Antares AVOX 4 user manual

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Output Volume 
This control applies gain or 
attenuation to the output 
signal. Since MUTATOR 
Evo’s various functions 
can substantially increase 
or decrease the level of 
the input, you can use this 
control, in combination with 
the output level meter, to 
ensure that your output is at 
an appropriate level without 
clipping. 
To adjust output volume, 
click on and move the fader 
to the desired position. The 
numeric display will indicate 
in dBs the exact amount of 
gain or attenuation applied.
Command (Mac)/Control 
(PC)/Option (Pro Tools) 
clicking anywhere in the 
fader track will reset the 
control to its default value 
of 0dB.
Output Level Meter
Use this meter in 
combination with the 
output level control to 
set the optimum output 
level. Ideally, the meter 
should peak in the upper 
area of its range without 
repeatedly pegging at 0 dB.
Bypass
The Bypass control lets 
you completely bypass the 
plug-in. When the Bypass 
button is blue, the plug-in is 
processing normally. When 
it is red, it is bypassed. Click 
the button to toggle its 
state. Audio Display
The Audio Display gives you a visual indication 
of the original and processed versions of your 
audio (and is just kind of cool to watch). The 
blue plot is the waveform of the original audio, 
The red plot is the processed audio. For hours 
of fun, try changing the various controls while 
watching their effect on the red plot.
Usage Tips
The effects of the various MUTATOR Evo 
functions are so dependent on the nature of 
each individual voice, it’s hard to give useful 
general guidelines. If there was ever a plug-in 
that rewarded just messing around, this is it.
With that caveat:
•  If you’re looking to create the voice of a 
demon, try shifting pretty much any voice 
down 8-12 semitones (depending on how 
low the voice is to begin with), set Throat 
Length to 1.10, and set Mutation to “2”. Then 
tweak as desired.
•  To turn a woman into a child, shift the voice up  5 semitones, set Throat Length to 1.30, and set 
Throat Width to 0.60. Then tweak as desired.
•  The effect of Alienization Dialect settings are entirely dependent on the specific speech it’s 
applied to. However, for an interesting musical 
effect, use a long cycle period and try matching 
the period to the tempo of your song.  
						

							46
12: WARM  
T U bE S AT U rAT I O N  GEN E rATO r
So what exactly is WA rM? 
WARM is an easy-to-use plug-in that 
accurately models the sonic effects of 
recording audio through a high quality analog 
tube preamplifier. It offers the choice of two 
different tube models as well as a unique 
OmniTube function that allows the application 
of the tube effect to the entire signal (as 
opposed to only the transients, as is typically 
the case with a tube preamp). 
WARM’s extended parameter ranges have 
been designed to allow the creation of a wide 
variety of sonic effects beyond the classic 
Based on Antares’ legendary (at least among 
those of us who work here and, based on 
the volume of emails we’ve gotten since 
we discontinued it, a fair number of others 
as well) Tube plug-in, WARM, warms up 
your vocals with Antares’ world-renown 
tube modeling technology, while being so 
processing-efficient, you can put an instance 
on pretty much every track in your project and 
still barely see your CPU meter twitch.   
						

