User Manual

36
The eect 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.
To adjust Throat Length, 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 percentage of change.
Command (Mac)/Control (PC)/Option (Pro
Tools) clicking on the knob will reset it to its
default value of 1.00.
Throat Width
As you might
imagine, this
control is similar the
the Throat Length
control described
above, but
instead modifies
the width of the
modeled throat.
Values above 1.00 represent a widening
of the throat while values below 1.00
represent a narrowing of the throat. The
actual values represent the percentage
change in the throat width. For example,
a value of 1.20 represents a 20% increase
in throat width, while a value of 0.80
represents a 20% decrease in throat width.
Again, your best bet in working with Throat
Width just to try a variety of settings to
hear what works best for your project.
To adjust Throat Width, 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 percentage of change.
Command (Mac)/Control (PC)/Option
(Pro Tools) clicking on the knob will
reset it to its default value of 1.00.
AMPLITUDE EXTRACTION SECTION
The controls in this section don’t exist.
In the schematic signal flow, this section
represents the process of extracting
the Control Signal’s amplitude envelope
(which is a fancy way of saying “the way
its loudness changes over time”).
ARTICULATOR Evo does this all by itself
with no need for any input from you.
AMPLITUDE MODULATION SECTION
Here’s where you decide how much eect the
Control Signal’s amplitude envelope will have
on the Audio Signal.
Envelope Amount
This control sets
the amount
of amplitude
modulation
(i.e., change in
loudness) applied
to the Audio Signal
by the Control
Signal’s amplitude
envelope.
When this control
is set at 0, the Control Signal’s amplitude
envelope has no eect on the Audio Signal.
In this case, the loudness dynamics of the
Audio Signal are preserved and only the
formant information from the Control Signal is
imposed on the Audio Signal.
When this control is set at 100 (maximum), the
the full eect of the Control Signal’s amplitude
envelope is applied to the Audio Signal.
And as you might imagine, intermediate
settings of this control apply intermediate
amounts of amplitude modulation.
NOTE: In order for the Control
Signal’s amplitude envelope to have
maximum eect on the Audio Signal,
the Audio Signal should be a sustained sound
(like the Noise Generator or a synth pad) or at
least one in which audio is constantly present.
If there are periods of silence in the Audio
Signal, its output during those periods will
be silence, regardless of the Control Signal’s
envelope. If the Audio Signal is constant, but