Antares AVP1 Hardware user manual

							55
The Band Pass filter sharply attenuates all frequencies except for a band
centered around frequency “f.” The setting of the “Q” control determines
the width of the pass band (higher Q = narrower pass band).
Low Pass Filters
EQ1 Low Pass 6dB
f: 6087
EQ1 Low Pass 12dB
f: 6087  Q:2.8
These filters pass signal below the cutoff frequency “f” and roll off signal
above “f” at either 6dB or 12dB per octave. The 12dB filter’s “Q” control
allows you to add a variable height peak at the filter’s cut-off frequency.
As you would expect, the 12dB/octave filter provides greater attenuation
of signals above “f” and is useful for reducing hiss or other high frequency
environmental noise encountered in the recording process.
High Pass Filters
EQ1 High Pass 6dB
f: 3775
EQ1 High Pass 12dB
f: 3775  Q:2.8
These filters pass signal above the cutoff frequency “f” and roll off signal
below “f” at either 6dB or 12dB per octave. The 12dB filter’s “Q” control
allows you to add a variable height peak at the filter’s cut-off frequency.
As you would expect, the 12dB/octave filter provides greater attenuation
of signals below “f” and is useful for reducing sub-sonic noise, rumble, mic
stand noise or other low frequency environmental noise encountered in
the recording process. 
						

							56
EQ #2 Page
EQ2 Peaking
f: 7725 Q:2.4 Gn:+12
This page allows you to select the type and set the parameters of the
second equalizer band. The available options are identical to EQ Band #1
described above.
EQ On Button
When this button is lit, the EQ module is active. When it is not lit, the
module is bypassed. Pressing the button toggles its state. The EQ On/Off
function can also be controlled by MIDI and/or by a footswitch.
Double Track Page
The AVP’s Double Track function let’s you create the effect of two not-
quite-identical versions of the same performance being played in unison.
These tracks can appear together at the main output or can be routed to
independent outputs for subsequent processing and mixing.
    Double Track
Mono mix amount: 27%
If you want both the main and double track to appear at the Main Out-
put, use the Data Knob to select the amount of the double track you want
in the mix. The range is from 1% (double track barely audible), to 50%
(main and double track appear at the same volume).
If you want to send the main and double track to separate outputs, turn
the Data Knob counterclockwise until the following screen appears:
    Double Track
       Stereo
With this setting, the main track appears at the Main Output and the
double track appears at the Double Track Output. 
						

							57
How Double Track works
The Double Track functions works a bit differently depending upon
whether or not you are using the AVP’s Auto-Tune module for your main
track.  Here’s how:• If the Auto-tune module is active on your main track (i.e., its On butt\
on
is lit), the double track will be the non-pitch corrected version of yo\
ur
track.
• If the Auto-tune module is not active on your main track (i.e., its On
button is not lit), the double track will be generated by passing the
main track through the Auto-Tune function using the parameters set in
the Auto-tune module. Consequently, in this case it is important to
select an appropriate scale, speed, and detune value for the Auto-Tune
module to produce the desired double track effect. (On the other hand,
some unlikely scale note choices or Speed settings might produce some
very interesting — if untraditional — effects.)
Double Track On Button
When this button is lit, the Double Track function is active. When it is not
lit, the module is bypassed. Pressing the button toggles its state. The
Double Track On/Off function can also be controlled by MIDI and/or by a
footswitch.
Output/Main Bypass Page
Main Bypass:   OFF
Output Gain: +12 dB
Setting Main Bypass to ON causes the input signal to be passed through
the AVP with no processing by any of the modules. While Main Bypass is
engaged, no other controls will respond until bypass is disengaged.
NOTE:  Main Bypass can also be engaged by the footswitch
 . Engaging 
bypass by the footswitch will cause the Output/Main Bypass Page to be
displayed and, as above, no other controls will respond until bypass 
is disengaged.

The Output Gain control is used to fine-tune the AVP’s output level. Its
range is -30dB to +24dB.
Output Meter
The Output Meter displays the level of the signal output by the AVP. 
						

							58
Chapter 5: Get Creative
Up to this point, the instructions in this manual have focused on how to
use the AVP for its primary purpose: creating traditionally gorgeous vocal
tracks. But don’t let that limit you. We’ve purposely given the controls
wide ranges to allow you to move beyond what might be considered
useful for traditional processing. Try some of the following:
Using the Auto-Tune Module
•Auto-Tune can be used to simulate other singing styles. Many ethnic
styles feature exceptional (almost unbelievable) intonation during fast,
melismatic passages. Setting the Speed parameter faster than normal
(less than 5), and setting the SCALE to an appropriately exotic mode
(for example, G A A# C# D D# F#) can produce exactly this result (if the
singer improvises with sufficient global panache.)
•You can also create ‘impossible’ effects (like very fast octave leaps) by
creating a Scale of only one note and setting the Speed medium fast
(~5). Using a foot pedal, enter bypass mode before beginning the
performance, then engage Auto-Tune while singing an interval of a
fifth or more from the Scale note, and then re-enter Bypass Mode to
continue with the normal performance. This effect can sound quite like
the abruptly beautiful vocal ornaments of the Pygmies.
•Don’t be afraid to use just as little Auto-Tune as you need. It’s quite
possible that a performer has really quite good intonation, but fails
consistently on one or two notes. In this case, use Auto-Tune’s note
Bypass function to bypass all the notes except the one(s) which need
the retuning. This way, the Auto-Tune is working in a completely
transparent mode, and only when needed.
•Speed = 0 = “Cher effect.” Enough said. 
						

