempt to model off-axis performance.

Appendix

Listed below are all of the mics that we have modeled as of the date this manual went to press. (Be sure to check the Antares web site frequently for additional models.) Please Note: All trademarks appearing below are the property of their respective owners. The following manufacturer names and model designations are used solely to identify the microphones analyzed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers AKG C12A Large Diaphragm Condenser A classic multipurpose studio mic (this one dates from the late 60s)
C414 C414B/ULS Limited Edition Gold C414B/ULS Modified by Audio Upgrades (mod1) C414B/ULS Modified by Jim Williams (mod2) Large Diaphragm Condenser Multipurpose studio mic 460B/CK61-ULS Small Diaphragm Condenser Precise, neutral recording mic D112 Large Diaphragm Dynamic Classic kick drum and bass guitar mic D 790 Large Diaphragm Dynamic Hand-held vocal C1000S Small Diaphragm Condenser With a battery power option, often used for field recording C 3000 Large Diaphragm Condenser General purpose C 4000 B Dual-Diaphragm Condenser Solid state version of the SolidTube, general purpose

Alesis

Large Diaphragm Condenser w/tube circuitry A rich warm sound ideal for vocals and instruments Large Diaphragm Boundary - Ribbon Replica of the classic RCA 44 ribbon mic Dynamic Drums Small Diaphragm Condenser General purpose Electret Condenser Hanging choir mic Large Diaphragm Condenser Vocals and general purpose Large Diaphragm Condenser Recreates the sound of vintage F.E.T. condenser mics Large Diaphragm Condenser General purpose, drum overheads Large Diaphragm Condenser General purpose Large Diaphragm Condenser Live vocal mic Large Diaphragm Condenser - Tube Circuitry Vocals and general purpose Dynamic Kick drum, acoustic bass, piano, sax Dynamic Hand held vocal Dynamic General purpose Dynamic Vocals
Audio Engineering Associates R44C Audio-Technica ATM11 ATM31 AT853Rx AT3525 AT4047/SV
AT4033a/SM AT4050 AT4055 AT4060 Audix D4 OM2 OM3-xb OM5
Please Note: All trademarks appearing above are the property of their respective owners. The manufacturer names and model designations are used solely to identify the microphones analyzed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers.

B&K beyerdynamic

Brauner CAD

Coles Earthworks

Large Diaphragm Prepolarized Condenser Close-micing drums, percussion, brass M-500 Limited Edition Classic (Silver) Large Diaphragm Condenser Vocal, instruments MC-834 Large Diaphragm Condenser Vocals , piano, strings, brass, voice-overs VM1 Large Diaphragm Tube Condenser w/Class A amp Reference recording Equitek E100 Condenser Vocal, instrument, drum overheads Equitek E200 Condenser Vocal, orchestra, acoustic guitar, kick drum Equitek E350 Servo Condenser Vocal, piano, overhead, acoustic guitar, amps C400S Large Diaphragm Condenser General Studio VSM1 Single Valve Condenser Vocal, strings, guitar 95Ni Dynamic Vocal, instrument amps 4038 Large Diaphragm Boundary - Ribbon Sax, horns, piano, guitar Z30x Enhanced Cardioid Condenser Vocal, guitar, drums, general purpose TC30K Omni Condenser Drums, guitar, bass PL20 Mid Diaphragm Dynamic Early predecessor to the RE20 - Bass, drums, vocals, electric guitar Mid Diaphragm Dynamic Frequency expressly contoured for female vocals Large Diaphragm Tube Condenser Studio vocal, general purpose

ElectroVoice

N/D357 Groove Tubes MD-1

Lawson

Manley Labs MicroTech Neumann
Reference Gold Gefell UMT 800 U 47
Large Diaphragm Tube Condenser Vocals, acoustic guitar, strings, piano, choir, orchestra, sax Large Diaphragm Tube Condenser Ultra high quality recording Large Diaphragm Condenser Close-miced vocals, horns, ensembles Large Diaphragm Tube Condenser A classic vocal mic. Sinatras first choice.

Oktava

U 87 U 87 70th Anniversary Gold Edition Large Diaphragm Condenser Vocals, piano, acoustic bass, drums, acoustic guitar M 149 Large Diaphragm Tube Condenser The best mic I have EVER used. ~Chuck Surack (Thanks Chuck!) TLM 103 Large Diaphragm Condenser Vocals, acoustic guitar, horns, piano TLM 193 Large Diaphragm Condenser Vocals, acoustic guitar, drum overheads, strings, sax KM 184 Small Diaphragm Condenser Acoustic guitar, drum overheads, hi hat, strings, percussion, piano MC-012 Small Diaphragm Condenser General purpose instruments and live performance MK-319 Large Diaphragm Condenser Vocal, general purpose BK5A NT1 NT2 NTV Uniaxial Ribbon Vocal, general purpose Large Diaphragm Condenser Vocals, instruments Large Diaphragm Condenser Vocals, acoustic guitar, winds, piano Large Diaphragm Tube Condenser Vocal, general studio

