Antares AVOX 2 user manual

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Drive Amount 
The amount of tube saturation effect applied 
to your audio is controlled by the Drive control 
in combination with the Input Gain control 
described above.
The Drive control determines the amplification 
factor of the modeled tube pre-amp with the 
numeric display indicating the amplification 
in dB. At 0 dB , no distortion occurs, even for 
full amplitude (+1 or -1) signal levels. These 
levels represent the “rails” of the amplifier. 
As the Drive is increased, the amplification 
is increased. Any regions of the signal that 
increase beyond the rails generate saturation 
distortion.
Because the maximum Drive amount is +12 
dB, generating the tube effect requires the 
original signal to be at a level greater than -12 
dB. If this is not the case, you should adjust 
the Input Gain control to increase the level of 
the sound. (Be certain that Input Gain is not 
increased so much as to cause clipping.) It may 
be necessary to go back and forth between 
Drive and Input Gain a few times to get exactly 
the effect you want.
N OTE: If your audio was recorded 
at an exceptionally low level, it may 
be that even maximum Input Gain 
and maximum Drive will still not result in a level 
high enough to generate distortion. In that case, 
either re-record your audio at a higher level (if 
possible) or use your waveform editing program 
to digitally increase the level (keeping in mind 
that this may negatively affect the signal quality).
To adjust the Drive amount, click on the fader 
handle and move it left or right to the desired 
setting. The numerical display will indicate the 
amplification factor in dB and the tube graphic’s 
will “glow” will change to provide an additional 
visual indication (i.e., “eye candy”).
Command (Mac)/Alt (PC) clicking anywhere in 
the scale will reset the Drive value to 0dB
OmniTube 
Without OmniTube 
engaged, WARM 
functions exactly like a 
tube preamp, i.e., the 
regions of the input signal that exceed the 
clipping level (typically transients) are affected 
and all other regions are passed with no 
change.
With OmniTube on, all regions of the input 
signal are subject to tube distortion. To 
accomplish this, when you engage OmniTube, 
a compressor is inserted into the signal path 
after the Input Gain control and before the tube 
model. The compressor is set to compress 
the signal and then apply sufficient makeup 
gain to ensure that the Drive control can drive 
the entire signal above the clipping level. After 
the tube effect is applied to the entire signal, 
an inverse gain function restores the signal’s 
original dynamics.
The effect of OmniTube is highly dependent on 
the character of the input signal, which tube is 
selected, and the setting of the Drive control. 
Experimentation is the order of the day.
To toggle OmniTube on or off, simply click on 
the OmniTube button. The color of the switch 
will change to indicate its current state.
N OTE: Despite the fact that 
OmniTube employs a compressor, 
it is important to remember that 
the final output signal is not compressed and 
that the original dynamics are maintained. 
If you want to actually compress your 
signal, you’ll need a separate compressor 
somewhere else in the signal chain. 
						

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Output At tenuation
This control applies 
attenuation to the 
signal after it’s passed 
through the tube model. 
It is typically used to 
ensure that no clipping 
occurs as a result of 
the gain applied by 
the Drive control. As a 
starting point, set the 
attenuation to 0dB (i.e., 
no attenuation). If the 
Clip indicator lights, apply 
just enough attenuation 
to avoid the clipping 
and cause the output 
level meter needle to 
spend most of its time 
in the top two meter 
segments. (The top of 
the level meter’s range 
is 0dB.
To adjust attenuation, 
click on and move the 
fader to the desired 
position. The numeric 
display will indicate in dBs the exact amount of 
attenuation applied.
Command (Mac)/Alt (PC) clicking anywhere 
in the fader track will reset the control to its 
default value of 0dB.Usage Tips
At its most basic level, WARM is designed to 
add an extremely accurate model of a tube 
preamp’s sound to warm your digital tracks. 
But we have purposely designed WARM to 
have a range of controls that allow you to push 
well beyond that model. Here are a few other 
things to try:
•  Pass your entire final mix through WARM. 
Instantiate a stereo version of WARM (or 
more if you are mixing for surround) on your 
mix bus. Start with a little Velvet tube with 
OmniTube off. Experiment with the Drive 
amount and/or adding OmniTube for a unique 
timbral effect. Or switch to the Crunch tube 
for a more dramatic effect. The result will 
depend a lot on the nature of your mix, but 
will rarely be less than “interesting.”
• Run your vocal through the Crunch tube with 
OmniTube on and a high Drive level. Instant 
industrial vocal.
• Although we usually warn against input 
clipping, for extreme effects try purposely 
clipping the input (for digital distortion) and 
then passing the distorted signal through the 
tube model. This will usually sound pretty 
ugly, but in some cases it might be just the 
ugly you’re looking for.
• Experiment and let your ears be your guide. 
						