							59
Using Auto-Tune in Double Track Mode
•Use Auto-Tune to create the double track, but instead of using a scale
that will produce the traditional unison double track, create a more
constrained scale that includes some, but not all, of the notes in the
main track’s melody. Improvising in this mode can produce
heterophonic effects (the effect of two players and instruments playing
the ‘same’ melody, which actually varies with some different pitch
material). The more constrained your Auto-Tune scale is, the more
variation there will be between the two performances.
•To set up a drone or ambient aura behind a melodic performance, use
Double Track Mode in stereo with an extremely constrained scale (for
example, in the key of C: C, F, G, A#). Process the Auto-Tune created
double track through a lush, long reverb. The effect produced will be a
steady backdrop of chanting tones behind the main melodic material.
Using the Microphone Modeler Module
•Select a Source Mic that doesn’t match your physical mic. In fact, try one
whose characteristics are as different as possible from your physical mic.
•Select Bypass for the Source Mic to combine the sound of your physical
mic with the sound of the modeled mic.
•Extreme Proximity settings can give strange, but interesting effects. Try
wildly differing settings in the Source and Model sections.
•Dynamically change Proximity settings during a performance.
•Overdrive the Tube Warmth section for some serious gruzz. 
						

							60
Appendix
AVP Factory Presets
The AVP comes pre-programmed with 35 factory presets. These presets
were designed by studio professionals to provided quick setups for
common track enhancements or problems, and are based around music
genres and/or the type of sound source used in their creation.
Keep in mind that these presets are designed as general starting points.
Parameters such as compression threshold, de-esser threshold and high
pass frequency, and EQ settings will typically need to be tweaked for
the specifics of any particular track. (And, as always with compression,
beware that over-compression can tend to make a sound smaller
instead of bigger.)
Auto-Tune has not been enabled in any of the factory presets. To add
Auto-Tune to a preset, select and/or modify a scale, set the appropriate
Speed setting for the performance, turn the Auto-Tune module on and
resave the preset.
Presets which use Double Tracking default to Stereo Double Track mode
and refer to Auto-Tune’s Scale and Speed settings. In most cases you will
have to adjust these settings as appropriate for your performance.
In presets that use Mic Modeler, the Source Mic setting defaults to Bypass.
You should set the source mic to the mic (or mic type) that the track was
recorded with and then resave the preset.
As you scroll through the presets, the various modules’ “on” buttons will
light to indicate which modules are active in each preset. Use the “on”
buttons to quickly evaluate each module’s effect, especially EQ, which
may need to be customized for your particular mix.
Also, keep in mind that while each preset was created with a particular
use in mind, using a preset for another purpose will rarely bring a visit
from the audio engineering police. Go ahead and experiment. In the end,
creating your own unique sounds is the name of the game. Have fun! 
						

							61
The Presets
Vocal Presets
1MaleVoiceBasic male voice treatment. Adjust compressor
threshold to singing style.
2FemaleVoiceBasic female voice treatment. Adjust compressor
and de-esser thresholds to voice and singing style.
3PopVoxA preset built around a pop rock vocal track,
increases clarity, controls ess’s and evens out
dynamics.
4BalladVocalLarge condenser mic model and tube warmth adds
breadth and intimacy. Double track provides a stereo
effect — adjust Auto-Tune Detune (in the Setup
menu) to taste.
5BreathlessSuppresses breath sounds between phrases. Adjust
Gate/Comp thresholds to suit the track.
6VocalSquashHeavily compressed pop vocal patch. Compression
and de-esser thresholds may need to be tweaked.
You should see that compression is usually present
and de-essing is occasionally engaged.
7TrackingVoxDesigned to give the reference vocal a chance of
cutting through against a live band.
8CountryFatTry modifying the tube warmth in the Mic Modeler
module to increase the degree of fat and the
compression threshold to decrease dynamic range.
9PunkVoxAdjust Tube Warmth, EQ 1 frequency, and EQ 2 gain
to taste.
10 TrackingVox2Double track was engaged because the singer
complained that he sounded too “dry” in the mix.
The double track provided the “space” he was
looking for without introducing any delay or messy
reverb. Pan outputs left/right.
11 MaleR&BAdjust compressor threshold, EQ 1&2 gain to taste.
12 FemaleR&BAdjust compressor threshold, EQ 1&2 gain to taste.
13 CroonerAdjust compressor threshold, EQ 1 frequency, EQ 2
gain to taste.
14 BackingVocalsMic model softens and double track splits voices into
stereo. Pop in the EQ to bring out inner voices. 
						