RCA Rode

Sennheiser

MD421 MD441

E609 E835S Shure Beta 52 Beta 57A Beta 87A Beta 98D/S SM7A SM57 SM58 Shure SM81 SM98A KSM32
Ribbon Electric guitar, overhead drums, orchestral, choral, room micing Large Diaphragm Dynamic Drums, vocals guitar, amps Large Diaphragm Dynamic Designed to simulate the sound of a condenser mic for vocal, sax Large Diaphragm Dynamic Live performance guitar amp and drum mic Large Diaphragm Dynamic Live performance vocal Large Diaphragm Dynamic Kick drum, bass amp, acoustic bass Large Diaphragm Dynamic Drums, guitar amplifiers, brass, woodwinds, vocals. Large Diaphragm Condenser Vocals, live performance Mini Condenser Toms, snares, percussion Dynamic Vocals, bass amp Large Diaphragm Dynamic Guitar, guitar amp, drums Large Diaphragm Dynamic Vocals, general purpose Large Diaphragm Condenser Guitar, cymbals, strings, vocals, piano Large Diaphragm Condenser Drums, brass, winds Large Diaphragm Condenser Vocals, acoustic guitar, winds, ensembles, and drum overheads. Large Diaphragm Condenser - Single Point Stereo Modeled in MS (mono simulation) mode

C800G C37P C48

Telefunken
Large Diaphragm Tube Condenser Vocals: studio and post-production Tube Condenser General purpose Large Diaphragm FET Condenser Vocals, guitar Large Diaphragm Tube Condenser An extremely rare vintage version of the U-47 from the days when Telefunken distributed mics for Neumann. This sample is still equipped with the original tube.

Acknowledgments

As you might imagine, sourcing and modeling all of those mics was (and remains) an interesting logistical challenge. Luckily for us, we have had assistance from a variety of interested dealers, manufacturers, studios and individuals who were all willing to let us subject their precious microphones to our arcane modeling ritual. Thanks to all those listed below: Rob Actis Actis Company, San Diego, CA Audio Engineering Associates Pasadena, CA Audix Corporation Wilsonville, OR Demien Bannister Bananas at Large, San Rafael, CA jeramy bassermann Opus Nine, El Granada, CA Robert Berry soundtek studios, Campbell, CA Ken Capitanich Mars Studios, Aptos, CA Eric Chun Creative Music Services, Auburn, CA Cutting Edge Audio San Francisco, CA Guitar Showcase San Jose, CA Stephen Jarvis San Francisco, CA Manley Laboratories Chino, CA National Sound Engineering Norcross, GA Glen Peiser Guitar Center San Jose Santa Cruz Sound Company Santa Cruz, CA Paul Savasta Odyssey Pro Sound, Salem, MA Skips Music Sacramento, CA David Staats Castro Valley, CA Studio Tech Supply Dallas, TX Chuck Surack Sweetwater Sound, Ft. Wayne, IN Trakworx San Francisco, CA Wind Over the Earth Boulder, CO And, of course, our own Michael Mr. Microphone Logue and mic tester extraordinaire Kelly Montgomery.

Symbols

(w) 14, 17
Frequency boost, excessive 27
About the technology 11 Acknowledgments 37 Antares Audio Technologies contacting 9 Antares Microphone Modeler about the technology 11 authorizing 8 controls 13 installing 8 overview 10 what it does 11 Authorizing Antares Microphone Modeler 8 Automation and the Mic Menus 25
Input 12 Input Gain 13 Input Microphone, choice of 26 Installing Antares Microphone Modeler 8 inv 23
Level Meter 13 Live or Mixdown? 12 Low-Cut Menu 15, 17
Managing mic menus 24 Mic Model Files 23 Microphone 26 hybrid 20 off-axis response 27 omnidirectional mode 16, 19 polar pattern selection 27 technique 27 transient response 28 Variation in 26 Microphone Models 23, 31 Modeled Mic 12 Modeled Mic Section Low-Cut Menu 18 Modeled Mic Menu 17 Pattern 18 Proximity 19
Bypass 14, 15, 17, 18, 29, 30

Antares Vocal Producer

Owners Manual

2002 Antares Audio Technologies. All rights reserved. All trademarks are the property of their respective owners. All names of microphone manufacturers and microphone model designations appearing in this manual are used solely to identify the microphones analyzed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. Antares Audio Technologies 231 Technology Circle Scotts Valley, California 95066 USA voice: (831) 461-7800 fax: (831) 461-7801 email: info@antarestech.com web: www.antarestech.com Printed in USA Rev 1.2 01/2002

Contents

Getting Started
Welcome Technical Support v vi
Introducing the Antares Chapter 1 Vocal Producer
AVP Overview Auto-Tune Pitch Correction Antares Microphone Modeling Understanding Compression What is a De-Esser? Equalization 15 15

