Antares AVOX Evo user manual

							
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A Few Words About the THROAT 
Factory Presets
Unlike synth presets, which will always sound 
the same for all users, the THROAT presets 
are heavily dependent on the vocal tracks that 
you use them on. Consequently, they serve 
primarily as starting points for various general 
effects, with the expectation that you will 
tweak them to work best with your particular 
audio.
Specifically, they all contain the default settings 
for Vocal Range and Source Glottal Waveform 
controls. After calling up a preset, you should 
be sure set each of those controls to reflect 
your  track.
Also, although some presets are named to 
give a general idea of their intent, feel free to 
experiment with any preset on any source 
track. Their are no rules. 
						

							
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Chapter 4: DUO Vocal Modeling  
Auto-Doubler
T
he DUO Vocal Modeling Auto-Doubler 
automatically generates a doubled vocal 
part from any existing monophonic vocal. 
Unlike conventional doublers that simply 
apply pitch and delay variation to the original 
part, DUO makes use of Antares’ unique vocal 
modeling and vibrato processing technologies 
to create a doubled part that actually sounds 
like another singer. There is no easier or quicker 
way to create a realistic doubled vocal part.
Controls
Vocal Range
Use this control to select the range of the 
track you will be processing. Choices include 
Soprano Voice, Alto/ Tenor Voice, Bass/
Baritone 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 pitch detection.
To select the desired 
Vocal Range, click on the 
Vocal Range pop-up and 
then select the desired 
range from the pop-up 
list. 
Note:
 Choosing the 
wrong Vocal 
Range (or 
just forgetting to set 
it at all) can result 
in compromised 
performance. Pay 
attention.
Vocal Timbre
Behind this unassuming slider lies a compact 
version of the THROAT vocal modeler. When 
this control is set to 0, the doubled voice will 
have exactly the same character as the original 
voice. As you move the slider up or down, 
DUO sends the doubled voice through a 
progressively more extreme vocal model. I.e., 
near 0, the timbre is very close to the original 
voice. As the control approaches .40 or -.40, the 
vocal timbre undergoes a fairly radical change.
As you might imagine, this slider simultaneously 
controls a number of vocal modeling 
parameters. We’ve linked them together to give 
you quick and easy access to a range of useful 
timbres. 
						

							
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Although the exact effect of any setting 
will depend a good deal on the vocal being 
processed, in general:
•  Selecting a positive value will result in a lengthening of the vocal tract and hence an 
older/darker/more male vocal quality.
•  Selecting a negative value will result in a  shortening of the vocal tract and hence a 
younger/brighter/more female vocal quality.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 0.
Vibrato
The Vibrato control allows you to select the 
amount of variation in vibrato depth applied to 
the doubled voice. 
Selecting a positive value increases the 
doubled voice’s vibrato depth relative to the 
original voice. 
Selecting a negative value decreases the 
doubled voice’s vibrato depth relative to the 
original voice. Important Note:  Unlike vibrato 
controls on most vocal processors, 
this function does not simply use an LFO to 
apply a synthesized vibrato. DUO actually 
analyses the original vocal part to identify its 
vibrato and modify its depth. As a result, the 
modified vibrato will still reflect the overall 
contour of the original vibrato. As an additional 
consequence however, the Vibrato control will 
only have affect if the original vocal contains 
vibrato. It will not add vibrato to a performance 
that does not originally have it. 
The Vibrato control may be used by itself to 
modify the vibrato of a performance. See the 
Usage Tips below for details.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 0.
Pitch Variation
The Pitch Variation control lets you select the 
amount of random variation in pitch applied 
to the doubled voice. The higher the value, 
the larger the maximum amount of allowable 
variation.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 10.
Timing Variation
The Timing Variation control lets you select the 
amount of random variation in timing applied 
to the doubled voice. The higher the value, 
the larger the maximum amount of allowable 
variation.
DUO’s timing variation is completely 
independent of pitch variation. To get a good 
idea of the effect of timing variation, use the 
level controls to listen only to the doubled 
voice. set Vibrato to 0 and Pitch Variation to 10. 
Set Timing Variation to maximum and process 
a rhythmic vocal performance. Pretty weird.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 10.
Original Level
Sets the level of the original voice.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 0.
Original Pan Position
Sets the original voice’s location in the stereo 
spectrum. This control only functions in Stereo 
or Mono-> Stereo modes.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of -100 (far left).
Double Level
Sets the level of the doubled voice.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 0. 
						

							
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Double Pan Position
Sets the doubled voice’s location in the stereo 
spectrum. This control only functions in Stereo 
or Mono-> Stereo modes.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 100 (far right).
Usage Tips
•  DUO 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, DUO processes only the left 
channel. DUO is dramatically more effective 
with the original and doubled parts panned 
apart, so if at all possible, try always to use it 
with stereo output.
•  For best performance, DUO requires a  clean, pitched monophonic signal. If DUO 
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 Vocal Timbre 
and Timing variations only.
•  Experiment with various Pitch and Timing  settings. Different combinations can result in 
distinctly different stylistic effects. 
•  DUO’s Vibrato function can be used by itself  to modify the vibrato depth on a recorded 
track. If you have a track with too deep a 
vibrato (or too shallow, although that’s a 
much rarer problem), assign DUO to the 
track and set the mixer so that only the 
doubled track is heard. Set Vocal Timbre to 
0 and Pitch and Timing to their minimum 
values. While listening to the track, adjust 
the Vibrato slider to reduce or expand the 
vibrato depth as desired. Notice that while 
you are modifying the vibrato depth, the 
expressive contour of the singer’s original 
vibrato is retained. 
						

							
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Chapter 5: CHOIR Vocal Multiplier
C
HOIR is a unique processor that turns a 
single monophonic voice into 4, 8, 16, 
or 32 distinct individual unison voices, 
each with its own pitch, timing and 
vibrato variations. The voices can, if desired, 
be spread across the stereo spectrum. When 
multiple instances of CHOIR are assigned 
to individual harmony parts, the result is an 
amazingly realistic large vocal ensemble.
Controls
Choir Size
This control allows you to select the number 
of individual voices that will be generated from 
the original voice. Choices are 4, 8, 16, and 32 
voices.
Vibrato Variation
The Vibrato control allows you to select the 
range of variation in vibrato depth applied to 
the generated voices. Each voice is individually  assigned a vibrato variation relative to 
the original voice. The higher the value 
of this control, the greater the possible 
vibrato variation.
Command (Mac)/Control (PC) click 
the control to reset it to its default 
value of 30.
Pitch Variation
The Pitch Variation control lets you 
select the range of the random 
variation in pitch applied to each 
generated voice. Each voice is 
individually assigned a pitch variation 
relative to the original voice. The 
higher the value of this control, the 
larger the maximum amount of 
allowable variation.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 30.
Timing Variation
The Timing Variation control lets you select 
the range of the random variation in timing 
applied to each generated voice. Each voice is 
individually assigned a timing variation relative 
to the original voice. The higher the value of 
this control, the larger the maximum amount of 
allowable variation.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 100.
Stereo Spread
This control selects the extent to which the 
generated voices are spread across the stereo 
spectrum. At a setting of 0, all of the voices  
						

							
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appear in the center of the stereo soundstage. 
As the value is increased, the voices spread 
out from the center until, at the maximum 
value, they appear across the entire stereo 
soundstage.
This control only functions in Stereo or Mono-> 
Stereo modes.
Command (Mac)/Control (PC) click the control 
to reset it to its default value of 100.
Usage Tips
•  CHOIR 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 processes only the 
left channel. CHOIR 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 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 
to give each the character of different voices. 
Then assign an instance of CHOIR 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.
•  Keep in mind that the greater the number  of voices, the greater the CPU usage. If you 
will be using multiple instances of CHOIR, 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 requires a  clean, pitched monophonic signal. If CHOIR 
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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Chapter 6: PUNCH Vocal Impact 
Enhancer
P
UNCH 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.
Controls
Input Level
This meter displays the input level of the signal 
to be processed. 
Note: 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) 
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) click the control 
to reset it to its default value of 0.
Ceiling
This control allows you to attenuate the signal 
after all other processing. 
Although PUNCH 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. 
						

							
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Command (Mac)/Control (PC) 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. The Gain, 
Impact, and Ceiling controls should be set in 
combination such that no clipping occurs. 
Usage Tips
•  PUNCH is available in mono and stereo versions.
•  Since the point of PUNCH 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 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 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.