Antares AVOX 4 user manual

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Usage Tips
• CHOIR Evo is available in mono and stereo 
versions and, depending on the capabilities 
of your host program, a mono -> stereo 
version (which in most cases is the preferred 
routing). In the case of the stereo version, 
CHOIR Evo processes only the left channel. 
CHOIR Evo is dramatically more effective 
with the voices panned across the stereo 
spectrum, so if at all possible, try always to 
use it with stereo output.
• The real power of CHOIR Evo comes not as a 
processor for one voice, but as a processor to 
assign to each of a number of harmony parts. 
Even if you have only one singer, have them 
overdub the basic harmony parts and then 
process those parts through THROAT 4 to give 
each the character of different voices. Then 
assign an instance of CHOIR Evo to each of 
those parts and create your vocal ensemble.
• Alternatively, create harmony parts by 
processing a single vocal part through a 
harmonizer and then assigning each   
individual harmonizer output to an instance   
of CHOIR Evo.
•  Keep in mind that the greater the number of 
voices, the greater the CPU usage. If you will 
be using multiple instances of CHOIR Evo,   
it might be wise to limit each instance to 4 
or 8 voices.
•  Along those same lines, even if you have 
tons of CPU power, more is not always 
better. Match the choir size to the style 
of your music. Not every song needs the 
Mormon Tabernacle Choir.
• Experiment with different combinations 
of the Pitch and Timing controls. They 
can create dramatically different vocal 
ensembles. With Timing at its minimum 
and substantial Pitch Variation, you have a 
choir that’s rhythmically tight but a bit loose 
with intonation. Conversely, reversing those 
settings gives you a group that’s solidly in 
tune, but rhythmically loose. And there 
are of course many variations in between. 
Match the performance style to the style of 
your music.
• For best performance, CHOIR Evo requires a 
clean, pitched monophonic signal. If CHOIR 
Evo can not reliably detect the pitch of the 
input, either because of a noisy or effected 
signal or because the input is not a single 
monophonic voice, it will apply Timing 
variations only.  
						

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8: PUNCH Evo  
V Oc AL I MPA cT E NHAN cEr
PUNCH Evo is a processor that is designed to 
optimize the level of a vocal track to allow 
it to cut through a dense mix with power 
and clarity. It provides a combination of 
compression, gain, limiting, and overload 
protection with a user interface designed for 
speed and simplicity.
c ontrols
Input Level
This meter displays the input level of the signal 
to be processed. 
N OTE: This display is for reference 
purposes only. None of the following 
controls affect the input level. The 
result of all processing will be reflected on the 
Output Level display described below. Gain
This control allows you to increase the 
gain of your vocal. It will typically be set in 
combination with the Impact control below.
The effect of this control will be reflected on 
the Output Level display.
Command (Mac)/Control (PC)/Option (Pro 
Tools) click the control to reset it to its default 
value of 0.0.
Impact
This control lets you select the amount 
of “punch” that is added to the vocal. As 
you increase the value of this control, level 
variations in the vocal performance are 
equalized and their level raised. The effect of 
the control will be reflected on the Output 
Level display.
Command (Mac)/Control (PC)/Option (Pro 
Tools) click the control to reset it to its default 
value of 0.  
						

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Ceiling
This control allows you to attenuate the signal 
after all other processing. 
Although PUNCH Evo allows you to create a 
full-level signal without risk of ugly distortion, 
it will usually be wise to apply at least a little 
attenuation here to allow yourself some room 
for any further processing that might apply 
gain. The default setting of -3.0 dB is a good 
starting point, and you can always come back 
and add in more if necessary as you continue 
processing and the mix takes shape.
Command (Mac)/Control (PC)/Option (Pro 
Tools) click the control to reset it to its default 
value of -3.0 dB.
Output Level
This meter displays the level of the signal 
after all processing by PUNCH Evo. The Gain, 
Impact, and Ceiling controls should be set in 
combination such that no clipping occurs. Usage Tips
• PUNCH Evo is available in mono and stereo 
versions.
• Since the point of PUNCH Evo is to optimize 
the impact of your vocal track in the mix, 
it makes sense to set the controls while 
listening to the track in the context of the 
entire mix.
• Every vocal performance is unique. Finding 
the optimum settings for PUNCH Evo is 
very much a matter of experimentation. 
Luckily there are only two controls that 
really matter, so the prospect is not exactly 
daunting.
• The Impact control has been purposely 
designed with a wide enough range to 
produce some pretty odd effects at its 
extreme. If you’re looking for that sort of 
thing, check it out.
• While PUNCH Evo has been designed for the 
voice, it can perform its magic effectively on 
pretty much any recorded part. It will even 
do interesting things to entire recorded 
mixes. Check it out.  
						

