Antares AVP1 Hardware user manual

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Chapter 4: Operation
Live or mixdown?
The AVP functions equally well processing audio during its original perfor-
mance or later during the mixdown process. However, if you have the
choice (which you typically will for everything but a live stage perfor-
mance), we strongly recommend using the AVP as an insert effect during
mixdown. This will allow you to experiment with various settings while
auditioning their effect in the context of the entire mix.
If you do choose to work this way, and plan to use the Microphone
Modeling function, it is important that you document mic data for each
recorded track. This should include the mic used, whether a low-cut filter
was engaged, as well as the average distance between the mic and the
signal source (singer, instrument, etc.). This information will be required to
properly set the Source Mic controls during the mix.
Patching the AVP into your system
Depending on your specific setup, there are a number of ways to patch
the AVP into your system. We’ll cover the most common below.
As an insert effect using your mixer’s channel insert jack(s)
This is probably the most common setup for the AVP. It will function as a
pre-fader effect on one of your mixer’s input channels.
CHANNEL 1AVPMIXER
INPUT
SOURCE AUDIO
INSERT SEND
INSERT RETURN
INPUT
MAIN OUTPUT
DOUBLE TRACK
OUTPUT
CHANNEL 2
INPUT
INSERT SEND
INSERT RETURN
OPTIONAL
AS AN INSERT EFFECT
USING YOUR MIXER’S 
SEPARATE INSERT SEND 
AND INSERT RETURN JACKS 
						

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If your mixer has separate insert send and insert return jacks, patch the
insert send to the AVP’s Line In and the AVP’s Main Line Out to the mixer’s
insert return.
If (as is more common) your mixer has a single insert jack, you will need a
“Y” cable with one 1/4 TRS (Tip, Ring, Sleeve) phone plug and two 1/4
TS phone plugs. Insert the TRS plug into the mixer’s insert jack and insert
the appropriate TS jacks into the AVP’s Line In and Line Out jacks (i.e., the
mixer’s insert send to AVP Line In and the mixer’s insert return to AVP
Main Line Out.)
NOTE: In most cases, a mixer’s insert send will appear on the tip of the
TRS plug and the insert return on the ring. However, you should consult
your mixer’s manual to confirm that this is indeed the case for your
mixer.
In this configuration, you should use your mixer’s channel trim to set the
input level of the AVP.
NOTE: If you will be using the AVP’s Double Tracking function in stereo
mode, patch the AVP’s Double Track output to a separate channel on
your mixer.
As an insert effect using two mixer channels
CHANNEL 1AVPMIXER
INPUT
INSERT
SEND/RETURNINSERT
SEND/RETURN
INPUT
MAIN OUTPUT
DOUBLE TRACK
OUTPUT
CHANNEL 2
INPUT
OPTIONAL
AS AN INSERT EFFECT
USING YOUR MIXER’S 
SINGLE INSERT JACKNOTE: 
REQUIRES 
TRS PLUG
SOURCE AUDIO
CHANNEL 1AVPMIXER
INPUT
DIRECT OUT
INPUT
MAIN OUTPUT
DOUBLE TRACK
OUTPUT
CHANNEL 2 CHANNEL 3
INPUT
DIRECT OUT
OPTIONAL
INPUT
DIRECT OUT
AS AN 
INSERT 
EFFECT 
USING 
TWO 
MIXER 
CHANNELS
SOURCE AUDIO 
						

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For this configuration, your mixer must provide direct channel outputs.
Patch the direct output of the channel whose signal you want to process
to the Line Input of the AVP. Patch the Main Output of the AVP to the line
input of a second mixer channel. Use the fader of the first channel to set
the input level of the AVP. Be sure that the first channel is not assigned to
the main mix.
NOTE: If you will be using the AVP’s Double Tracking function in stereo
mode, patch the AVP’s Double Track output to a third channel on your
mixer.
With an external mic preamp or instrument
If you are recording directly to a tape deck or hard disk recorder, patch the
output from an external mic preamp or instrument (at line level) into the
AVP’s Line Input and the AVP’s Main Output into your recorder. If you will
be using the AVP’s Double Tracking function in stereo mode, patch the
AVP’s Double Track output to a separate channel on your recorder.
AN IMPORTANT NOTE ABOUT MONITORING: If the AVP is used to
Auto-Tune an artist’s performance in real time, it is important that
the performer is able to monitor their original signal, not the pitch-
corrected signal. Trying to react musically to the processed signal will
drive them crazy and, in most cases, drive them farther off pitch.
CHANNEL 1AVPRECORDER
MIC PREAMP OR 
INSTRUMENT
INPUT
MAIN OUTPUT
DOUBLE TRACK
OUTPUT
CHANNEL 2
OPTIONAL
WITH AN EXTERNAL
MIC PREAMP OR
INSTRUMENT 
						

