AVP-1 Antares Vocal Producer Owner’s 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.
Contents Getting Started Welcome Technical Support v vi Introducing the Antares Chapter 1 Vocal Producer Setting Up AVP Overview Auto-Tune Pitch Correction Antares Microphone Modeling Understanding Compression What is a De-Esser? Equalization 2 3 7 8 15 15 Chapter 2 Setting up the AVP is easy Panel Controls Chapter 3 and Connectors The front panel The back panel Operation Chapter 4 Live or mixdown? Patching the AVP into your system Controls and Display Screens Master Module Microphone Modeler M
Get Creative Chapter 5 58 Appendix iv Factory Presets Realistic Mic Modeling Expectations 60 64 Specifications 66 Index 68
Welcome! On behalf of everyone at Antares Audio Technologies, we’d like to offer both our thanks and congratulations on your decision to purchase the Antares Vocal Producer. Before you proceed any farther, we’d like to strongly encourage you to fill out and return the AVP-1 registration card. To make it as easy as possible, we’ve included a sticker with your serial number already attached to the card. It’s probably a good idea also to write it in your manual for future reference.
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 didn’t 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.
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, you’ll find a brief introduction to the theory and application of the various processing modules in this chapter.
Chapter 4: Operation This is a guide to all of the features and functions of the AVP. If you’re 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.
• Flexible Parametric EQ You can fine-tune your vocal sound with two independent bands of equalization that let you select from 6dB or 12dB high or low cut, high or low shelving with variable slope, bandpass, notch and fully parametric peaking. • Automatic Mono or Stereo Double Tracking You can automatically mix a doubled track into the AVP’s main output or route it to a separate output for post-processing and mixing.
A little bit about pitch Pitch is typically associated with our perception of the “highness” or “lowness” of a particular sound. Our perception of pitch ranges from the very general (the high pitch of hissing steam, the low pitch of the rumble of an earthquake) to the very specific (the exact pitch of a solo singer or violinist). There is, of course, a wide range of variation in the middle.
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.
How Auto-Tune corrects pitch Auto-Tune works by continuously tracking the pitch of an input sound and comparing it to a user-defined scale. The scale tone closest to the input is continuously identified. If the input pitch exactly matches the scale tone, no correction is applied. If the input pitch varies from the desired scale pitch, an output pitch is generated which is closer to the scale tone than the input pitch.
An example As an example, consider this before-and-after graphic representation of the pitch of a vocal phrase that contains both vibrato and expressive gestures. 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.
With the AVP, you can record each track through a model of the type of mic that will best produce that ideal sound you’re looking for. Or use it in live performance to get the sound of mics you’d 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.
Why reduce the dynamic range? Consider the problem of mixing the vocal in a contemporary rock or pop song. Typically, pop music has a relatively consistent level of loudness. If an uncompressed vocal track is added to a typical pop mix, loudly sung words or syllables would jump out of the mix, while quieter phrases would be buried beneath the instrumental texture. This is because the difference between the loudest and softest sounds in the vocal - its dynamic range - is very large.
1 TO 1 RATIO LOUDER 2 TO 1 RATIO 4 TO 1 RATIO THRESHOLD 8 TO 1 RATIO 99 TO 1 RATIO I/O CURVE OUTPUT LEVEL LOUDER INPUT LEVEL Limiting Examine the 99:1 curve in the above graph. This setting reduces all sounds above the threshold to the same loudness. This is called limiting. Limiting is usually employed to allow a dynamic signal to be recorded at a maximum level with no risk that transient peaks will result in overload.
1 TO 1 RATIO LOUDER THRESHOLD OUTPUT LEVEL 1 TO 2 EXPANSION RATIO LOUDER INPUT LEVEL When expanders use ratios higher than 1:10, sounds below the threshold are faded out very rapidly. This effect is called gating and can sound very abrupt. Adjusting the gate ratio can smooth out the abrupt change. The graph below shows the input/output curve for a typical gate.
Sounds that are louder than the threshold get “through the gate” unchanged. Sounds that are below the threshold are not heard. Gates can be used to great effect in processing drum tracks where sounds from the other instruments in the drum set leak through the mike of the instrument being recorded. Gates are also used frequently to “gate off” a reverb tail or the ringing from an insufficiently damped drum head.
COMPRESSOR THRESHOLD GATE THRESHOLD LOUDER OUTPUT LEVEL 1 TO 5 EXPANSION RATIO LOUDER INPUT LEVEL Hard Knee/Soft Knee The graphs shown above have what are described as “hard knees” in their gain curves. This means that as the signal passes through the threshold, the gain reduction it receives will begin abruptly. In settings where the compression or expansion ratios have high values, the abrupt change can be heard and often sounds artificial.
Attack and Release Times The attack time of a compressor is how long it takes for the compressor to react once the input level has met or exceeded the threshold level. With a fast attack time, the signal is brought under control almost immediately, whereas a slower attack time will allow the start of a transient or a percussive sound to pass through uncompressed before the processor begins to react. For sounds without percussive attacks (voices, synth pads, etc.
What is a De-Esser? When recording spoken or sung material, the sibilants (Ss, Ts, CHs, and SHs) in the track often sound louder than the rest of the signal. The effect is 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 analog hardware is traditionally configured to accomplish de-essing.
Low Pass - High Pass Filters The low pass and high pass filters available in the AVP offer both a 6dB per octave and a 12dB per octave roll-off characteristic. The 6dB per octave versions offer a more subtle effect, while the 12dB per octave roll-off is useful for attenuating sub-sonic noise, rumble, mic stand noise, high frequency hiss, and other environmental noises encountered in the recording process.
Shelving Filters Shelving filters are used primarily as “tone controls,” cutting or boosting whole regions of the spectrum. (You can think of them as fancy versions of the traditional “Bass” and “Treble” controls you’d find on home stereos or boom boxes.) A high shelf filter, for instance, acts by raising or lowering the part of the spectrum above the cut-off frequency. The graphs below show the response of the high shelf and low shelf filters at +12dB gain.
Peaking Filter The peaking filter is the traditional fully parametric EQ. It can be used to subtly accentuate or attenuate a frequency or for much more radical effects. In the AVP, the peaking filter works over a range of 20 Hz to 20 kHz and can boost or cut the signal at the selected frequency by ± 18dB. Additionally, you can vary the bandwidth from 0.1 to 4.0 octaves. The graphs below show the effect of changing the bandwidth control of the peaking filter.
Band Pass and Notch Filters Band pass and notch filters can be thought of as extreme examples of the peaking filter. The Band Pass filter sharply attenuates all frequencies except for a band centered around the cutoff frequency. The width of the pass band is set by the bandwidth or “Q” control. The band pass filter is typically used to isolate a particular frequency range in a track or mix.
Chapter 2: Setting Up the Antares Vocal Producer Setting up the AVP is very straightforward. 1. Find a suitable location. The AVP is designed to be mounted in a standard 19-inch equipment rack. 2. Connect an audio input to the Line In jack (see Chapter 4 for details of patching the AVP into your system). 3. Connect a cable to the Main Line Out jack.
Chapter 3: Panel Controls and Connectors 27 25 1 2 3 4 5 10 6 8 7 9 11 12 15 13 18 16 14 20 17 19 24 26 21 30 31 29 28 22 35 33 32 39 34 37 36 38 23 The Front Panel 1 Non-existent Power Switch That’s right. There isn’t 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.
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.
The Compressor/Gate Module 20 COMP. Press this button to set the compressor’s ratio, threshold and makeup gain. 21 ATTACK Press this button to set the compressor’s attack time. 22 RELEASE Press this button to set the compressor’s release time. 23 KNEE Press this button to set the compressor’s knee characteristic. 24 GATE Press this button to set the gate’s ratio and threshold. 25 Compressor Gain Reduction Meter This meter lights to indicate the amount of gain reduction taking place.
38 OUTPUT GAIN Press this button to adjust the AVP’s 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 AVP’s output level. 1 2 3 4 5 6 7 The Back Panel 1 Main Line Output The AVP’s 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.
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 your mixer has separate insert send and insert return jacks, patch the insert send to the AVP’s Line In and the AVP’s Main Line Out to the mixer’s insert return.
For this configuration, your mixer must provide direct channel outputs. Patch the direct output of the channel whose signal you want to process to the Line Input of the AVP. Patch the Main Output of the AVP to the line input of a second mixer channel. Use the fader of the first channel to set the input level of the AVP. Be sure that the first channel is not assigned to the main mix.
Controls and Display Screens MASTER MODULE Preset Select When the AVP is first powered up, it will briefly display the version of its internal firmware and will then display the Preset Selection screen: Select Preset: ##: Preset Name Use the Data Entry knob to select the desired preset. Presets may also be selected by MIDI Program Change commands and may be stepped through sequentially using a footswitch. Pressing the Preset button will always return you to this screen.
NOTE: This meter reflects the level of the analog audio input. It is not affected by the digital Input Trim described below in the Setup Menu. Depending on how you have patched the AVP into your system, the input level should be adjusted by a mixer channel trim (for a pre-fader insert effect), a channel fader (if using a separate channel as a return), or by an external preamp (if you have patched the AVP between the preamp and your mixer input).
Input Level Meter Page In: -24 -12 -6 -3 0 This page provides a high resolution display for ease in setting the input signal level. Ideally, you should adjust the input to the highest level that does not consistently cause the meter to reach 0dB. (Digital clipping, which introduces a particularly nasty-sounding distortion, will occur if the input exceeds 0dB.) NOTE: This meter reflects the level of the analog audio input. It is not affected by the digital Input Trim described above in the Setup Menu.
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.
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 0–9, you will be rude and boorish to those who love you most, wish harm upon small furry animals, and enjoy the Jerry Springer Show.
The MIDI Channel parameter selects the channel over which the AVP receives MIDI continuous controller and Program Change messages. The choices include: Individual MIDI channels 1–16 If an individual channel is selected, the AVP will respond to messages received on that channel only and will ignore any messages on other channels. OMNI If OMNI is selected, the AVP will respond to messages on any MIDI channel.
The following parameters can be controlled via MIDI: Auto-Tune Speed Auto-Tune ON/OFF Tube Warmth Source Mic Proximity Model Mic Proximity Mic Mod ON/OFF Compressor Threshold Compressor Ratio Compressor Makeup Gain Compressor Attack Compressor Release Gate Threshold Gate Ratio Comp/Gate ON/OFF De-esser Threshold De-esser Ratio De-esser High Pass Frequency De-esser Attack De-esser Release De-esser ON/OFF EQ1 Frequency EQ1 Q EQ1 Slope EQ1 Gain EQ2 Frequency EQ2 Q EQ2 Slope EQ2 Gain EQ ON/OFF Double Track Mix
• If the footswitch is set to control Main Bypass, all other assignments are ignored • If the footswitch is set to Increment Preset and one or more of the module ON/OFF functions, each time you press the footswitch the AVP will advance to the next Preset and the ON/OFF state of the assigned module(s) will be toggled. Hence, alternate presets will have the selected modules ON, then OFF, then ON, etc. NOTE: It’s generally not a good idea to plug in a footswitch while the AVP is powered up.
For MIDI Dump All Presets Only This selection saves all of the AVP’s presets. When this file is loaded back into your AVP, it will replace all of the AVP’s presets with the contents of the file, but will leave the current Setup data unchanged. For MIDI Dump Setup Data Only This selection saves only the AVP’s 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.
MIDI Preset Restore Enable Page This page allows you to either enable or disable the AVP’s 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.
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 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.
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.
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.
If your mic is not listed, select the generic mic category that best describes your mic. Generic mic categories include: Hand-held Dynamic Studio Dynamic Wireless Small Diaphragm Condenser Large Diaphragm Condenser Additionally, the list 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 the correct source mic is selected in the Source Mic list and Bypass is selected in the Modeled Mic list, the final output of the Mic Modeler module will be stripped of the characteristics of the source mic, resulting in the signal that would have been recorded by an instrumentation microphone with no proximity effect.
Source Mic Proximity Use the Data Knob to set the average distance that separated the mic and the signal source during the recording of the audio. Or select OFF to preserve the source recording’s actual proximity effect (if any). The purpose of this control is 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.
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 AVP does not model this effect.
Because the maximum drive is limited to +12 dB, using the Tube Saturation model requires the original signal to be at a level greater than -12 dB. If this is not the case, you should adjust the Input Trim control (in the Setup Menu) to increase the level of the sound. (Be certain that Input Level is not increased so much as to cause digital distortion.) It may be necessary to go back and forth between Warmth Amount and Input Trim a few times to get exactly the effect you want.