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9:  SYBIL Evo  
VA rIA bLE  FrEqUEN cy dE-ESSE r
SYBIL Evo is a digital equivalent of a traditional 
vocal de-esser. When recording spoken or 
sung material, the sibilant sounds (Ss, Ts, CHs, 
and SHs) in the track sometimes (depending 
on the individual performer) appear louder 
than the rest of the signal. The effect can 
sound 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 a compressor 
and a high pass filter are traditionally 
configured to accomplish de-essing. SYBIL Evo uses a digital algorithm to 
implement the de-esser function. While the 
details of the algorithm are quite complex, the 
resulting effect is functionally equivalent to 
the diagram above. 
COMPRESSORININ
OUTOUT
SIDECHAIN 
INPUT
HIGH
PA SS
FI LT ER  
						

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controls
G AI n Re DuCTIO n 
m eTeR
The Gain Reduction 
Meter displays 
the amount of 
compression taking 
place. If the frequency 
and threshold controls 
are set properly, the 
meter will display 
little gain reduction 
during vowel sounds 
and soft consonants, 
and substantial gain 
reduction during 
sibilants. For this 
reason, the meter is 
a useful tool when 
setting the other 
controls.
SID e Ch AIn
High Pass 
Frequency
This control sets 
the frequency of 
SYBIL Evo’s side-
chain high pass 
filter. The goal is to 
set the frequency 
such that the filter 
passes any sibilance 
(thereby keying 
the compressor), 
but not any of the 
desired signal.
Command (Mac)/
Control (PC)/Option 
(Pro Tools)click the 
control to reset it to 
its default value of 
8000 Hz.
CO m PRe SSOR
Threshold
This control sets the threshold 
level of SYBIL Evo’s compressor. 
The range is from 0 dB to -80 dB. 
In most cases, the default value of 
-48 dB is a good place to start.
Command (Mac)/Control (PC)/
Option (Pro Tools) click the control 
to reset it to its default value of 
-48 dB.
Compression
This control sets the compression 
ratio of SYBIL Evo’s compressor. 
The range is from 1.0:1 to 99:1. In 
most cases, the default value of 
2.4:1 is a good place to start.
Command (Mac)/Control (PC)/
Option (Pro Tools) click the control 
to reset it to its default value of 
2.4:1.  
						

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Attack Time 
This control adjusts the speed with which 
SYBIL Evo’s compressor responds to peaks in 
the signal coming from the high pass filter. The 
range of the control is from 3 milliseconds to 
100 milliseconds. 
Command (Mac)/Control (PC)/Option (Pro 
Tools) click the control to reset it to its default 
value of 10 milliseconds.
Release Time
This control adjusts the time it takes the 
compressor’s gain to increase 6 dB after the 
signal coming from the high pass filter drops 
below the threshold. The range of the control 
is from 3 milliseconds to 200 milliseconds.
Command (Mac)/Control (PC)/Option (Pro 
Tools) click the control to reset it to its default 
value of 20 milliseconds.
Usage Tips
• SYBIL Evo functions solely as a mono 
processor.
• If the high pass frequency is set too low, 
non-sibilant components of the signal will 
be compressed and the vocal will have its 
highs attenuated. If it is set too high, some 
sibilance will still remain. The trick is to find 
that ideal point where only the sibilance is 
affected. When set correctly, you can’t tell 
that there is processing going on. If you can 
hear something happening, SYBIL Evo needs 
to have its settings tweaked.  
						

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10: ARTICUL ATOR Evo  
d I G I TA L  TA Lk  b OX
A modern-day version of the venerable talk 
box, ARTICUL ATOR Evo lets you extract the 
formant and amplitude information from a 
vocal (or other dynamic source) and apply 
it to any other audio track or to a built-in 
broadband noise generator. Perfect for talking 
guitars, singing synths, whispering voices, and 
a wide range of special effects.
So what’s going on here?
ARTICUL ATOR Evo is unique among the AVOX 
4 plug-ins in a number of basic ways:
First, it requires two different audio sources, 
what we call the Audio Signal and the Control 
Signal (more about those in a bit). 
Second, while every other AVOX 4 plug-in is 
designed to process and affect a vocal track, 
ARTICUL ATOR Evo is designed to use a vocal 
track to control the processing of a second 
track, ideally a track with broadband harmonic 
content like a rich synth patch, a processed 
guitar, or the built-in noise generator (but 
typically not another vocal track). Finally, because different hosts offer different 
(or no) capabilities for routing multiple 
tracks to a single plug-in, the version of 
ARTICUL ATOR Evo for each plug-in format 
features a unique Input Routing subsection 
that is designed for the specific capabilities of 
that format.
S
IG nAL  Se Le CTIO n
As mentioned above, ARTICUL ATOR Evo 
requires two audio sources (although the built-
in Noise Generator can serve as one of them). 
They are:
THE  cONTr OL SIGNAL : This signal serves as 
the source of the formant and amplitude 
information that will be applied to the Audio 
Signal. A good Control Signal will have a lot 
of variation in both loudness and resonant 
harmonic content. A voice, whether singing, 
speaking, or just making weird rhythmic vocal 
noises makes an ideal Control Signal.
The Control Signal will always be mono.  
						