							47
subtle tube “warmth.” Additionally, WARM has 
been designed to be extremely DSP efficient, 
so that even a relatively modest native system 
will be capable of running WARM on an almost 
unlimited number of tracks simultaneously. 
What’s the big deal with tubes 
anyway? 
For most of us in audio recording, distortion 
is a bad word. We typically want the cleanest 
possible recordings, free of any audible 
distortion. But for certain types of audio there 
is an exception: the distortion that comes 
from transient clipping in a high quality tube 
preamplifier. 
When high quality tube pre-amps are 
operated in their linear range, there is virtually 
no signal distortion and their audio qualities 
are essentially identical to that of high quality 
solid state pre-amps. However, it is common 
for transients to exceed the preamp’s linear 
voltage range, resulting in distortion. And 
here’s where things get interesting. The 
distortion characteristics of a vacuum tube 
pre-amp are vastly different than those 
of solid state amplifiers. Specifically, the 
overtones produced by tube distortion 
are generally harmonically related to the 
fundamental input pitch, whereas solid state 
overdrive distortion generally produces non-
harmonic overtones. This tube distortion is 
often described as adding a certain “warmth” 
to a sound. This is in contrast to what is often 
described as the “brittleness” of the solid state 
sound.
As a result, many people pay large sums 
of money for tube preamps designed to 
provide this desirable but elusive quality. It 
was the best sonic qualities of a number of 
these preamps that served as the sources for 
WARM’s digital models.
controls
Input Level 
This control applies 
gain to the input signal 
before it’s passed to 
the tube model. It is 
typically used to ensure 
that the level of the 
input is high enough to 
exceed the clipping level 
in the tube model. As 
a starting point, adjust 
the gain such that the 
input level meter needle 
spends most of its time 
in the top two (gray and 
purple) meter segments.  
Further adjustments can 
be made in combination 
with the Drive setting 
(see below).
To adjust gain, click on 
and move the fader to 
the desired position. 
The numeric display will 
indicate in dBs the exact 
amount of gain applied.
Command (Mac)/Control 
(PC)/Option (Pro Tools) 
clicking anywhere in the fader track will reset 
the control to its default value of 0dB.
NOTE: Since the Drive control is 
capable of a maximum of 12dB of 
gain, the input signal transients 
must be at least above -12dB to produce any 
tube effect. If the input meter never enters 
the top segments of the meter, no tube effect 
will be audible with even maximum Drive.
ANOTHE r NOTE: Unless you are 
going for some special effect, 
you do not want to have clipping 
at the input stage. This is not the “good” 
clipping that happens in the tube model. 
Input clipping is that nasty digital kind.  
						

							48
Tube Selector 
WARM includes two different tube models. 
The Velvet (blue) tube models the subtle 
effects of a classic high-quality tube 
preamp. While this model is perfect for 
adding warmth to vocals, it’s just as useful 
for acoustic guitar, horns, strings, synth 
pads, in fact pretty much anything.
The Crunch (red) tube models the deep, 
warm distortion of an overdriven tube 
amplifier. Use it in moderation to impart 
a subtle (or not-so-subtle) effect to 
almost any track. Or crank it up for that 
“industrial” vocal sound, electric guitar, 
bass, or synths.
To select a tube, simply click the 
appropriate button.
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.
NOTE: 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).  
						

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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)/Control (PC)/Option (Pro 
Tools)clicking anywhere in the scale will reset 
the Drive value to 0dBOmniTube 
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.
NOTE: 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. Output Attenuation
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)/Control (PC)/Option (Pro 
Tools) clicking anywhere in the fader track will 
reset the control to its default value of 0dB.  
						

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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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13: ASPIRE Evo  
A SPIr ATION  NOISE  PrOcESSO r
ASPIRE Evo 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 Evo 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 Evo, 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 Evo, there is.  
						

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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)/Control (PC)/Option (Pro 
Tools) 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).
IMPOrTANT NOTE: ASPIRE Evo 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 Evo will have no audible effect.
What’s ASPI rE Evo do?
Quite simply, ASPIRE Evo 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
Vo i c e  Ty p e
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.
Tracking
In order to 
accurately analyze 
the input, ASPIRE 
Evo 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 Evo 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.  
						

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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)/Control (PC)/Option (Pro 
Tools) clicking on the knob will reset it to its 
default value of -6 dB.
Increase
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 SeCTIO n
The EQ Section provides one band of 
traditional parametric EQ. 
NOTE: 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.
A NOTHE r NOTE : 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)/Control (PC)/Option (Pro 
Tools) 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 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)/Control (PC)/Option (Pro 
Tools) clicking on the knob will reset it to its 
default value of 0.70.  
						

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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 4 plug-ins on a voice, ASPIRE Evo 
should come first in the signal chain (or 
second, if you will also be using SYBIL Evo). 
• As in many of the AVOX 4 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 Evo 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.