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Controls and Display Screens
MASTER MODULE
Preset Select
When the AVP is first powered up, it will briefly display the version of its
internal firmware and will then display the Preset Selection screen:
Select Preset:
##: Preset Name
Use the Data Entry knob to select the desired preset. Presets may also be
selected by MIDI Program Change commands and may be stepped through
sequentially using a footswitch.
Pressing the Preset button will always return you to this screen.
NOTE: Depending on the relative settings of adjacent presets, changing
presets while the AVP is processing audio may result in audible artifacts.
If you are using the AVP in live performance, care should be taken to
change presets while no audio is being processed.
Factory Presets
The AVP provides the ability to store 35 presets. All of these preset loca-
tions initially contain factory presets. The factory presets can be edited or
replaced entirely. Should you wish, you can always restore the factory
presets at a later time (see the “Restore Factory Presets” page below.)
A couple of things to keep in mind about the factory presets:
1. Except for those that use it as a special effect, all factory presets have
the Auto-Tune module turned off. If you want to include Auto-Tune in
a factory preset, either edit the preset and resave it, or copy the preset
to an unused location and edit the copy.
2. Presets that include double tracking default to Stereo Mode and Auto-
Tune set to a chromatic scale. Again, edit and resave or copy as desired.
Input Meter
These 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.) 
						

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NOTE: This meter reflects the level of the analog audio input. It is not
affected by the digital Input Trim described below in the Setup Menu.
Depending on how you have patched the AVP into your system, the
input level should be adjusted by a mixer channel trim (for a pre-fader
insert effect), a channel fader (if using a separate channel as a return),
or by an external preamp (if you have patched the AVP between the
preamp and your mixer input).
ANOTHER NOTE: The AVP’s front panel level meter is designed to give
you a quick overview of input signal level. For precise level adjustment,
see the Input Level Meter Page in the Setup section below.
< (Left Cursor)
Pressing this button will move the cursor to the left on display pages with
multiple data fields.
> (Right Cursor)
Pressing this button will move the cursor to the right on display pages
with multiple data fields.
Page
When in the Setup Menu, pressing this button will 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.
When you are in any of the processing modules, pressing the Page button
will cycle sequentially through all of the pages of that module.
Setup
Pressing the Setup button will place the AVP in Setup Mode. The button
will light to indicate this state. Pressing the button again will exit Setup
Mode and return you to whichever screen you were in immediately before
entering Setup Mode.
The Setup pages allow you to set parameters which affect the AVP
globally, independent of whichever Preset is currently active.
All Setup Menu parameter values are automatically saved. 
						

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Input Level Meter Page
In: -24 -12 -6 -3  0
This page provides a high resolution display for ease in setting the input
signal level. Ideally, you should adjust the input to the highest level that
does not consistently cause the meter to reach 0dB. (Digital clipping,
which introduces a particularly nasty-sounding distortion, will occur if the
input exceeds 0dB.)
NOTE: This meter reflects the level of the analog audio input. It is not
affected by the digital Input Trim described above in the Setup Menu.
Depending on how you have patched the AVP into your system, the
input level should be adjusted by a mixer channel trim (for a pre-fader
insert effect), a channel fader (if using a separate channel as a return),
or by an external preamp (if you have patched the AVP between the
preamp and your mixer input).
Input Trim Page
Input Trim (digital)
         0dB
This control adjusts the signal level in the digital domain and should be
used primarily to ensure that an adequate signal level is being provided to
the Tube Modeler and the compressor. It’s setting is not reflected by the
Input Level Meter.
You should typically start with this setting at 0dB and only change it if you
are not getting the desired results from the various dynamics modules.
NOTE: If your input is clipping the AVP (pegging the Input Meter and/or
causing audible distortion), don’t attempt to use the Input Trim control
to lower the level. All you will be doing is turning down the volume of
the distortion (which will still remain). Instead, lower the input level at
the source (as described above in the Input Level Meter section).
Audio Type Page
      Audio Type
    Soprano Voice 
						

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As a result of Antares research into the unique characteristics of various
types of audio signals, the AVP Auto-Tune module offers a selection of
optimized processing algorithms for the most commonly pitch-corrected
inputs. Choices include Soprano Voice, Alto/Tenor Voice, Low Male Voice,
and Instrument. Matching the appropriate algorithm to the input results
in even faster and more accurate pitch detection and correction. Use the
Data Knob to select the desired Input Type.
NOTE: Choosing the wrong Input Type (or just forgetting to set it at all)
can result in compromised performance. Pay attention.
Auto-Tune Detune Page
  Auto-Tune Detune
        0 cents
The Detune parameter allows you to change the pitch standard of the
AVP’s Auto-tune module from the default A = 440Hz. The values are cents
(100 cents = a semitone). The range of adjustment is from -100 to +100
cents.
The Detune function can be used to tune a vocal performance to some
irreparably out-of-tune instrument (a piano or organ, for example), or to
allow correction to other than the conventional 440Hz standard.
Refer to the following table to convert cents to Hertz relative to 440Hz.
DETUNE SETTING A=HERTZ
-20 435
-16 436
-12 437
 -8 438
 -4 439
  0 440
 +4 441
 +8 442
+12 443
+16 444
+20 445 
						