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THE A UdIO S IGNAL : This is the signal that 
the Control Signal’s formant and amplitude 
information is applied to. A good Audio 
Signal will be rich in harmonic content 
and sustained in nature. Examples include 
synth pads and patches rich in overtones, 
distortion-rich guitar sounds, or even entire 
instrumental mixes. The built-in Noise 
Generator also makes a good Audio Signal, 
but its character will pretty much always 
be in the nature of whispering. (It can also 
be mixed with an external Audio Signal.) 
The Audio Signal can be mono or stereo, 
depending on the capabilities of your 
particular host.
S IG nAL  ROuTI nG
Since few current plug-ins need to make 
use of two independent audio signals, some 
ingenuity is required to use ARTICUL ATOR Evo 
in some hosts. 
The easiest way to route the required signals 
is through the use of a sidechain input. In this 
scenario, you simply instantiate ARTICUL ATOR 
Evo on the Audio Signal’s track and route the 
Control Signal through the sidechain input.
Unfortunately, not all hosts currently support 
sidechain routing. If yours doesn’t, you will 
have to use one of the alternative methods 
outlined in the Input Routing section below.
The ARTICu LATOR eVO  
C Onf IGuRATIOn Gu IDe
While the general Input Routing instructions 
below serve as a good basic overview, we’ve 
also developed a PDF guide that includes 
detailed configuration instructions, complete 
with screen shots, for a variety of popular 
hosts. If you bought a boxed copy of AVOX 
4, you’ll find the guide on your DVD. If 
you downloaded it from our web site, it is 
included in the installer and will be found in 
the Antares directory with the other AVOX 4 
documentation.
Since hosts change with dismaying regularity, 
we will be regularly updating the guide to 
reflect the latest versions. You can always 
download the most up-to-date edition at:
http://www.antarestech.com/support/
controls
In Pu T R OuTI nG  SeCTIO n
As mentioned above, the RTAS, VST and Audio 
Units versions of ARTICUL ATOR Evo each 
include an Input Routing section unique to each 
format’s capabilities. In the case of RTAS and 
VST, these sections are simply informational in 
nature, providing an indication of what’s going 
where. In the case of Audio Units, the Input 
Routing section includes controls that let you 
select the routing that is supported by your 
particular host. Details below.
A AX ANd rTAS  Since Pro 
Tools™ supports sidechain 
routing, setting up the AXX 
or RTAS versions is quite 
straightforward. Simply 
select the Audio Signal by 
instantiating ARTICUL ATOR 
Evo on the desired mono or 
stereo audio track and then 
assign the Control Signal via 
the sidechain input. 
The RTAS/A AX Input Routing 
section includes a red “LED” 
that lights to confirm that 
the sidechain input has been 
enabled in Pro Tools.
VST  The version of VST that 
is most commonly in use at the 
time this is being written (and 
is used by ARTICUL ATOR Evo) 
does not support sidechain 
input. Consequently, the 
methods for getting both 
signals into the VST version 
of ARTICUL ATOR Evo vary 
depending on what kind of 
track it’s instantiated on.
The Input Routing section will 
change to reflect each of the 
three possible options:
I NSTANTIATION ON A MONO  
T r Ack: In this configuration, 
instantiate ARTICUL ATOR Evo 
on the track of the Control 
Signal. ARTICULATOR Evo’s   
						