Setting Up

Chapter 2
Setting up the AVP is easy 20
Panel Controls and Connectors

Chapter 3

The front panel The back panel 21 24

Operation

Chapter 4
Live or mixdown? Patching the AVP into your system Controls and Display Screens Master Module Microphone Modeler Module Auto-Tune Module Compressor/Gate Module De-Esser Module Equalizer/Output Module 53

Get Creative

Chapter 5 Appendix
Factory Presets Realistic Mic Modeling Expectations

Specifications Index

Welcome!
On behalf of everyone at Antares Audio Technologies, wed like to offer both our thanks and congratulations on your decision to purchase the Antares Vocal Producer. Before you proceed any farther, wed like to strongly encourage you to fill out and return the AVP-1 registration card. To make it as easy as possible, weve included a sticker with your serial number already attached to the card. Its probably a good idea also to write it in your manual for future reference. As an AVP-1 owner, you are entitled to receive notification of any software upgrades, technical support, and advance announcements of upcoming products. But we cant send you stuff unless we know who and where you are. So please, send that card in. At Antares, we are committed to excellence in quality, customer service, and technological innovation. With your purchase of the AVP-1, you have created a relationship with Antares which we hope will be long and gratifying. Let us know what you think. You can count on us to listen. Again, thanks. The Whole Antares Crew

Technical Support

In the unlikely event that you experience a problem using your Antares Vocal Producer, try the following: 1. Make another quick scan through this manual. Who knows? You may have stumbled onto some feature that you didnt notice the first time through. 2. Check our web page for tips, techniques, or any late-breaking information: www.antarestech.com 3. Call your local Antares dealer. 4. Call us at (831) 461-7800 Monday through Friday between 9am and 5pm USA Pacific Standard Time. 5. Email us at: techsupport@antarestech.com For options 3, 4 and 5, please be prepared to provide the serial number of your Vocal Producer.
Chapter 1: Introducing the Antares Vocal Producer

How to use this manual

The Antares Vocal Producer (henceforth referred to as the AVP) has a very friendly user-interface and is extraordinarily easy to use. However, to get the full benefit of its capabilities, we recommend that you give this manual at least a quick once over. If the AVP is your first experience with vocal signal processing, youll find a brief introduction to the theory and application of the various processing modules in this chapter. (More in-depth information can be found in a variety of books on recording technique and periodically in recordingoriented magazines like Electronic Musician, EQ, Mix, Recording,and Home Recording, among others.) If youre already familiar with the functions and uses of basic studio signal processors (compressor, gate, de-esser, EQ, etc.), you can go straight to Chapter 4 to see how they are implemented in the AVP. On the other hand, unless you have experience with Auto-Tune and Antares Microphone Modeler, its probably wise to at least read the background information on those features in Chapter 1.

The contents of this manual
Chapter 1: Introducing the Antares Vocal Producer The chapter you are reading. It provides an overview of the AVP as well as background information on Auto-Tune pitch correction and Antares Microphone Modeling. It also includes an introduction to basic concepts in compression, expansion, gating, de-essing, and parametric equalization. Chapter 2: Setting Up the Antares Vocal Producer How to get the AVP up and running. Chapter 3: Controls and Connectors This chapter provides a reference for all of the controls, displays and connectors on the AVPs front and back panels.
Chapter 4: Operation This is a guide to all of the features and functions of the AVP. If youre only going to read one chapter, this is the one. Chapter 5: Creative Applications for the AVP Some cool, but not-so-obvious stuff you can do with the AVP.
Antares Vocal Producer Overview
The heart of any great song is a great vocal sound. With the Antares Vocal Producer, weve combined our world-renowned Auto-Tune Pitch Correction and TEC-Award-winning Microphone Modeler technologies with state-of-the-art vocal processing modules to give you everything you need to create stunning vocal tracks in any musical style. Live or in the studio, the AVP lets you instantly select from a library of sounds. From gorgeously mellow to seriously twisted, weve included factory presets for a wide variety of vocal styles as well as an interface that makes it easy to create your own signature sounds. (And given the power and flexibility of the AVPs processing modules, weve even included a selection of presets for instrumental and percussion tracks.) The Antares Vocal Producer features: Auto-Tune Real-time Pitch Correction Antaress world-renowned AutoTune technology lets you correct the pitch of vocals (or solo instruments), in real time, without distortion or artifacts, while preserving all of the expressive nuance of the original performance. Antares Microphone Modeling Our TEC Awarding-winning Microphone Modeler technology lets you give your vocal tracks the characteristics of a variety of high-end studio mics as well as adjust the proximity effect associated with mic distance. Analog Tube Modeling Gives your vocals the warmth of a classic tube preamp. Variable Knee Compressor A state-of-the-art dynamics processor with threshold, ratio, attack and decay controls as well as a continuously variable knee characteristic. Downward Expanding Gate The AVPs gate, with threshold and ratio controls, works independently of the compressor to eliminate noise and breath sounds. Variable Frequency De-Esser The AVPs de-esser tames vocal sibilance with threshold, ratio, attack and decay controls as well as a variable highpass frequency to match any vocal performance.