							62
15 MixedBackingAdjust compressor threshold to track style.
16 ThickBackingAdjust Double Track mix for degree of thickness.
17 FemaleBackupAdjust model mic proximity and compressor
threshold to voice.
Drum Presets
18 DrumAlertAdds weight and snap to drum kit, adjust model mic
proximity to work kick sound, and Low Pass EQ to
control high end.
19 TiteSnareAdjust compressor threshold, EQ 1&2 gain to taste.
20 KickEnhanceWill give even a well-recorded kick drum some
spectral enhancement. Use input level to increase or
decrease the overall effect.
21 LoFoDrLoopA patch designed to properly trash a mono beat (or
one side of a drum loop).
Bass Presets
22 FatBassAdjust EQ 1 frequency for your specific mix.
23 FunkBassBeefAdds power bass and slap sizzle to funky bass parts
— adjust model mic proximity for low end response.
24 PopBassAdjust compressor threshold, EQ 1 frequency, and
EQ 2 gain.
Instrument Presets
25 ElecGtrWarmAdjust Tube Warmth, EQ 1&2 gain.
26 TheSaxCutsAdds grit, tone and presence to saxes. Adjust model
mic proximity for low end thump.
27 MonosynthDblEnhance and spread out that mono synth track. You
can also use this one on guitars. Pan outputs R/L.
28 PianoCutsAllows piano to peak through a mix. Adjust modeled
mic proximity for bass response.
29 BrightAcGtrAdjust compressor threshold, EQ 1 frequency, and
EQ 2 gain. 
						

							63
Special Effect Presets
30 DestructoAdjust compressor threshold for desired effect.
31 TelephoneFor that special phone moment — less is more!
Depending on your source level you may need to
boost Output gain.
Utility Presets
32 LiveVoxFixPreset built around a live vocal track recorded at
Caesar’s Palace in Vegas in the ‘60s. Mostly designed
as damage control.
33 GateThatKickPumps and isolates the kick drum from the rest of
the kit (and live) sound. Adjust the gate threshold
to your track.
34 SnareGateAdjust the gate threshold and Notch EQ frequency
to your track.
35 TomGateAdjust the gate and compressor thresholds to
dynamics. 
						

							64
Realistic Mic Modeling Expectations
(or, AVP meets the space-time continuum)
Although the AVP’s Microphone Modeling seems in many ways to be
almost magic, it is, in fact, simply very clever science. And as such, it
remains subject to those pesky laws of physics.
To get the maximum satisfaction out of Mic Modeling, it is important to
have realistic expectations of exactly what it can and can’t do. (Most of
what it can’t do relates to the physical impossibility of recovering informa-
tion that wasn’t in the original signal to begin with.) Here are the main
issues to be aware of:
•Choice of Input MicrophoneLuckily for all of us, the general quality of
“affordable” microphones has reached a remarkably high level. Conse-
quently, if you stick with well-known manufacturers, most any reason-
able quality mic will provide sufficient performance to allow the AVP to
do its magic (OK, we said it wasn’t magic, but we’re speaking meta-
phorically here).
On the other hand, you can’t expect to go into a large (but unnamed)
mass merchandiser of low-cost electronics gear and pick up a $19.95 mic
and expect the AVP to make it sound like a U87. If a source mic has
massive roll-off in a particular frequency range, there is no way the AVP
can produce the signal that would have been captured had the source
mic had better response.
•Microphone TechniqueIn getting the best possible recorded sound, mic
technique and placement are at least as important (if not more so) that
mic choice. A good engineer can record a great track with an SM57
while a poor one can make a U47 sound like doo doo. If your audio is
not well-recorded in the first place, the AVP can to do very little to
improve it.  If you start with a poorly recorded track, all the AVP will do
is make it sound like a track that was poorly recorded with a great mic.
•Excessive Frequency BoostAlthough the AVP’s processing does not
itself add noise to your signal, any noise in your original audio or noise
added by intervening processes (e.g., A/D conversion, pre-AVP dynamics
processing, etc.) will be accentuated by any large amount of frequency
boost. This should only be a problem when your source mic has a
substantial bass or treble roll-off and the modeled mic has a corre-
sponding boost or, more likely, when your audio was recorded with a
low-cut filter on the source mic and you do not use a low-cut on the
modeled mic. In both of these cases, the models will apply substantial
gain to the affected frequency ranges, raising the level of added noise
along with the desired signal. If the resulting noise level is unaccept-
able, you should choose a different combination of mics and/or turn on
the modeled mic’s low-cut filter.