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internal Noise Generator functions as the 
Audio Signal. (This is useful primarily for 
whispering and modulated noise effects.)
INSTANTIATION ON A STE rEO  
T r Ack: In this configuration, 
ARTICUL ATOR Evo treats the 
right channel of the stereo 
track as the Control Signal 
and the left channel of the 
track as the Audio Signal. 
As is probably obvious, this 
will usually require that you 
create the stereo track by 
combining (via whatever 
method your DAW provides) 
the two independent tracks 
you wish to use as Control 
Signal and Audio Signal 
(being careful to ensure that 
they are hard panned to the 
appropriate channels). 
In this configuration, the Audio Signal is 
limited to being mono (although it can be 
combined with the Noise Generator in Stereo 
Noise mode).
I NSTANTIATION ON A 3 
c HANNEL FX b US: In this 
configuration, ARTICULATOR 
Evo treats the surround 
channel of the FX bus as the 
Control Signal and the left 
and right stereo channels 
as the Audio Signal. 
Again, this will require 
that you create the FX bus 
channels by combining the 
independent tracks you wish 
to use as Control Signal and 
Audio Signal (again being 
careful to ensure that they 
are hard panned to the 
appropriate channels).
This is the most flexible of the three options, 
in that it allows you to process a stereo Audio 
Signal. A
UdIO  UNITS  Some 
Audio Units hosts support 
sidechain input and some 
don’t. Consequently, the 
Input Routing section for 
the AU version provides 
controls that allow you to 
set up ARTICUL ATOR Evo to 
take advantage of whichever 
capabilities your host 
provides.
The Input Routing section 
will change to reflect each of 
the two possible options:
I NSTANTIATION ON A MONO  
T r Ack: In this configuration, 
you can select either the 
sidechain input or the audio track itself as the 
Control Signal. If our host supports sidechain 
input, you will typically always select it as 
the Control Signal. If your host does not 
offer sidechain input, select Audio Track. 
Depending on your choice, the resulting Audio 
Signal source will appear in the Audio Signal 
display as follows:
•  If you select SId EcHAIN , the Audio Source 
will be the audio track that ARTICUL ATOR 
Evo is instantiated on.
•  If you select AUdIO  TrAck, ARTICULATOR 
Evo’s internal Noise Generator functions as 
the Audio Signal. (This is useful primarily for 
whispering and modulated noise effects.)
I NSTANTIATION ON A STE rEO  
T r Ack: In this configuration, 
you can select either the 
sidechain input or the left 
channel of the audio track or 
the right channel of the audio 
track as the Control Signal. If 
our host supports sidechain 
input, you will typically 
always select it as the Control 
Signal. If your host does 
not offer sidechain input, 
select either the left or right 
channel of the audio track.  
						

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Depending on your choice, the resulting Audio 
Signal source will appear in the Audio Signal 
display as follows:
• If you select SId EcHAIN, the Audio 
Source will be the stereo audio track that 
ARTICUL ATOR Evo is instantiated on. 
This is the most flexible configuration in 
that it allows for a stereo Audio Signal.
•  If you select AU dIO Tr Ack L as the 
Control Signal, Audio Track R will 
be selected as the Audio Signal.
•  If you select AU dIO Tr Ack r as the 
Control Signal, Audio Track L will be 
selected as the Audio Signal.
In these latter two cases, you will typically 
be required to create the stereo track by 
combining (via whatever method your DAW 
provides) the two independent tracks you 
wish to use as Control Signal and Audio Signal 
(being careful to ensure that they are hard 
panned to the appropriate channels). In these 
configurations, the Audio Signal is limited to 
being mono (although it can be combined with 
the Noise Generator in Stereo Noise mode).
In Pu T Le VeL  m eTeRS
All of the Input Modules include little input 
level meters for both the Audio Signal and 
Control Signal. These meters display the 
levels of the signals routed to their respective 
inputs. Their main purpose is to allow 
you to visually confirm that that the two 
signals are actually routed as you expect
In Pu T mIX eR Se CTIO n
The Input Mixer controls let you set the 
relative levels of the Audio Signal and the 
internal Noise Generator as well as optionally 
applying compression to the Audio Signal and 
selecting mono or stereo noise.
Audio Level
This control sets the 
level of the audio 
signal (duh!). Its 
range provides for 
both attenuation 
and gain. The range 
is from -inf (i.e., off) 
to +12 dBs of gain.To adjust Audio Signal Level, 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 amount 
of attenuation or gain in dBs.
Command (Mac)/Control (PC)/Option (Pro 
Tools) clicking on the knob will reset it to its 
default value of 0 dB.
Compressor
This control lets you engage a 
compressor with fixed parameters 
designed to maximize the Audio 
Signal’s level. It would typically be 
used in the case where the Audio Signal has 
quite a bit of dynamic variation that you would 
like to even out so that the Control Signal’s 
dynamics can be applied to it. 
Clicking the Comp button will toggle the 
compressor on and off. The button will turn 
blue to indicate that the compressor is on. 
N OTE: Engaging the compressor 
usually results in an overall increase 
in gain. You may need to adjust the 
Audio Level control to compensate.
Noise Level
This control sets the 
level of the internal 
Noise Generator. 
The range is from 
-inf (i.e., off) to +12 
dBs of gain.
To adjust Noise 
Generator Level, 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 amount of attenuation 
or gain in dBs.
Command (Mac)/Control (PC)/Option (Pro 
Tools) clicking on the knob will reset it to its 
default value of -inf (i.e., off).
Stereo Noise
ARTICULATOR Evo’s internal 
Noise Generator can provide 
either a single noise signal, or two 
uncorrelated noise signals panned 
to the opposite extremes of a stereo output.