Because of its periodic nature, this sounds pitch can be easily identified and processed by the AVP. Other sounds are more complex. This waveform:
is of a violin section playing a single tone. Our ears still sense a specific pitch, but the waveform does not repeat itself. This waveform is a summation of a number of individually periodic violins. The summation is nonperiodic because the individual violins are slightly out of tune with respect to one another. Because of this lack of periodicity, Auto-Tune would not be able to process this sound.

Some pitch terminology

The pitch of a periodic waveform is defined as the number of times the periodic element repeats in one second. This is measured in Hertz (abbreviated Hz.). For example, the pitch of A3 (the A above middle C on a piano) is traditionally 440Hz (although that standard varies by a few Hz. in various parts of the world).
Pitches are often described relative to one another as intervals, or ratios of frequency. For example, two pitches are said to be one octave apart if their frequencies differ by a factor of two. Pitch ratios are measured in units called cents. There are 1200 cents per octave. For example, two tones that are 2400 cents apart are two octaves apart. The traditional twelvetone Equal Tempered Scale that is used (or rather approximated) in 99.9% of all Western tonal music consists of tones that are, by definition, 100 cents apart. This interval of 100 cents is called a semitone.
How Auto-Tune detects pitch
In order for Auto-Tune to automatically correct pitch, it must first detect the pitch of the input sound. Calculating the pitch of a periodic waveform is a straighforward process. Simply measure the time between repetitions of the waveform. Divide this time into one, and you have the frequency in Hertz. The AVP does exactly this: It looks for a periodically repeating waveform and calculates the time interval between repetitions. The pitch detection algorithm in the AVP is virtually instantaneous. It can recognize the repetition in a periodic sound within a few cycles. This usually occurs before the sound has sufficient amplitude to be heard. Used in combination with a slight processing delay (no greater than 4 milliseconds), the output pitch can be detected and corrected without artifacts in a seamless and continuous fashion. The AVP was designed to detect and correct pitches up to the pitch C6. If the input pitch is higher than C6, the AVP will often interpret the pitch an octave lower. This is because it interprets a two cycle repetition as a one cycle repetition. On the low end, the AVP will detect pitches as low as 42 Hz. This range of pitches allows intonation correction to be performed on all vocals and almost all instruments. Of course, the AVP will not detect pitch when the input waveform is not periodic. As demonstrated above, the AVP will fail to tune up even a unison violin section. But this can also occasionally be a problem with solo voice and solo instruments as well. Consider, for example, an exceptionally breathy voice, or a voice recorded in an unavoidably noisy environment. The added signal is non-periodic, and the AVP will have difficulty determining the pitch of the composite (voice + noise) sound. Luckily, there is a control (the Sensitivity control, discussed in Chapter 4) that will let the AVP be a bit more casual about what it considers periodic. Experimenting with this setting will often allow the AVP to track even noisy signals.

CORRECTED BY AVP D3

C 3 ORIGINAL PERFORMANCE

B2 10.0 10.5 11.0

In the original performance, we can see that although the final note should be centered around D, the vocalist allowed the tail of the note to fall nearly three semitones flat. The after plot is the result of passing this phrase through the AVP set to a D Major Scale (with C# and B set to Blank) and a Speed setting of 10. That Speed causes the pitch center to be moved to D, while still retaining the vibrato and expressive gestures. (Setting C# and B to Blank is necessary to keep the AVP from trying to correct the seriously flat tail of the last note to those pitches. See Chapter 4 for more details.)
Antares Microphone Modeling
If youve spent any time lately flipping through the pages of pro audio magazines, you have almost certainly noticed the intense focus on microphones. From the proliferation of exotic new mics to the almost cult-like following of certain historical classics, never has the choice been greater. But amassing a substantial collection of high-end mics is financially prohibitive for all but the most well-heeled studios. Now, using our patented Spectral Shaping Tool technology, weve created digital models of a variety of microphones. Simply tell the AVP what type of microphone you are actually using and what type of microphone youd like it to sound like. Its as simple as that.
With the AVP, you can record each track through a model of the type of mic that will best produce that ideal sound youre looking for. Or use it in live performance to get the sound of mics youd never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. And for that final touch of perfection, you can even add some tasty tube saturation.

About the technology

The models employed by the AVP are not derived from theoretical considerations. They are generated by a proprietary analysis process that is applied to each physical mic modeled. Not only the sonic characteristics, but the behavior of other parameters such as low-cut filters or proximity effects accurately reflect the specific performance of each microphone we model. Another advantage of our model-based approach is that there is essentially no processing delay apart from the natural phase effects of the microphones being modeled. Finally, the quality and signal-to-noise characteristics of the processing are pristine. Because of our commitment to model-based processing, there are none of the limitations or distortions characteristic of FFT-based algorithms. The quality of the output is limited only by the quality of the input.