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Chapter 12: ASPIRE 
Aspiration Noise Processor
ASPIRE is the world’s first tool for modifying a voice’s breathiness 
independent of its harmonic content. 
Whether reducing a bit of vocal rasp or adding a bit of smokiness, ASPIRE lets you modify the 
amount and quality of a voice’s aspiration noise without otherwise affecting the vocal’s harmonic 
characteristics. 
What’s aspiration noise?
As we mentioned back in the chapter on 
THROAT, when you speak or sing, air from 
your lungs is forced through your vocal chords, 
causing them to vibrate. The contour of this 
vibration is the glottal waveform. The actual 
shape of the waveform is affected by each 
individual’s anatomy as well as the pressure 
applied to the vocal chords. From there, the 
voice is propagated through the throat, the 
mouth and out through the lips. It is the shape 
of these structures, both their length and width, 
that create the resonant characteristics that 
combine with the glottal waveform to define a 
unique vocal identity.
But going into a bit more detail, we find that 
the vocal waveform is actually a combination 
of two different components. One, the one we 
usually think of as the primary element of vocal  timbre, is the harmonic content generated by 
the process described above. However, there 
is a second component that is generated by 
the turbulence of the air rushing past the vocal 
chords. This component, aspiration noise, does 
not have harmonic content and can roughly be 
thought of as “breathiness.” 
Aspiration noise presents itself in a variety of 
ways, from a subtle bit of breathiness to a full-
blown rasp. Of course, whether it’s a problem 
or not depends on the amount of noise and 
the style of a performance. A whole lot of 
roughness that would work well for screaming 
punk or roots blues might well be a problem 
for mainstream pop or a smooth ballad (of 
course, it also might not). Up to now, there 
wasn’t much you could do about it. Now, with 
ASPIRE, there is. 
						

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What’s ASPIRE do?
Quite simply, ASPIRE analyzes a vocal in 
real time and separates the aspiration noise 
component from the harmonic content. It then 
allows you to either increase or decrease the 
amount of aspiration noise, as well as letting 
you affect the character of the aspiration noise 
by applying a parametric EQ to the noise 
component.
Controls
Voice Type
Use this 
control to 
select the 
vocal type 
of the track you will be processing. Choices 
include soprano voice, alto/tenor voice, 
baritone/bass voice and instrument (a general 
setting for anything that isn’t actually a vocal). 
Matching the appropriate algorithm to the input 
results in faster and more accurate analysis.
To select vocal type, click on the Voice Type 
pop-up and then select the desired type from 
the pop -up list.
N OTE : Choosing the wrong Voice 
Type (or just forgetting to set it 
at all) can result in compromised 
performance. Pay attention.
Tr ack i n g
In order to 
accurately 
analyze the input, 
ASPIRE requires 
a periodically 
repeating 
waveform, 
characteristic of a voice or solo instrument. 
The Tracking control determines how much 
variation is allowed in the incoming waveform 
for ASPIRE to still consider it periodic.
If you are working with a well-isolated solo 
signal (e.g., tracking in a studio or from a 
multitrack master) you can typically set the 
Tracking control to 25 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) or you are dealing 
with a particularly breathy or guttural voice, 
it may be necessary to allow more signal 
variation (higher Tracking numbers). However, 
under these circumstances tracking is not 
guaranteed and a too “relaxed” setting may 
introduce distortion and popping.
To adjust Tracking, click on the knob and move 
the cursor up to turn the knob clockwise, or 
down to turn it counterclockwise. Remember, 
higher numbers allow more  variation, while 
lower numbers require less.
Command (Mac)/Alt (PC) clicking on the knob 
will reset it to its default value of 25.
Display
The display provides a graphic representation 
of the harmonic content of the input signal (the 
white plot), the aspiration noise component and 
its relative level (the red plot), and the current 
setting of the parametric EQ (the green plot). 
Increase/Reduce
Click the appropriate button to ether Increase or 
Decrease the amount of aspiration noise. The 
appropriate controls will become active (and the 
remaining controls will be disabled).
I
mp OrTa NT NOTE: ASPIRE acts 
on the aspiration noise naturally 
present in a person’s voice. It 
does not synthesize aspiration noise from 
scratch. There are people with extremely 
pure voices that contain virtually no audible 
aspiration noise. In those relatively rare 
cases, ASPIRE will have no audible effect. 
						

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REDUCTION
This control 
allows you 
to select the 
amount of 
reduction of 
the aspiration 
noise. A 
setting of 0.0 
provides no reduction. Maximum reduction is 
-12.0 dB. The red aspiration noise plot on the 
graphic display will move to reflect the setting 
of the control.
To adjust Reduction, click on the knob and 
move the cursor up to turn the knob clockwise, 
or down to turn it counterclockwise. 
Command (Mac)/Alt (PC) clicking on the knob 
will reset it to its default value of - 6 dB.
INCRE ASE
This control 
allows you to 
increase the 
amount of 
the aspiration 
noise 
(although 
see the 
section on EQ below for an explanation of how 
this function can also be used for selective 
reduction). A setting of 0.0 provides no 
increase. Maximum increase is 12.0 dB. The 
red aspiration noise plot on the graphic display 
will move to reflect the setting of the control.
To adjust Increase, click on the knob and move 
the cursor up to turn the knob clockwise, or 
down to turn it counterclockwise. 
Command (Mac)/Alt (PC) clicking on the knob 
will reset it to its default value of 6 dB.EQ Section
The EQ Section provides one band of traditional 
parametric EQ. 
N OTE : It’s important to remember 
that this EQ affects just the aspiration 
noise component, not the main 
harmonic component. If you want to apply EQ 
to the main voice, you’ ll need to use another 
EQ somewhere else in the processing chain.
aN OT hEr N OTE : Although the EQ is 
only active in the “Increase” mode, 
various combinations of Increase 
amount, Frequency, Q, and Gain can result 
in selective shaping of the aspiration noise. 
Specifically, using negative Gain amounts, you 
can use this mode to decrease the aspiration 
noise in a specific frequency range while 
increasing it (or leaving it unchanged) in another. 
FREQUENCY
This control 
selects the 
frequency of 
the EQ (i.e., 
the frequency 
that will either 
be increased 
or decreased 
via the Gain control). The range is from 0Hz to 
4000Hz. 
To adjust Frequency, click on the knob and 
move the cursor up to turn the knob clockwise, 
or down to turn it counterclockwise.  
Command (Mac)/Alt (PC) clicking on the knob 
will reset it to its default value of 1500Hz.
Q
The Q control 
allows you 
to set the 
slope (and, 
consequently, 
the bandwidth) 
of the EQ’s 
peak or dip. 
Its range is 0.10 to 3.10. High Qs result steep 
slopes (and narrow bandwidth), while lower 
Qs result in more gentle slopes (and wider 
bandwidth). (The easiest way to understand  
						

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this is to watch the green EQ plot while 
adjusting the Q and Gain controls. All will 
become clear.)
To adjust Q, click on the knob and move the 
cursor up to turn the knob clockwise, or down 
to turn it counterclockwise.  
Command (Mac)/Alt (PC) clicking on the knob 
will reset it to its default value of 0.70.GAIN
The Gain 
control lets you 
set the amount 
of boost or cut 
that will be 
applied to the 
aspiration noise 
component 
at the selected Frequency. The range is from 
-12.0dB to +12.0dB.
To adjust Gain, click on the knob and move the 
cursor up to turn the knob clockwise, or down 
to turn it counterclockwise.  
Command (Mac)/Alt (PC) clicking on the knob 
will reset it to its default value of 0.0.Usage Tips
•  If you’ll be using any of the more radical 
AVOX 2 plug-ins on a voice, ASPIRE should 
come first in the signal chain (or second, if 
you will also be using SYBIL). 
• As in many of the AVOX 2 plug-ins, 
we’ve provided control ranges that allow 
you to create effects well beyond what 
would normally be considered “realistic.” 
In particular, large Increase amounts in 
combination with high Gain and Q at various 
frequencies can result in some rather 
unusual effects. 
• As mentioned above, ASPIRE will only have 
an audible effect if a voice actually contains 
natural aspiration noise. If you are working 
with one of those rare super-pure voices and 
need to add an element of breathiness, use 
the Add Breathiness function in THROAT to 
a add synthesized simulation of aspiration 
noise. 
						

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Index
A
Antares Audio Technologies  ii, 1
ARTICUL ATOR  6 , 27
Controls  28 Amplitude Modulation Section  33
EQ Section  33
Formant Extraction Section  31
Formant Modulation Section  32
Input Mixer Section  30
Input Routing Section  28
Output Mixer Section  34
Signal Routing  28
Signal Selection  27
Usage Tips  35
ASPIRE  6 , 47
Controls  48 Display  48
EQ Section  49
Increase/Reduce   48
Voice Type  48
Usage Tips  50
What’s aspiration noise?  47
What’s ASPIRE do?  48
Authorizing AVOX 2  3
C
CHOIR  6 , 21
Controls  21 Choir Size  21
Pitch Variation  21
Stereo Spread  21
Timing Variation  21
Vibrato Variation  21
Usage Tips  22
D
DUO  6 , 19
Controls  19 Double Level  20
Double Pan Position  20
Original Level  20
Original Pan Position  20
Pitch Variation  20
Timing Variation  20
Vibrato  19
Vocal Range  19
Usage Tips  20
H
Harmony Engine  5 , 9
I
Installing AVOX 2  3
L
License Agreement  iii
M
MUTATOR  6, 37
Controls  37 Alienize Section  40
Input/Output Section   41
Voice Design Section  37
Usage Tips  41
O
Overview  5 
						

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P
Processing Guidelines  7
PUNCH  6, 23
Controls  23 Ceiling  23
Gain  23
Impact  23
Output Level  24
Usage Tips  24
S
SYBIL  6 , 25
Controls  25 Attack Time  26
Compression   26
Gain Reduction Meter  25
High Pass Frequency  25
Release Time  26
Threshold  26
Usage Tips  26
T
Technical Support  4
THROAT  5 , 11
Controls  11 Breathiness  12
Graphic Throat Display  14
Set up  11
Throat Modeling  13
factory presets  17
Usage Tips  16
W
WARM  6 , 43
Controls  44 Drive Amount  45
Input Level  44
OmniTube  45
Output Attenuation  46
Tube Selector  44
So what exactly is WARM?  43
What’s the big deal with tubes anyway?  43