Antares ATR1a Hardware user manual

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When editing System parameters, you progress from one edit page to the
next by pressing the PAGE button.
After you have finished making changes, press the SYSTEM button again.
Unlike Program and Song editing, you are not prompted to save the
changes, they are automatically saved for you.
Bass Mode Page
     Bass Mode
        OFF
When operating in its normal mode, the ATR-1a is reliably able to detect
pitches down to A0 (55Hz). Turning Bass Mode ON lowers the lowest
detectable frequency by about one octave to 25Hz. Since the lowest E
string on a bass guitar is approximately 41Hz, Bass Mode (as its name so
ably implies) allows you to apply pitch correction to those pesky fretless
bass lines as well as other low bass range instruments.
Note:When Bass Mode is enabled, pitches above A4 may be incorrectly tuned
by a perfect fifth. Consequently, it’s a good idea to enable Bass Mode
only while working on pitch correcting bass range instruments and then
turn it OFF again when finished.
Sensitivity and LCD Page
Sensitivity LCD
   aa        bb
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. From 10–20 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 21–25 you’ll be in close
touch with everybody’s inner child.
OK, we’re 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 ATR-1a
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 ATR-1a to still consider it periodic. 
						

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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 ATR-1a’s 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 ex-
treme, and will typically not do anything useful.
The LCD parameter lets you set the maximum display contrast for your
viewing angle.
Foot Switch and Detune Page
Foot_Switch Detune
  aaaaaa    bbbb
The Foot_Switch parameter controls the function of a connected foot
switch.
When set to BYPASS, the foot switch functions exactly like the BYPASS
button on the front panel.
When set to STEP, if the Program Mode main screen is displayed, pressing
the foot switch steps to the next higher numbered Program. If the Song
Mode main screen is displayed, pressing the Foot Switch will step to the
next non-”0” Song Step in the Song’s Step List.
The Detune parameter allows you to change the pitch standard of the
ATR-1a 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. 
						

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DETUNE SETTING A=HERTZ
-20 435
-16 436
-12 437
-8 438
-4 439
0 440
+4 441
+8 442
+12 443
+16 444
+20 445
This table can be extended in either direction by adding or subtracting 4
cents per Hertz, as appropriate.
MIDI Page 1
Channel Note Sustain
 aaaa   bbb    ccc
The Channel parameter selects the channel over which the ATR-1a receives
MIDI messages. The choices include:
Individual MIDI channels 1–16If an individual channel is selected, the
ATR-1a will respond to messages received on that channel only and will
ignore any messages on other channels.
OMNIIf OMNI is selected, the ATR-1a will respond to messages on any
MIDI channel.
Setting the Note field to ON allows MIDI notes to define the scale used by
the ATR–1. Specifically, when Note is set ON, the scale of the currently
active Program is ignored. Instead, the ATR-1a continuously monitors the
MIDI input for Note On messages. At any instant, the scale used for
correction is defined by all MIDI notes that are on. For example, if MIDI
notes A, C and E are held, the ATR-1a input will be retuned to an A, C or E,
whichever is closest to the input pitch. 
						

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The source of the MIDI input would typically be a MIDI keyboard or
sequencer, and could consist of chords, scales, or even the exact melody
that the input should be corrected to.
If you will not be defining the ATR-1a’s target pitches via MIDI, be sure
that MIDI NOTE MODE is set to OFF. If MIDI NOTE MODE is set to ON and
no MIDI note data is present, the ATR-1a will pass through all audio
unprocessed, regardless of the settings of the Program Scale Page —
giving the impression that the ATR-1a is not functioning.
When the Sustain parameter is set to ON, the ATR-1a will respond to MIDI
Sustain Pedal commands. Specifically, all notes that are on at the moment
the sustain pedal is depressed will be considered to remain on until the
pedal is released or the note is released, whichever happens later.
MIDI Page 2
Pgm_Chg Bend Mod_Whl
  aaa   ccc    ddd
The Pgm_Chg (Program Change) field, when set to ON, causes the ATR-1a
to respond to MIDI Program Change messages. When the ATR-1a is in
Program Mode, a MIDI Program Change message of 1–50 will select the
corresponding Program. When the ATR-1a is in Song Mode, a MIDI Pro-
gram Change message of 1–20 will select the corresponding Song. Pro-
gram Change messages outside of those ranges will have no effect.
When Bend is set to ON, the ATR-1a will respond to MIDI Pitch Bend
messages. The maximum range of pitch bend is from -200 to +200 cents
(plus or minus one whole step). This modification is applied in addition to
any pitch correction, vibrato or tuning.
When Mod_Whl (Mod Wheel) is set to ON, the ATR-1a will use MIDI Mod
Wheel messages to control the depth of modulation of any programmed
vibrato.
Note:The Mod Wheel messages can only vary the amount of vibrato from
none to the amount of vibrato set in the Vibrato page of the active
Program or Song. In order for Mod Wheel control to work, you must
have the Program’s or Song’s Depth set to a positive value and the
Wave Type set to SINE, SQUARE or SAW. 
						

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MIDI Page 3
These next two MIDI Control pages allow you to assign various MIDI
controllers to set selected ATR-1a parameters in real time. (Note that all
MIDI controller data must be sent on the MIDI Channel set on MIDI Page 1
in order to be recognized.)
Midi    Speed  Step
Control  aaa    bbb
Assigning a MIDI Continuous Controller to the Speed parameter allows
that controller to override the current Program or Song Speed setting.
Note that this is simply a temporary override. The Program or Song’s
programmed setting is not affected. Changing to another Program or
Song will cause that Program’s or Song’s Speed parameter to be used.
The available values for this field are OFF or controller numbers 14 to 31.
Step allows the MIDI Data Increment controller (#96) to be used to control
stepping from Program to Program in Program Mode, or stepping among
Song Items in Song mode. The values which can be selected are OFF or 96.
MIDI Page 4
Midi  Vib Rate Delay
Control    aaa  bbb
These parameters allow realtime MIDI control of Vibrato Rate and Delay.
Again, these are simply temporary overrides. The Program’s or Song’s
programmed settings are not affected. Changing to another Program or
Song will cause that Program’s or Song’s Vibrato parameters to be used.
The available values for these fields are “OFF” or controller numbers
14 to 31. 
						

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MIDI Page 5
SysEx Device Number
       aaa
The ATR-1a supports a number of MIDI System Exclusive (SysEx) messages
using the Antares manufacturer ID. (See the SysEx Appendix for details.)
The ATR-1a SysEx device number is similar to the Device ID found in SysEx
Real Time and Non-Real Time messages. By setting each unit to a different
device number, up to sixteen ATR-1as can be independently controlled
with System Exclusive messages.
Values for the Device Number range from 0 to 15.
Owner Message Page
Edit Owner Name:
aaaaaaaaaaaaaaaaaaaa
This page is briefly displayed when the ATR-1a is powered on. This is
where you can show the world just how clever you can be in 20 characters.
Enter your message in exactly the same way that you enter Program and
Song names. 
						

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Chapter 5:
Creative Applications for the ATR-1a
The ATR-1a works on vocals so well you may think that’s all it can do.
Actually, lots of instruments can use it to great advantage. Fretless bass,
electric violin, trombone, even the theremin, all feature continuous pitch
potential, unconstrained by frets or keys. Here are some other ideas for
using your ATR-1a:
•Produce instant double tracking in one take!Record with two mics,
sending only one signal through the ATR-1a. If you’re going for a tight
double track, set the SPEED rather fast (page one in the PROGRAM
menu) and DETUNE the ATR-1a slightly (page six in the SYSTEM menu).
Increase both of these parameters to broaden the doubled effect. You
can also use some VIBRATO (page three in the PROGRAM menu) to
make a more dynamic effect (small depth and rate values are best, with
medium delay). Of course, you can also decide to record a single virgin
track, and bounce that to another, processing through the ATR-1a. This
way you can dial in the effect while auditioning the mix.
•Recording with two mics (as above) while improvising can also produce
heterophonic effects (the effect of two players and instruments playing
the ‘same’ melody, which actually varies with some different pitch
material). The more constrained your scale is in the ATR-1a, the more
variation there will be between the two performances.
•To set up a drone or ambient aura behind a melodic performance, try
sending some of the signal to the ATR-1a with an extremely constrained
scale (for example, in the key of C: C, F, G, A#) and then on to a lush,
long reverb. The effect produced will be a steady backdrop of chanting
tones behind the main melodic material.
•Don’t be afraid to use just as little of the ATR-1a as you need. It’s quite
possible that a performer has really quite good intonation, but fails
consistently on one or two notes. In this case, use the ATR-1a’s indi-
vidual BYPASS function (page two, bottom line in the PROGRAM mode)
to bypass all the notes except the one(s) which need the retuning. This
way, the ATR-1a is working in a completely transparent mode, and only
when needed. 
						