Chapter 3: Panel Controls and Connectors

The Front Panel

1 Non-existent Power Switch Thats right. There isnt one. The AVP is designed to remain on continuously. You can, of course, plug it in to a switched power strip or power conditioner if you like, but leaving it on all the time will do it no harm. 2 LCD An easy-to-read 20 character by 2 line display. You can set the optimum viewing angle in the Setup menu (See Chapter 4). 3 Data Entry Knob As the name implies, turn it to enter data.

The Master Module

4 < (Left Cursor) Press this button to move the cursor to the left on display pages with multiple data fields. 5 > (Right Cursor) Press this button to move the cursor to the right on display pages with multiple data fields. 6 SETUP Press this button to enter the Setup Menu. The button lights to indicate that you are in Setup Mode. The Setup Menu contains the settings that affect the AVPs overall state (i.e., independent of the currently selected Preset). 7 PAGE When in the Setup Menu, press this button to cycle sequentially through the available edit pages. You can only move in one direction, but there are so few pages in the Setup Menu that you are never more than a few presses away from where you want to be.
8 PRESET Press this button to display the Select Preset screen. 9 SAVE Press this button to save a newly created or edited preset. Also used to confirm choices in functions that would result in overwriting current data. 10 Input Level Meter These five LEDs light to indicate the level of the incoming audio. Ideally, you should adjust the input to the highest level that does not consistently cause the top red LED to light. (The red LED lights at a level of -3dB. Digital clipping, which introduces a particularly nasty-sounding distortion, will occur if the input exceeds 0dB.) A NOTE ABOUT THE METERS: The AVPs front panel meters are designed to give you a quick overview of whats going on with the various modules. For precise parameter adjustments, appropriate modules provide high resolution meter displays on their various LCD pages.
The Microphone Modeler Module
11 SOURCE Press this button to select the microphone that was (or will be) used to record the audio to be processed. 12 MODEL Press this button to select the microphone whose audio characteristics you wish to apply to your audio. 13 TUBE Press this button to pass your audio through a model of a high-quality tube preamp with variable tube warmth. 14 LOW CUT Press this button to set low cut filters for the source and model mics and to adjust the mics proximity effects. 15 ON When this button is lit, the Mic Modeler module is active. When it is not lit, the module is bypassed. Pressing the button toggles its state.

38 OUTPUT GAIN Press this button to adjust the AVPs output gain and/or to engage the main bypass. NOTE: While main bypass is engaged, no other controls will respond until bypass is disengaged. 39 Output Level Meter This meter displays the AVPs output level.

The Back Panel

1 Main Line Output The AVPs main audio output. It accepts a 1/4-inch TS (tip-sleeve) phone plug. 2 Double Track Line Output If you have selected stereo double tracking, the second track is available at this output. It accepts a 1/4-inch TS (tipsleeve) phone plug. 3 Line Input Accepts an unbalanced line level signal on a 1/4-inch TS (tipsleeve) phone plug. NOTE: This input is NOT a microphone input. A line level signal is required. 4 MIDI OUT Connect to the MIDI Input of a MIDI sequencer to dump Preset and Setup Data via MIDI SysEx. 5 MIDI IN If you will be controlling your AVP via MIDI, connect the MIDI Out from a MIDI sequencer, keyboard, or other MIDI source here. Connect the MIDI Out from a sequencer to load previously saved SysEx data files. 6 Footswitch Plug in a footswitch here. A 1/4-inch TS (tip-sleeve) plug is required. There are two varieties of footswitches: those that are shorted by default and those that are open by default. You should plug in your footswitch and then power on the AVP. The AVP will detect which kind of footswitch you have and behave accordingly. The actual function of the footswitch is selected in the Setup Menu. 7 AC Power Input Plug the connector from the included power supply in here. Do NOT use a supply which is not expressly intended for the AVP. Bad things could happen.

Chapter 4: Operation

Live or mixdown?
The AVP functions equally well processing audio during its original performance or later during the mixdown process. However, if you have the choice (which you typically will for everything but a live stage performance), we strongly recommend using the AVP as an insert effect during mixdown. This will allow you to experiment with various settings while auditioning their effect in the context of the entire mix. If you do choose to work this way, and plan to use the Microphone Modeling function, it is important that you document mic data for each recorded track. This should include the mic used, whether a low-cut filter was engaged, as well as the average distance between the mic and the signal source (singer, instrument, etc.). This information will be required to properly set the Source Mic controls during the mix.
Patching the AVP into your system
Depending on your specific setup, there are a number of ways to patch the AVP into your system. Well cover the most common below.
As an insert effect using your mixers channel insert jack(s)

SOURCE AUDIO AVP

CHANNEL 1 INPUT INPUT MAIN OUTPUT INSERT SEND DOUBLE TRACK OUTPUT INSERT RETURN OPTIONAL INSERT RETURN INSERT SEND INPUT

Audio Type Page

Audio Type Soprano Voice
As a result of Antares research into the unique characteristics of various types of audio signals, the AVP Auto-Tune module offers a selection of optimized processing algorithms for the most commonly pitch-corrected inputs. Choices include Soprano Voice, Alto/Tenor Voice, Low Male Voice, and Instrument. Matching the appropriate algorithm to the input results in even faster and more accurate pitch detection and correction. Use the Data Knob to select the desired Input Type. NOTE: Choosing the wrong Input Type (or just forgetting to set it at all) can result in compromised performance. Pay attention.

Auto-Tune Detune Page

Auto-Tune Detune 0 cents
The Detune parameter allows you to change the pitch standard of the AVPs Auto-tune module from the default A = 440Hz. The values are cents (100 cents = a semitone). The range of adjustment is from -100 to +100 cents. The Detune function can be used to tune a vocal performance to some irreparably out-of-tune instrument (a piano or organ, for example), or to allow correction to other than the conventional 440Hz standard. Refer to the following table to convert cents to Hertz relative to 440Hz.

DETUNE SETTING A=HERTZ

-20 -16 -12 -8 -+4 +8 +12 +16 +20
This table can be extended in either direction by adding or subtracting 4 cents per Hertz, as appropriate.
Auto-Tune Sensitivity Page
Auto-Tune Sensitivity: 10
The Sensitivity parameter ranges from 0 to 25 and controls exactly what its name implies. At settings of 09, you will be rude and boorish to those who love you most, wish harm upon small furry animals, and enjoy the Jerry Springer Show. From 1020 you will (in varying degrees), see the good in every situation, cry openly in public (especially if you are male), and be in close touch with your inner child. From 2125 youll be in close touch with everybodys inner child. OK, were kidding about that. (And those of you who are not in the USA, please forgive the North American-centric references.) Actually, in order to accurately identify the pitch of the input, the AVPs Auto-Tune module requires a periodically repeating waveform, characteristic of a voice or solo instrument. The Sensitivity control determines how much variation is allowed in the incoming waveform for the AVP to still consider it periodic. If you are working with a well-isolated solo signal (e.g., tracking in a studio or off of a multi-track tape) you can typically set the Sensitivity control to 10 and forget it. If, on the other hand, your signal is noisy or not well-isolated (as might be more common in a live performance situation), it may be necessary to allow more signal variation (higher Sensitivity numbers). However, if you back off too much, the AVPs ability to detect pitch may be affected. As a rule, you should start with settings of about 7 to 10. If you want to detect only highly stable sounds in low-noise conditions, settings of from 2 to 5 may be appropriate. If there is ambient noise or other interfering sounds, try settings of from 15 to 20. Values close to zero or 25 are extreme, and will typically not do anything useful.

<Save> For MIDI Dump All Presets + Setup
This selection saves all of the AVPs presets along with the Setup Menu data. When this file is loaded back into your AVP, it will replace all of the AVPs presets and Setup data with the contents of the file.
<Save> For MIDI Dump All Presets Only
This selection saves all of the AVPs presets. When this file is loaded back into your AVP, it will replace all of the AVPs presets with the contents of the file, but will leave the current Setup data unchanged.
<Save> For MIDI Dump Setup Data Only
This selection saves only the AVPs Setup data. When this file is loaded back into your AVP, it will replace the current Setup data with the contents of the file, and will leave all presets unchanged.
<Save> For MIDI Dump ## Preset Name
This selection saves the single selected AVP preset. When this file is loaded back into your AVP, it will replace the preset currently at that numerical location with the contents of the file, but will leave all other presets and the current Setup data unchanged. In any case, after pressing Save, the AVP will begin transmitting the selected SysEx data and display the following screen:

Transmitting MIDI Data

When the transmission is complete, you will see the following for about 2 seconds:

Transmission Complete

MIDI Preset Restore Enable Page
This page allows you to either enable or disable the AVPs ability to receive MIDI SysEx messages.
Enable MIDI SysEx Reception: NO
When "NO" is selected, the AVP will ignore all MIDI SysEx messages. When "Yes" is selected, the AVP will respond to any valid AVP SysEx files created with the MIDI Preset Dump function described above. To restore a previously saved file, select "Yes" on the above page and ensure that the MIDI Out on your sequencer or computer is connected to the AVPs MIDI In. On your MIDI sequencer, select the file that contains the Presets and/or Setup data you wish to load. Play that file into the AVP. IMPORTANT NOTE: Reloading one or more presets will permanently overwrite whatever presets are currently in the corresponding numerical locations. If you want to save those presets, either copy them to a location which will not be overwritten or save them as a MIDI SysEx file using the MIDI Preset Dump page described above. While the AVP is receiving and storing valid SysEx data, the following screen will be displayed:
Receiving and storing MIDI Data
When the load is completed, you will see the following screen for about 2 seconds:

MIDI Load Complete

If the AVP detects a problem with the received SysEx data, the following screen will be displayed:

Bad SysEx Data Received

If this happens to you, check to be sure that you have sent the AVP the correct file from your sequencer.

