Antares AVP1 Hardware user manual

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What is a De-Esser?
When recording spoken or sung material, the sibilants (Ss, Ts, CHs, and
SHs) in the track often sound louder than the rest of the signal. The effect
is unnatural and often irritating. The solution to this problem is to com-
press 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 analog hardware is traditionally config-
ured to accomplish de-essing.
Only the sibilants pass through the highpass filter. When the input signal
contains sibilant material, the output of the filter causes the compressor
to compress the signal. The compressor only operates when a sibilant is
present.
The AVP 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.
Equalization
The AVP’s two bands of equalization each offer seven different filter
types: Low Pass (6dB/octave and 12dB/octave), Low Shelf, Band Pass,
Notch, Peaking, High Shelf, and High Pass (6dB/octave and 12dB/octave).
Each filter type has its own characteristics and applications. The graphs
used in the next section show the frequency response for each type with
the settings used to generate the curves notated next to the graph.
COMPRESSOR
ININ OUT
OUT
SIDECHAIN 
INPUT
HIGH
PASS
FILTER 
						

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Low Pass - High Pass Filters
The low pass and high pass filters available in the AVP offer both a 6dB
per octave and a 12dB per octave roll-off characteristic. The 6dB per
octave versions offer a more subtle effect, while the 12dB per octave
roll-off is useful for attenuating sub-sonic noise, rumble, mic stand noise,
high frequency hiss, and other environmental noises encountered in the
recording process. Additionally, the 12dB per octave versions provide a
“Q” control that allows you to create a variable height peak at the cut-off
frequency.
LOG
MAGNITUDE
(dB)
FREQUENCY 50 -18 -12-60 6
100 300 1000 3000 10000 22050
LP
LOW PASS FILTER
Frequency: 1,000 Hz
Gain: N/A
Bandwidth: N/A
LOG
MAGNITUDE
(dB)
FREQUENCY 50 -18 -12-60 6
100 300 1000 3000 10000 22050
HP
HIGH PASS FILTER
Frequency: 1,000 Hz
Gain: N/A
Bandwidth: N/A 
						

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LOG
MAGNITUDE
(dB)
FREQUENCY 50 -18 -12-60 6
100 300 1000 3000 10000 22050
HS
HIGH SHELF FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: N/A
LOG
MAGNITUDE
(dB)
FREQUENCY 50 -60 6 12 18
100 300 1000 3000 10000 22050
LS
LOW SHELF FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: N/A
Shelving Filters
Shelving filters are used primarily as “tone controls,” cutting or boosting
whole regions of the spectrum. (You can think of them as fancy versions of
the traditional “Bass” and “Treble” controls you’d find on home stereos or
boom boxes.) A high shelf filter, for instance, acts by raising or lowering
the part of the spectrum above the cut-off frequency.
The graphs below show the response of the high shelf and low shelf filters
at +12dB gain. Notice that the slope of the roll-off is 6dB per octave. The
AVP’s shelf filters provide a slope control that let’s you vary the filter’s
slope between 2dB and 12dB per octave. 
						

							18
Peaking Filter
The peaking filter is the traditional fully parametric EQ. It can be used
to subtly accentuate or attenuate a frequency or for much more radical
effects.
In the AVP, the peaking filter works over a range of 20 Hz to 20 kHz and
can boost or cut the signal at the selected frequency by ± 18dB. Addition-
ally, you can vary the bandwidth from 0.1 to 4.0 octaves.
The graphs below show the effect of changing the bandwidth control of
the peaking filter.
LOG
MAGNITUDE
(dB)
FREQUENCY 50 -60 6 12 18
100 300 1000 3000 10000 22050
BP1
PEAKING FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: 1.0 octave
LOG
MAGNITUDE
(dB)
FREQUENCY 50 -60 6 12 18
100 300 1000 3000 10000 22050
BP1
PEAKING FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: 0.1 octave 
						

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Band Pass and Notch Filters
Band pass and notch filters can be thought of as extreme examples of the
peaking filter.
The Band Pass filter sharply attenuates all frequencies except for a band
centered around the cutoff frequency. The width of the pass band is set
by the bandwidth or “Q” control. The band pass filter is typically used to
isolate a particular frequency range in a track or mix.
The Notch Filter passes all frequencies except for a band centered around
the cutoff frequency, which is sharply attenuated. The width of the notch
is also set by the “Q” control. The notch filter is used to eliminate un-
wanted sounds appearing at a specific frequency in a track or mix. 
						

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Chapter 2:
Setting Up the Antares Vocal Producer
Setting up the AVP is very straightforward.
1. Find a suitable location. The AVP is designed to be mounted in a
standard 19-inch equipment rack.
2. Connect an audio input to the Line In jack (see Chapter 4 for details of
patching the AVP into your system).
3. Connect a cable to the Main Line Out jack. If you will be using the AVP’s
Stereo Double Tracking feature, connect a second cable to the Double
Track Line Out and route as desired (see Chapter 4 for details of patch-
ing the AVP into your system).
4. If you will be controlling your AVP via MIDI, connect a MIDI cable from
your MIDI source to the AVP’s MIDI IN jack.
5. Confirm that the included power supply is correct for the electricity in
your part of the world. If you are not sure, or the power supply has a
plug that is incompatible with your wall sockets, contact your local
Antares dealer for help.
IMPORTANT! Do not attempt to modify the supply or use any other
supply that is not specifically intended for the AVP.
6. Connect the power supply’s pin connector to the AC INPUT jack on the
rear of the AVP. Then plug the power supply into an AC outlet. Your
AVP will briefly display the version number of its internal firmware and
then display the Select Preset page. 
						

							21
Chapter 3:
Panel Controls and Connectors
The Front Panel
1Non-existent Power SwitchThat’s right. There isn’t one. The AVP is
designed to remain on continuously. You can, of course, plug it in to a
switched power strip or power conditioner if you like, but leaving it on
all the time will do it no harm.
2LCDAn easy-to-read 20 character by 2 line display. You can set the
optimum viewing angle in the Setup menu (See Chapter 4).
3Data Entry KnobAs the name implies, turn it to enter data.
The Master Module
4< (Left Cursor)Press this button to move the cursor to the left on
display pages with multiple data fields.
5> (Right Cursor)Press this button to move the cursor to the right on
display pages with multiple data fields.
6SETUPPress this button to enter the Setup Menu. The button lights to
indicate that you are in Setup Mode. The Setup Menu contains the
settings that affect the AVP’s overall state (i.e., independent of the
currently selected Preset).
7PAGEWhen in the Setup Menu, press this button to cycle sequentially
through the available edit pages. You can only move in one direction,
but there are so few pages in the Setup Menu that you are never more
than a few presses away from where you want to be.
12345111218
25
31
3539
24203334
2730
78
151617282937
239
26 10
1314192122323638
6 
						

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8PRESETPress this button to display the Select Preset screen.
9SAVEPress this button to save a newly created or edited preset. Also
used to confirm choices in functions that would result in overwriting
current data.
10 Input Level MeterThese five LEDs light to indicate the level of the
incoming audio. Ideally, you should adjust the input to the highest level
that does not consistently cause the top red LED to light. (The red LED
lights at a level of -3dB. Digital clipping, which introduces a particularly
nasty-sounding distortion, will occur if the input exceeds 0dB.)
A NOTE ABOUT THE METERS: The AVP’s front panel meters are de-
signed to give you a quick overview of what’s going on with the various
modules. For precise parameter adjustments, appropriate modules
provide high resolution meter displays on their various LCD pages.
The Microphone Modeler Module
11 SOURCEPress this button to select the microphone that was
(or will be) used to record the audio to be processed.
12 MODELPress this button to select the microphone whose audio
characteristics you wish to apply to your audio.
13 TUBEPress this button to pass your audio through a model of a
high-quality tube preamp with variable tube “warmth.”
14 LOW CUTPress this button to set low cut filters for the source and
model mics and to adjust the mics’ proximity effects.
15 ONWhen this button is lit, the Mic Modeler module is active. When it is
not lit, the module is bypassed. Pressing the button toggles its state.
The Auto-Tune Module
16 SCALEPress this button to select the scale to be used as target pitches
for correction.
17 SPEEDPress this button to set Auto-Tune’s pitch correction speed.
18 Correction MeterThis meter indicates, in real time, the amount of pitch
correction being applied to change the input pitch to the target pitch.
The green LEDs indicate that the input is flat and that positive correc-
tion is being applied. Conversely, the yellow LEDs indicate that the
input is sharp and that negative correction is required.
19 ONWhen this button is lit, the Auto-Tune module is active. When it is
not lit, the module is bypassed. Pressing the button toggles its state. 
						

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The Compressor/Gate Module
20 COMP.Press this button to set the compressor’s ratio, threshold and
makeup gain.
21 ATTACKPress this button to set the compressor’s attack time.
22 RELEASEPress this button to set the compressor’s release time.
23 KNEEPress this button to set the compressor’s knee characteristic.
24 GATEPress this button to set the gate’s ratio and threshold.
25 Compressor Gain Reduction MeterThis meter lights to indicate the
amount of gain reduction taking place.
26 ONWhen this button is lit, the Compressor/Gate module is active.
When it is not lit, the module is bypassed. Pressing the button toggles
its state.
The De-Esser Module
27 DE-ESSPress this button to set the de-esser’s ratio and threshold.
28 ATTACKPress this button to set the de-esser’s attack time.
29 RELEASEPress this button to set the de-esser’s release time.
30 HP Press this button to set the frequency of the de-esser’s highpass
filter.
31 De-esser Gain Reduction MeterThis meter lights to indicate the
amount of gain reduction taking place.
32 ONWhen this button is lit, the De-esser module is active. When it is
not lit, the module is bypassed. Pressing the button toggles its state.
The Equalizer/Output Module
33 BAND 1Press this button to select the type of equalization and the
parameter values for parametric EQ band #1.
34 BAND 2Press this button to select the type of equalization and the
parameter values for parametric EQ band #2.
35 ONWhen this button is lit, both EQ bands are active. When it is not lit,
they are bypassed. Pressing the button toggles its state.
36 DOUBLE TRACKPress this button to select the type and amount of
automatic double tracking.
37 ONWhen this button is lit, double tracking is active. When it is not lit,
it is bypassed. Pressing the button toggles its state. 
						

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38 OUTPUT GAINPress this button to adjust the AVP’s output gain and/or
to engage the main bypass.
NOTE: While main bypass is engaged, no other controls will respond
until bypass is disengaged.
39 Output Level MeterThis meter displays the AVP’s output level.
The Back Panel
1Main Line OutputThe AVP’s main audio output. It accepts a 1/4-inch TS
(tip-sleeve) phone plug.
2Double Track Line OutputIf you have selected stereo double tracking,
the second track is available at this output. It accepts a 1/4-inch TS (tip-
sleeve) phone plug.
3Line InputAccepts an unbalanced line level signal on a 1/4-inch TS (tip-
sleeve) phone plug.
NOTE: This input is NOT a microphone input. A line level signal is
required.
4MIDI OUTConnect to the MIDI Input of a MIDI sequencer to dump
Preset and Setup Data via MIDI SysEx.
5MIDI INIf you will be controlling your AVP via MIDI, connect the MIDI
Out from a MIDI sequencer, keyboard, or other MIDI source here.
Connect the MIDI Out from a sequencer to load previously saved SysEx
data files.
6FootswitchPlug in a footswitch here. A 1/4-inch TS (tip-sleeve) plug is
required. There are two varieties of footswitches: those that are shorted
by default and those that are open by default. You should plug in your
footswitch and then power on the AVP. The AVP will detect which kind
of footswitch you have and behave accordingly.
The actual function of the footswitch is selected in the Setup Menu.
7AC Power InputPlug the connector from the included power supply in
here. Do NOT use a supply which is not expressly intended for the AVP.
Bad things could happen.
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