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•The ATR-1a can be used to simulate other singing styles.Many ethnic
styles feature exceptional (almost unbelievable) intonation during fast,
melismatic passages. Setting the SPEED parameter faster than normal
(less than 5), and setting the SCALE to an appropriately exotic mode
(for example, G A A# C# D D# F#) can produce exactly this result (if the
singer improvises with sufficient global panache.)
•You can also create ‘impossible’ effects (like very fast octave leaps) by
creating a SCALE of only one note and setting the SPEED medium fast
(~5). Using a foot pedal, enter bypass mode before beginning the
performance, then engage the ATR-1a while singing an interval of a
fifth or more from the Scale note, and then re-enter Bypass Mode to
continue with the normal performance. This effect can sound quite like
the abruptly beautiful vocal ornaments of the Pygmies.
•Use the Vibrato function to introduce strange, synthetic mannerisms
to your performance. Try the SQUARE or SAW wave with DEPTH of 100,
a RATE which relates to the tempo of the music, and, if you don’t want
to sound constantly hysterical, sufficient DELAY time so that the effect
only happens when you hold out longer notes.
•If you perform with a MIDI sequencer, use the MIDI functions of the
ATR-1a to completely automate the Auto-Tune functions. There are
many ways to do this (all setup parameters are in the SYSTEM menu):
Use MIDI program changes to select the proper ATR-1a programs.
Use a continuous MIDI controller to adjust the SPEED parameter.
Use MIDI note data on a dedicated MIDI channel to dynamically
adjust the ATR-1a SCALE settings. The note durations should be
completely legato (no space between ‘chords’) or use the SUSTAIN
pedal to keep the current Scale engaged.
Program the melody with MIDI notes, Pitch Bend and Mod Wheel
data to sound exactly as you want and excercise complete control
over the performer to achieve the precise performance you
imagine. Don’t tell the performer. (Just kidding.)
•Karaoke!Create a Program with a chromatic scale and a Speed setting
of 10–15 to tune up sustained notes while letting everything else
through unaffected. This will work for singers who can manage to stay
within a half semitone of the correct pitch. (If they get farther off than
that, they will be tuned to the wrong note.) Prepare multiple versions
of this Program with different Vibrato settings to help out singers who
don’t use vibrato. Although it’s not always possible, allowing the singer
to monitor the unprocessed signal (maybe through headphones?) will
make things easier for them. 
						

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•Use the MIDI Note function to create amazing ornamental flourishes
and trills. Connect a MIDI keyboard and turn on the MIDI Note func-
tion. Set a fast Speed and sing a sustained note while playing the
keyboard. Go crazy!
•While the ATR-1a is not really intended to be a harmonizer, you can
create some very high quality close two-part harmony by singing one
part and using the MIDI Note function to retune what you sing to the
appropriate harmony notes. 
						

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Appendix
Factory Programs
The ATR-1a comes from the factory pre-programmed with the basic
chromatic, major, and natural minor scales in Programs 1–13 as
listed below. You are, of course, free to overwrite these as you desire.
PROGRAM MAJOR SCALE NATURAL MINOR SCALE
1 (Chromatic)
2 C Major A Minor
3D /C
 Major B /A
 Minor
4 D Major B Minor
5E /D
 Major C Minor
6 E Major D /C
 Minor
7 F Major D Minor
8G /F
 Major E /D
 Minor
9 G Major E Minor
10 A /G
 Major F Minor
11 A Major G /F
 Minor
12 B /A
 Major G Minor
13 B Major A /G
 Minor
14 user defined user defined
…user defined user defined
50 user defined user defined