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This table can be extended in either direction by adding or subtracting 4
cents per Hertz, as appropriate.
Auto-Tune Sensitivity Page
      Auto-Tune
   Sensitivity: 10
The Sensitivity parameter ranges from 0 to 25 and controls exactly what its
name implies. At settings of 0–9, you will be rude and boorish to those
who love you most, wish harm upon small furry animals, and enjoy the
Jerry Springer Show. From 10–20 you will (in varying degrees), see the
good in every situation, cry openly in public (especially if you are male),
and be in close touch with your inner child. From 21–25 you’ll be in close
touch with everybody’s inner child.
OK, we’re kidding about that. (And those of you who are not in the USA,
please forgive the North American-centric references.)
Actually, in order to accurately identify the pitch of the input, the AVP’s
Auto-Tune module requires a periodically repeating waveform, character-
istic of a voice or solo instrument. The Sensitivity control determines how
much variation is allowed in the incoming waveform for the AVP to still
consider it periodic.
If you are working with a well-isolated solo signal (e.g., tracking in a
studio or off of a multi-track tape) you can typically set the Sensitivity
control to 10 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), it may be necessary to
allow more signal variation (higher Sensitivity numbers). However, if you
back off too much, the AVP’s ability to detect pitch may be affected.
As a rule, you should start with settings of about 7 to 10. If you want to
detect only highly stable sounds in low-noise conditions, settings of from 2
to 5 may be appropriate. If there is ambient noise or other interfering
sounds, try settings of from 15 to 20. Values close to zero or 25 are ex-
treme, and will typically not do anything useful.
MIDI Channel Page
MIDI Channel:   OMNI
MIDI Prog Change: ON 
						

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The MIDI Channel parameter selects the channel over which the AVP
receives MIDI continuous controller and Program Change messages. The
choices include:
Individual MIDI channels 1–16If an individual channel is selected, the
AVP will respond to messages received on that channel only and will
ignore any messages on other channels.
OMNIIf OMNI is selected, the AVP will respond to messages on any
MIDI channel.
When MIDI Program Change is set to ON, the AVP will respond to MIDI
Program Change messages received on the selected MIDI channel. When it
is set to OFF, all MIDI Program Change messages will be ignored.
MIDI Controllers Page
MIDI Controllers
Auto-Tune Speed  OFF
This page allows you to assign MIDI Continuous Controllers to various AVP
functions. Using MIDI control messages, you can vary multiple AVP param-
eters in real time using a MIDI fader box or automate dynamic parameter
changes using a MIDI sequencer.
To make use of MIDI control, you must have your MIDI source patched to
the AVP’s MIDI input and the messages must be sent on the MIDI channel
selected in the MIDI Channel page described above.
All parameters are initially assigned to OFF (i.e., they will not respond to
any controller). To assign a MIDI Continuous Controller to an AVP param-
eter, use the Data Knob to scroll to the desired parameter. Then press the
> (Right Cursor) button to move to the Controller Number field and use
the Data Knob to select the desired controller.
For maximum flexibility, it’s possible to assign one MIDI controller to
multiple AVP parameters. However, this could also become confusing. To
help you keep track of what you’ve previously assigned, as you scroll
through the controller numbers an asterisk “*” will appear to the left of
any controller number that is currently assigned to another parameter.
NOTE: All 128 MIDI controllers (0-127) are available for assignment.
However, keep in mind that some are typically predefined for certain
functions (Mod Wheel, Channel Volume, etc.). If other MIDI devices are
being controlled on the same MIDI channel as the AVP, it may be
prudent to avoid these predefined controllers. 
						

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The following parameters can be controlled via MIDI:Auto-Tune Speed De-esser High Pass Frequency
Auto-Tune ON/OFF De-esser Attack
Tube Warmth De-esser Release
Source Mic Proximity De-esser ON/OFF
Model Mic Proximity EQ1 Frequency
Mic Mod ON/OFF EQ1 Q
Compressor Threshold EQ1 Slope
Compressor Ratio EQ1 Gain
Compressor Makeup Gain EQ2 Frequency
Compressor Attack EQ2 Q
Compressor Release EQ2 Slope
Gate Threshold EQ2 Gain
Gate Ratio EQ ON/OFF
Comp/Gate ON/OFF Double Track Mix
De-esser Threshold Double Track ON/OFF
De-esser Ratio Output Gain
Footswitch Assign Page
Footswitch Assign
Main Bypass      OFF
To  assign a footswitch to control one or more AVP functions, use the Data
Knob to select the desired function and then press the > (Right Cursor)\
button to move to the ON/OFF field and select ON.
The following functions can be controlled by a footswitch:
Main Bypass Comp/Gate ON/OFF
Increment Preset De-esser ON/OFF
Mic Mod ON/OFF EQ ON/OFF
Auto-Tune ON/OFF Double Track ON/OFF
NOTE:  Engaging Main Bypass via the footswitch results in the display of
the Main Bypass screen and locks out all other button presses until
Bypass is disengaged (either via the footswitch or a physical button
press).
For maximum flexibility, it is possible to assign the footswitch to multiple
parameters. You would typically use this capability to turn multiple
modules on or off with a single press of the footswitch. However, it is also
possible to assign the footswitch to combinations of functions that don’\
t
make much practical sense. Specifically, be aware of the following: