Antares AVP1 Hardware user manual

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•If the footswitch is set to control Main Bypass, all other assignments are
ignored
•If the footswitch is set to Increment Preset and one or more of the
module ON/OFF functions, each time you press the footswitch the AVP
will advance to the next Preset and the ON/OFF state of the assigned
module(s) will be toggled. Hence, alternate presets will have the
selected modules ON, then OFF, then ON, etc.
NOTE: It’s generally not a good idea to plug in a footswitch while the
AVP is powered up. While it will do no physical harm, the momentary
short caused by the plug moving past the contacts will be interpreted as
a footswitch depression, causing potentially unexpected results.
ANOTHER NOTE: There are two varieties of footswitches: those that are
shorted by default and those that are open by default. To ensure your
footswitch works correctly, you should plug in your footswitch and then
power on the AVP. The AVP will detect which kind of foot switch you
have and behave accordingly. (If a normally open footswitch is plugged
in after powerup, it will work correctly. However, if a normally shorted
footswitch is plugged in after powerup, it will register “pressed”
whenever it’s not actually being pressed. So don’t do that)
MIDI Preset Dump Page
The MIDI Preset Dump function allows you to archive one or more of your
presets and/or your AVP’s Setup Menu settings as  a MIDI SysEx file that
can then be reloaded into your AVP at some later time.  This function is
also useful for organizing sets of presets, e.g., all of the presets used in a
particular album project or set list.
Any MIDI sequencer, either hardware or computer-based, that is capable
of recording and transmitting MIDI SysEx files can be used to store and
reload AVP presets.
In order to dump MIDI data, you must connect the AVP’s MIDI Out to the
MIDI Input of your sequencer or computer and ensure that the sequencer
is set to receive on the MIDI channel selected in the MIDI Channel page
described above.
Use the Data Knob to select exactly what to include in the SysEx file.
 For MIDI Dump
All Presets + Setup
This selection saves all of the AVP’s presets along with the Setup Menu
data. When this file is loaded back into your AVP, it will replace all of the
AVP’s presets and Setup data with the contents of the file. 
						

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 For MIDI Dump
All Presets Only
This selection saves all of the AVP’s presets. When this file is loaded back
into your AVP, it will replace all of the AVP’s presets with the contents of
the file, but will leave the current Setup data unchanged.
 For MIDI Dump
Setup Data Only
This selection saves only the AVP’s Setup data. When this file is loaded
back into your AVP, it will replace the current Setup data with the con-
tents of the file, and will leave all presets unchanged.
 For MIDI Dump
## Preset Name
This selection saves the single selected AVP preset. When this file is loaded
back into your AVP, it will replace the preset currently at that numerical
location with the contents of the file, but will leave all other presets and
the current Setup data unchanged.
In any case, after pressing Save, the AVP will begin transmitting the
selected SysEx data and display the following screen:
  Transmitting MIDI
        Data
When the transmission is complete, you will see the following for about 2
seconds:
    Transmission
      Complete 
						

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MIDI Preset Restore Enable Page
This page allows you to either enable or disable the AVP’s ability to receive
MIDI SysEx messages.
Enable MIDI SysEx
Reception: NO
When NO is selected, the AVP will ignore all MIDI SysEx messages.
When Yes is selected, the AVP will respond to any valid AVP SysEx files
created with the MIDI Preset Dump function described above.
To restore a previously saved file, select Yes on the above page and
ensure that the MIDI Out on your sequencer or computer is connected to
the AVP’s MIDI In.
On your MIDI sequencer, select the file that contains the Presets and/or
Setup data you wish to load. Play that file into the AVP.
IMPORTANT NOTE: Reloading one or more presets will permanently
overwrite whatever presets are currently in the corresponding numeri-
cal locations. If you want to save those presets, either copy them to a
location which will not be overwritten or save them as a MIDI SysEx file
using the MIDI Preset Dump page described above.
While the AVP is receiving and storing valid SysEx data, the following
screen will be displayed:
   Receiving and
 storing MIDI Data
When the load is completed, you will see the following screen for about 2
seconds:
      MIDI Load
      Complete
If the AVP detects a problem with the received SysEx data, the following
screen will be displayed: 
						

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   Bad SysEx Data
      Received
If this happens to you, check to be sure that you have sent the AVP the
correct file from your sequencer.
Restore Factory Presets Page
 to restore
## Preset Name
If you have edited or replaced any of the factory presets and wish to
restore one or more of them, use the Data Knob to select the desired
factory preset.  If you scroll to the end of the factory preset list you will
see the additional choice:
 to restore
Restore all Presets
Once you have made your selection, press Save to see:
Are you sure?
 to confirm
IMPORTANT NOTE:  Restoring one or more factory presets will perma-
nently overwrite whatever presets are currently in the corresponding
preset locations. If you want to save those presets, either copy them to
a location which will not be overwritten or save them as a MIDI SysEx
file using the MIDI Preset Dump page described above.
If you have selected Restore all Presets, the process will take about 9
seconds and you will see this screen during the save process:
  Factory Presets
restore in progress.
If you have selected a single preset, the process is virtually instantaneous. 
						

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In either case, once the restore is completed, you will see the following
screen for a few seconds:
  Factory Presets
 restore completed.
and then you will be returned to the initial Restore Presets page.
LCD Contrast Page
    LCD contrast
          3
The LCD Contrast parameter lets you set the maximum display contrast for
your viewing angle. Use the Data Knob to select the value that provides
the greatest contrast between the display text and the background.
Save Preset Page
When you have created a new preset or made changes to an existing
preset and want to save the changes, press the Save button to access this
screen:
Edit name & 
Name:Preset Name
If you have been editing an existing preset, the Name field will contain
the name of that preset. If you don’t wish to change the name (e.g., if you
are editing a preset and plan to overwrite it with the edited version),
simply press Save again to be taken to the next screen.
If you do wish to change the name, use the Cursor buttons to move from
character to character and the Data Knob to select the desired letter,
number or punctuation mark for each character. When you are finished,
press Save to access this screen:
 to overwrite:
## Preset Name 
						

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The Preset number and Preset name will initially be the number and name
of the original preset you were editing (i.e., the Preset Name will be the
original name of the preset). If you want to overwrite that preset with
your newly edited version, press Save. Otherwise, use the Data Knob to
select another preset location and then press Save. In either case you will
see a brief message confirming that your preset was saved and will then
be returned to whichever screen you were on immediately before initiat-
ing the Save process.
NOTE: To copy an existing preset to another location, first select the
preset and press Save. Edit the name (if you wish) and press Save again.
Select the location to copy to and press Save again. You may now edit
your copy without any risk of accidentally overwriting the original
version.
MICROPHONE MODELER MODULE
Source Mic Page
Pressing the Source button brings up this page:
Source Mic:
Shure SM57
Use the Data Knob to select a source mic.
The Source Mic list includes both specific mics and generic mic categories.
If you are using one of the specific mics, select that mic. Specific mics
include:
Shure SM58 Rode NT1
Shure SM57 Rode NT2
Shure Beta 58a Rode NT3
Shure KSM 32 CAD M177
Audio Technica 3035 CAD E200
Audio Technica ATM31 CAD E350
Audio Technica ATM41a
Audio Technica 4050 
						

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If your mic is not listed, select the generic mic category that best describes
your mic. Generic mic categories include:
Hand-held Dynamic
Studio Dynamic
Wireless
Small Diaphragm Condenser
Large Diaphragm Condenser
Additionally, the list offers a selection called “Bypass.” When Bypass is
selected, the source signal is passed unmodified to the Modeled Mic
section. You should select Bypass when your source was not recorded with
a microphone (e.g., guitar via direct box, direct synth input, etc.).
NOTE: Even if your audio was recorded with a microphone, you can still
choose Bypass as the Source Mic and any mic as the Modeled Mic. In
that case, the resulting effect is equivalent to having recorded the
audio with your actual physical mic (which you, of course, did) and then
having played back that track through a good set of speakers and
rerecorded it with the Modeled Mic. What you end up with is a hybrid
of your actual and modeled mic.
Model Mic Page
Model Mic:
Lg Dia condenser #1
Use the Data Knob to select the desired type of mic model. Models in-
clude:
Hand-held Dynamic
Studio Dynamic
Small Diaphragm Condenser #1
Small Diaphragm Condenser #2
Large Diaphragm Condenser #1
Large Diaphragm Condenser #2
Large Diaphragm Condenser #3
Drum Mic - Kick
Drum Mic - Snare
Drum Mic - Cymbal
Telephone
Additionally, the list offers a selection called “Bypass.” When Bypass is
selected, no mic model is applied. The net sonic effect of selecting Bypass
here depends on the setting of the Source Mic: 
						

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•If the correct source mic is selected in the Source Mic list and Bypass is
selected in the Modeled Mic list, the final output of the Mic Modeler
module will be stripped of the characteristics of the source mic, result-
ing in the signal that would have been recorded by an instrumentation
microphone with no proximity effect.
•If Bypass is selected in the Source Mic list and Bypass is selected in the
Modeled Mic list, the final output of the Mic Modeler module will be
identical to the original input signal (with the exception of any added
tube warmth).
Low Cut/Proximity Page
Src LC  ON Prox  4.5
Mdl LC  ON Prox  6.3
(There’s a lot going on with the parameters on this page and some of it is
rather counter-intuitive, so if things don’t seem to be acting the way you’d
expect, refer to the explanations below.)
This page contains the Low Cut Filter and Proximity settings for both the
Source mic and the Model mic. Use the cursor buttons to navigate to the
desired fields and the Data Knob to set the values.
Source Mic Low Cut
If you select a specific source mic and that mic is equipped with a low-cut
filter, you can use the Data Knob to turn the filter ON or OFF. (If the
specific mic does not have a low-cut filter, the display will default to “---.”)
All generic mic categories include a low cut filter.
If the source mic does include a low-cut filter, select the low-cut setting
(ON or OFF) that was (or will be) used when capturing your audio.
NOTE: It is important to keep in mind that the purpose of this setting is
to “undo” the effect of any low-cut filter that was used to capture your
audio. If you play around with this setting, you may initially think that
it is working “backwards.” That is, changing the menu selection from
OFF to ON will actually cause a bass boost in the monitored audio.
However, once you think about it, you will realize that this is the way it’s
supposed to work. The purpose of the controls in the Source Mic section is
to neutralize the effects of the source mic. So, when you select a low-cut
filter, you’re telling the Microphone Modeler that the source mic recorded
the audio with bass attenuation and, therefore, the model must now
boost the bass an equal amount to remove the source mic’s sonic colora-
tion. (Trust us, this fried our brains a bit at first, too.) 
						

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Source Mic Proximity
Use the Data Knob to set the average distance that separated the mic and
the signal source during the recording of the audio. Or select OFF to
preserve the source recording’s actual proximity effect (if any).
The purpose of this control is to remove any Proximity Effect that may
have been introduced by the source mic.
NOTE: Proximity Effect is a boost in bass frequencies resulting from
placing a directional mic  in close proximity to a signal source. The
amount of the effect is inversely proportional to the distance from the
mic to the source (i.e., the smaller the distance, the greater the bass
boost).
ANOTHER NOTE: Like the Low-Cut control described above, the Source
Mic Proximity control may initially seem to be working backwards (i.e.,
setting a shorter distance will result in an audible bass attenuation).
Refer to the explanation up in the Source Low-Cut section to under-
stand why this is actually how it is supposed to work.
Model Low Cut
If the mic type you select as the Model Mic is typically equipped with a
low-cut filter, you can use the Data Knob to turn the filter ON or OFF.
(If the selected mic type does not have a low-cut filter (and actually, only
the Telephone is lacking one), the display will default to “---.”)
If the modeled mic does include a low-cut filter, turning the low-cut ON
will reproduce the same effect that the filter would have on the actual
modeled mic.
NOTE: Although it’s always best to let your ears be your guide, if your
audio was recorded with the source mic’s low-cut filter turned on, in
most cases it will be best to turn on the modeled mic’s low-cut filter as
well. (After all, there was presumably some reason that someone chose
to use that filter in the first place.)
Model Mic Proximity
Use the Data Knob to select a mic distance for a desired amount of prox-
imity effect.
Using the Data Knob to set a particular distance will result in the amount
of proximity effect that would be produced by the actual modeled mic
when placed at that distance from the signal source. 
						

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NOTE: A secondary effect of mic-to-source distance is the extent to
which environmental ambience is picked up by a mic.  For example, as a
mic is moved away from the source, the proximity effect decreases, but
the amount of “room tone” increases (assuming that you are not in an
anechoic chamber). The AVP does not model this effect. However,
judicious use of the Proximity control in combination with some appro-
priately programmed reverb will allow you to create the same effect,
with the additional bonus of being able to control the exact nature of
the room tone.
Tube Warmth Page
Tube Warmth Amount:
        10.0.
The Tube section is designed to model the distortion that is typical of a
high-quality tube pre-amp.
When tube pre-amps are operated in their linear range, there is virtually
no signal distortion and their audio qualities are essentially identical to
solid state pre-amps. However, it commonly occurs that transients exceed
the linear voltage range, resulting in distortion. The distortion characteris-
tics of a vacuum tube pre-amp is vastly different than that of solid state
amplifiers and is often described as adding a certain “warmth” to a sound
(in contrast to what is often described as the “brittleness” of the solid
state sound).
The amount of tube saturation effect applied to your audio is controlled
by the Tube Warmth Amount control in combination with the Input Level
control.
The Warmth Amount control determines the amplification factor of the
modeled tube pre-amp with the numeric display indicating the amplifica-
tion in dB. At .0, no distortion occurs, even for full amplitude (+1 or -1)
signal levels. These levels represent the “rails” of the amplifier. As the
Warmth Amount is increased, the amplification is increased. Any regions
of the signal that increases beyond the rails generate distortion. (But
instead of the usual ugly digital clipping, they are distorted the same way
the tube pre-amp would distort the sound.)