Restore Factory Presets Page
<Save> to restore ## Preset Name
If you have edited or replaced any of the factory presets and wish to restore one or more of them, use the Data Knob to select the desired factory preset. If you scroll to the end of the factory preset list you will see the additional choice:
<Save> to restore Restore all Presets
Once you have made your selection, press Save to see:
Are you sure? <Save> to confirm
IMPORTANT NOTE: Restoring one or more factory presets will permanently overwrite whatever presets are currently in the corresponding preset locations. If you want to save those presets, either copy them to a location which will not be overwritten or save them as a MIDI SysEx file using the MIDI Preset Dump page described above. If you have selected "Restore all Presets," the process will take about 9 seconds and you will see this screen during the save process:
Factory Presets restore in progress.
If you have selected a single preset, the process is virtually instantaneous.
In either case, once the restore is completed, you will see the following screen for a few seconds:
Factory Presets restore completed.
and then you will be returned to the initial Restore Presets page.

LCD Contrast Page

LCD contrast 3
The LCD Contrast parameter lets you set the maximum display contrast for your viewing angle. Use the Data Knob to select the value that provides the greatest contrast between the display text and the background.

Save Preset Page

When you have created a new preset or made changes to an existing preset and want to save the changes, press the Save button to access this screen:
Edit name & <Save> Name:Preset Name
If you have been editing an existing preset, the Name field will contain the name of that preset. If you dont wish to change the name (e.g., if you are editing a preset and plan to overwrite it with the edited version), simply press Save again to be taken to the next screen. If you do wish to change the name, use the Cursor buttons to move from character to character and the Data Knob to select the desired letter, number or punctuation mark for each character. When you are finished, press Save to access this screen:
<Save> to overwrite: ## Preset Name
The Preset number and Preset name will initially be the number and name of the original preset you were editing (i.e., the Preset Name will be the original name of the preset). If you want to overwrite that preset with your newly edited version, press Save. Otherwise, use the Data Knob to select another preset location and then press Save. In either case you will see a brief message confirming that your preset was saved and will then be returned to whichever screen you were on immediately before initiating the Save process. NOTE: To copy an existing preset to another location, first select the preset and press Save. Edit the name (if you wish) and press Save again. Select the location to copy to and press Save again. You may now edit your copy without any risk of accidentally overwriting the original version.

Pressing the Gate button again while the Gate Page is displayed will display the Gain Reduction Meter Page (see below). Continually pressing the Gate button will alternate between the two pages. The ranges of the parameters are as follows: Threshold: -90dB - 0dB Ratio: 1:1.0 - 1:99
Gain Reduction Meter Page

C/G:-20 -12 -6 -3

Pressing either the Comp. or Gate buttons while their respective pages are displayed will display this high resolution gain reduction meter. The meter displays the amount of gain reduction applied to the signal. When the input signal is above the compression threshold or below the gate threshold, the gain reduction meter will display the amount of compression or gating being applied. Pressing the Comp. or Gate button again will return to the appropriate page.

Gain Reduction Meter

The front panel gain reduction meter is intended to provide a quick indication of compressor and gate activity. For precise gain reduction indication, refer to the Gain Reduction Meter Page described above. The range of the meter is 15 dB.

Comp/Gate On Button

When this button is lit, the Comp/Gate module is active. When it is not lit, the module is bypassed. Pressing the button toggles its state. The Comp/ Gate On/Off function can also be controlled by MIDI and/or by a footswitch.
DE-ESSER MODULE De-esser Page
Th:-40dB De-esser Ratio:2.0:1
This page allows you to set the main de-esser parameters. Use the cursor buttons to move from field to field and the Data Knob to set each parameter. For ease in setting the threshold, this page includes a display of the incoming high-pass signal level and a graphic indication of the currently selected threshold. The threshold must be set below the signal peaks for any de-essing to occur. Pressing the De-Ess button again while the De-esser Page is displayed will display the De-esser Gain Reduction Meter Page (see below). Continually pressing the De-Ess button will alternate between the two pages. The ranges of the parameters are as follows: Threshold: -60dB - 0dB Ratio: 1.0:1 - 99:1 NOTE: If you are using the Double Track function (see below), the deesser works on both the main and the double track.

Transient Response One of the key characteristics of various types of microphones is their transient response (i.e., the way that their diaphragms respond to extremely rapid amplitude fluctuations, typically during a sounds attack phase). Intuition would suggest that modeling changes in transient response between mics would be next to impossible particularly changing a source mic with a slow response to a modeled mic with a fast response. Amazingly, that turns out not to be the case. The AVPs models do model variations in transient response in both directions.

Specifications

Frequency response: 10Hz-20KHx, +/- 0.2dB Distortion + Noise: Less than 0.005% (@1kHz) AUTO-TUNE Chromatic and 24 diatonic scales, all user customizable Retune speed Pitch detection sensitivity Available models: Hand-held dynamic Studio dynamic Small diaphragm condenser 1 Small diaphragm condenser 2 Large diaphragm condenser 1 Large diaphragm condenser 2 Large diaphragm condenser 3 Drum mic - kick Drum mic - snare Drum mic - cymbal Telephone Tube saturation drive: 0 dB - 12 dB COMPRESSOR Threshold: -36dB - 0db Ratio: 1.0:1 - 99:1 Attack: 1ms - 200ms Release: 20ms - 3000ms Knee: Continuously variable Threshold: -96dB - 0db Ratio: 1:99 - 1:1.0 Threshold: -40dB - 0db Ratio: 1.0:1 - 99:1 Attack: 1ms - 200ms Release: 20ms - 3000ms Highpass frequency: 2971Hz - 20kHz

MIC MODELER

GATE DE-ESSER
PARAMETRIC EQ (2 independent bands) 6 dB Lowpass 6dB Highpass 12dB Lowpass 12dB Highpass Bandpass Notch Low shelf (variable slope) High shelf (variable slope) Peaking Double Tracking Stereo or variable mono mix Line Input:1/4 inch Phone: Unbalanced, 9.3 dBu, 10K Ohms Line Outputs: Main:1/4 inch Phone: Unbalanced, 8.5 dBu Double Track: 1/4 inch Phone: Unbalanced, 8.5 dBu MIDI In and Out: 5-Pin DIN Footswitch: 1/4 inch Phone Displays: 2x20 character LCD; Input Level Indicator (LED x5); Output Level Indicator (LED x5); Tuning Correction Indicator (LED x4); Compression Gain Reduction Indicator (LED x5); De-esser Gain Reduction Indicator (LED x5) Input Power: 9VAC @ 1000MA, 50Hz or 60Hz Power consumption: 9 watts Included accessories: Power supply, owners manual Dimensions: width: 19 inches x height: 1.75 inches x depth: 5 inches Weight: Rack: 4.5 lbs; Power supply:.6 lbs.
Model 22 On 22, 23 Page 21 Preset 22 Release 23 Scale 22 Setup 21 Source 22 Speed 22 Tube 22

Symbols

< (Left Cursor) 21, 29 > (Right Cursor) 21, 29
Cher effect 47, 58 Comp/Gate On Button 50 Compression 8, 12, 48 Compression Gain Reduction Meter 67 Compressor Attack Page 48 Compressor Knee Page 49 Compressor Page 48 Compressor Release Page 49 Compressor/Gate Module 23, 48, 66 Comp/Gate On Button 50 Compressor Attack Page 48 Compressor Knee Page 49 Compressor Page 48 Compressor Release Page 49 Gain Reduction Meter Page 50 Gate Page 49 Connectors 1, 21 AC Power Input 24 Double Track Line Output 24 Footswitch 24 Line Input 24 Main Line Output 24 MIDI In 24 MIDI Out 24 Controls 1, 28 Correction Meter 48 Creative Applications 2

Mic Modeler On Button 45 Microphone Modeler Module 22, 40, 66 Low Cut/Proximity Page 42 Mic Modeler On Button 45 Model Low Cut 43 Model Mic Page 41 Model Mic Proximity 43 Source Mic Low Cut 42 Source Mic Page 40 Source Mic Proximity 43 Tube Warmth Page 44 Microphone Modeling 25, 64 MIDI 3, 20, 24, 35, 37, 57 MIDI Channel Page 32 MIDI Controllers Page 33 MIDI Preset Dump Page 35 MIDI Preset Restore Enable Page 37 Model Low Cut 43 Model Mic Page 41 Model Mic Proximity 43
Master Module 21, 28 < (Left Cursor) 29 > (Right Cursor) 29 Audio Type Page 30 Auto-Tune Detune Page 31 Auto-Tune Sensitivity Page 32 Factory Presets 28 Footswitch Assign Page 34 Input Level Meter Page 30 Input Meter 28 Input Trim Page 30 LCD Contrast Page 39 MIDI Channel Page 32 MIDI Controllers Page 33 MIDI Preset Dump Page 35 MIDI Preset Restore Enable Page 37 Page 29 Preset Select 28 Restore Factory Presets Page 38 Save Preset Page 39 Setup 29

Notch Filter 19, 54

Operation 2, 25 Output Meter 57, 67 Output/Main Bypass Page 57 Outputs Double Track Line 24 Main Line 24 MIDI Out 24 Overview 2
Page 29 Panel Controls 21 Parametric EQ 3 Patching the AVP into your system 25 Peaking Filter 54 Peaking filter 18 Pitch 4, 5, 6 Power switch, non-existent 21 Preset Select 28

Q control 16, 19, 54, 55

Ratio 9 Realistic Mic Modeling expectations 64 Release 14 Restore Factory Presets Page 38
Save Preset Page 39 Scale Page 45 Scales 6 Setting Up 1, 20 Setup 29 Setup Menu 21 Shelving Filters 17 Source Mic Low Cut 42 Source Mic Page 40 Source Mic Proximity 43 Specifications 66 Spectral Shaping Tool 7 Speed 6 Speed Page 47 SysEx data 37
Technical Support vi Threshold 9 Tube Modeling 2 Tube Warmth Page 44 Tuning Correction Indicator 67
Variable Frequency De-Esser 2 Variable Knee Compressor 2
Why set Scale notes to Blank? 46