Tune (i.e., the note name appears in the display, but the field under the note is blank): When the input is near a note set to Tune, Auto-Tune will retune the input to that note. Bypass (i.e., the note name appears in the display and an “*” appears in the field under the note): When the input pitch is close to a note set to Bypass, the output remains uncorrected. Blank (i.e., the note name disappears from the display): A note set to Blank will be omitted from the scale.
This phrase is in D Major and, if all the pitch errors were no greater than about 49 cents, would work fine with a standard D Major scale (D, E, F# , G, A, B, C# ). However, the pitch error of three semitones at the end of the last note is so large that with B and C# present in the Scale, as the pitch fell, Auto-Tune would see first C# and then B as the target pitch and therefore allow the error to remain.
Correction Meter This meter indicates, in real time, the amount of pitch correction being applied to change the input pitch to the target pitch. The green LEDs indicate that the input is flat and that positive correction is being applied. Conversely, the yellow LEDs indicate that the input is sharp and that negative correction is required. Auto-Tune On Button When this button is lit, the Auto-Tune module is active. When it is not lit, the module is bypassed. Pressing the button toggles its state.
The Attack Time control adjusts the speed with which the compressor responds to peaks in the input signal. The range of the control is from 0 milliseconds to 200 milliseconds. NOTE: While using the compressor and the de-esser simultaneously, be sure that the attack time of the compressor is long enough not to interact with the de-esser.
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 0 Pressing either the Comp. or Gate buttons while their respective pages are displayed will display this high resolution gain reduction meter.
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.
The Release Time control adjusts the time it takes the compressor element’s gain to increase 6 dB after the signal coming from the highpass filter drops below the threshold. The range of the control is from 0 milliseconds to 3000 milliseconds. High Pass Frequency Page De-esser Highpass Frequency: 5402 Hz The de-esser can be viewed as a compressor which is keyed by the output of a high pass filter.
De-esser On Button When this button is lit, the De-esser module is active. When it is not lit, the module is bypassed. Pressing the button toggles its state. The De-esser On/ Off function can also be controlled by MIDI and/or by a footswitch. EQUALIZER/OUTPUT MODULE EQ #1 Page EQ1 Peaking f: 7725 Q:2.4 Gn:+12 This page allows you to select the type and set the parameters of the first of the AVP’s two bands of parametric equalization.
High Shelf Filter EQ1 High Shelf f:11039 S:1.5 Gn: +4 The High Shelf filter can be thought of as the world’s most flexible version of the venerable “Treble” tone control familiar to users of radios, home stereos and boom boxes. The High Shelf filter boosts or cuts all frequencies above cutoff frequency “f” by the Gain (“Gn”) amount (in dB). Additionally, you can vary the slope (“S”) of the shelf from 2dB/octave (S=0.3) to 12dB/octave (S=2.0). Peaking Filter EQ1 Peaking f: 884 Q:2.
The Band Pass filter sharply attenuates all frequencies except for a band centered around frequency “f.” The setting of the “Q” control determines the width of the pass band (higher Q = narrower pass band). Low Pass Filters EQ1 Low Pass 6dB f: 6087 EQ1 Low Pass 12dB f: 6087 Q:2.8 These filters pass signal below the cutoff frequency “f” and roll off signal above “f” at either 6dB or 12dB per octave. The 12dB filter’s “Q” control allows you to add a variable height peak at the filter’s cut-off frequency.
EQ #2 Page EQ2 Peaking f: 7725 Q:2.4 Gn:+12 This page allows you to select the type and set the parameters of the second equalizer band. The available options are identical to EQ Band #1 described above. EQ On Button When this button is lit, the EQ module is active. When it is not lit, the module is bypassed. Pressing the button toggles its state. The EQ On/Off function can also be controlled by MIDI and/or by a footswitch.
How Double Track works The Double Track functions works a bit differently depending upon whether or not you are using the AVP’s Auto-Tune module for your main track. Here’s how: • If the Auto-tune module is active on your main track (i.e., its On button is lit), the double track will be the non-pitch corrected version of your track. • If the Auto-tune module is not active on your main track (i.e.
Chapter 5: Get Creative Up to this point, the instructions in this manual have focused on how to use the AVP for its primary purpose: creating traditionally gorgeous vocal tracks. But don’t let that limit you. We’ve purposely given the controls wide ranges to allow you to move beyond what might be considered useful for traditional processing. Try some of the following: Using the Auto-Tune Module • Auto-Tune can be used to simulate other singing styles.
Using Auto-Tune in Double Track Mode • Use Auto-Tune to create the double track, but instead of using a scale that will produce the traditional unison double track, create a more constrained scale that includes some, but not all, of the notes in the main track’s melody. Improvising in this mode can produce heterophonic effects (the effect of two players and instruments playing the ‘same’ melody, which actually varies with some different pitch material).
Appendix AVP Factory Presets The AVP comes pre-programmed with 35 factory presets. These presets were designed by studio professionals to provided quick setups for common track enhancements or problems, and are based around music genres and/or the type of sound source used in their creation. Keep in mind that these presets are designed as general starting points.
The Presets Vocal Presets 1 MaleVoice Basic male voice treatment. Adjust compressor threshold to singing style. 2 FemaleVoice Basic female voice treatment. Adjust compressor and de-esser thresholds to voice and singing style. 3 PopVox A preset built around a pop rock vocal track, increases clarity, controls ess’s and evens out dynamics. 4 BalladVocal Large condenser mic model and tube warmth adds breadth and intimacy.
15 MixedBacking Adjust compressor threshold to track style. 16 ThickBacking Adjust Double Track mix for degree of thickness. 17 FemaleBackup Adjust model mic proximity and compressor threshold to voice. 18 DrumAlert Adds weight and snap to drum kit, adjust model mic proximity to work kick sound, and Low Pass EQ to control high end. 19 TiteSnare Adjust compressor threshold, EQ 1&2 gain to taste. 20 KickEnhance Will give even a well-recorded kick drum some spectral enhancement.
Special Effect Presets 30 Destructo Adjust compressor threshold for desired effect. 31 Telephone For that special phone moment — less is more! Depending on your source level you may need to boost Output gain. 32 LiveVoxFix Preset built around a live vocal track recorded at Caesar’s Palace in Vegas in the ‘60s. Mostly designed as damage control. 33 GateThatKick Pumps and isolates the kick drum from the rest of the kit (and live) sound. Adjust the gate threshold to your track.
Realistic Mic Modeling Expectations (or, AVP meets the space-time continuum) Although the AVP’s Microphone Modeling seems in many ways to be almost magic, it is, in fact, simply very clever science. And as such, it remains subject to those pesky laws of physics. To get the maximum satisfaction out of Mic Modeling, it is important to have realistic expectations of exactly what it can and can’t do.
• 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 sound’s 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.
Specifications Frequency response: 10Hz-20KHx, +/- 0.2dB Distortion + Noise: Less than 0.
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.
Model 22 On 22, 23 Page 21 Preset 22 Release 23 Scale 22 Setup 21 Source 22 Speed 22 Tube 22 Index Symbols C < (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 Ga
De-Esser Module 23, 51 De-esser Attack Page 51 De-esser Gain Reduction Meter Page 52 De-esser On Button 53 De-esser Page 51 De-esser Release Page 51 Gain Reduction Meter 52 High Pass Frequency Page 52 De-esser Module 66 De-esser On Button 53 De-esser Page 51 De-esser Release Page 51 Detune 31 Display Screens 28 Double Track 56 Double Track On Button 57 Double Track Page 56 Double Tracking 3, 67 Downward Expanding Gate 2 Dynamic Expansion 10 E EQ #1 Page 53 EQ #2 Page 56 EQ Off Button 53 EQ On Button 56 Equ
I inner child 32 Input Level Meter Page 30 Input Meter 28, 67 Input Trim Page 30 Inputs AC Power 24 Line 24 MIDI In 24 Introducing the Antares Vocal Producer 1 L LCD 21, 39, 67 LCD Contrast Page 39 Limiting 10 Live or mixdown? 25 Low Cut/Proximity Page 42 Low Pass - High Pass Filters 16 Low Pass Filters 55 Low Shelf Filter 53 M 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 I
Q “Q” control 16, 19, 54, 55 R Ratio 9 Realistic Mic Modeling expectations 64 Release 14 Restore Factory Presets Page 38 S 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 T Technical Support vi Threshold 9 Tube Modeling 2 Tube Warmth Page 44 Tuning Correction Indicator 67 V Variable Frequency De-Esser 2 Varia
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