Antares Filter user manual

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Chapter 3: Filter Controls
This chapter describes in detail the functions of all of the controls used in
the Filter interface as well as providing a variety of tips for getting the
most out of Filter.
Chapter 4: About the Factory Presets
Some basic information about making best use of the factory presets that
ship with Filter.
Chapter 5: Fun Facts About Sturgeons
Fun facts to know and share about one of America’s most misunderstood fish.
INSTALLING FILTER
Any special instructions for installing Filter for your specific plug-in format
will be located in the Filter Read Me file that accompanies the plug-in. That
file may also contain any last-minute Filter information that didn’t make it
into this manual.
Filter is designed to work as an insert effect with a wide variety of digital
audio applications. Please refer to your host application’s user manual for
more information on installing and using plug-ins.
AUTHORIZING FILTER
Authorization (the process by which this software is allowed to run on your
computer) is accomplished by a technique called “Challenge/Response.”
Basically, the first time you launch this software you will be presented with
a string of words (the Challenge) and will be asked to enter another string
of words (the Response).
NOTE: When initially installed, this software will run for ten days
without authorization.
So even if you can’t authorize it right away you can still use your software
in the meantime. (During this period, click the “Try It” button whenever
you are presented with the Trial Period screen at launch.) But don’t procras-
tinate too long. After those ten days are up, you will no longer be able to
launch Filter until the correct Response is entered.
CHALLENGE/RESPONSE AUTHORIZATION
You can obtain a Response via the Antares web site, email, or fax. Web
authorization, an automated process, is available 24 hours a day. Email and
fax authorization involve the participation of actual live people and,
depending on when you send your challenge, may take from one to three
days to provide a response. 
						

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For web authorization, follow these directions:
•Launch Filter. To access Challenge/Response authorization, press “Next”
at the Trial Period screen to access the Challenge screen.
The Challenge screen displays the Challenge string. To receive the
appropriate Response you will need to provide us with both the
Challenge string and the registration code that was included on the
yellow card in your software package (if you bought a retail package)
or supplied with your download.
•To obtain your Response, have your registration code and Challenge
string at hand. (If you will be accessing the web from the same com-
puter that will be running your software, you can press “Copy Chal-
lenge” at the Challenge screen and then simply paste the Challenge
into the appropriate field on the web page below.)
•Point your web browser to:
https://transactions.antarestech.com/
and simply follow the directions. (Be extremely careful to enter the
registration code and Challenge string accurately.)
If, for some reason, you do not have access to the web but do have email,
copy and paste your Challenge string and registration code into an email
along with your name and the product name (e.g., Filter for MAS), and
send it to:
[email protected]
You will receive your Response string by return email.
If you do not have access to the web or email, fax your Challenge string
along with your registration code to us at (831) 461-7801. Be sure to
include your fax number. We will fax the Response string back to you at
that number.
NOTE: You may optimize (defragment) the hard disk containing the
Challenge/Response authorization, or even reinstall your system,
without losing the authorization. However, if you reformat the hard
drive or if it fails, contact Antares for the re-authorization procedure
(you are a registered user, right?). 
						

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TECHNICAL SUPPORT
In the unlikely event that you experience a problem using Filter, try the
following:
1Make another quick scan through this manual. Who knows? You may
have stumbled onto some feature that you didn’t notice the first time
through.
2Check our web page for tips, techniques, or any late-breaking
information:
http://www.antarestech.com
3Call your local Antares dealer.
4Email our tech support department by pointing your web browser to:
http://www.antarestech.com/support/etech.shtml
and filling in the form there.
5Call us at (831) 461-7800 (and select option number 3) Monday through
Friday between 9am and 5pm USA Pacific Standard Time.
For options 3, 4, or 5, please be prepared to provide the Registration Code
of your copy of Filter. 
						

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Chapter 2: Introducing Filter
SO WHAT EXACTLY IS FILTER?
Filter is a multiformat plug-in designed for anyone who wants to give their
digital audio tracks (or complete mixes) new and distinctive sonic character
— from subtle harmonic enhancements to dramatic rhythmic effects.
Offering four great-sounding stereo multimode filters, a prodigious
complement of control sources, powerful modulation capabilities, and
features optimized for the rhythmic loop-based applications so prevalent in
today’s popular music, Filter is a flexible, fun, easy-to-use power tool for
the experienced synth programmer and dedicated tweaker. 
						

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But even if you’re new to filters, you can still get great results right out of
the box since Filter comes ready-to-use with a boatload of professionally
developed factory presets designed for a wide variety of applications.
SO WHAT’S THE BIG DEAL WITH FILTERS, ANYWAY?
This is the section where we were originally planning to present a sort of
“Filters for Dummies” introduction to what audio filters are all about. We
were thinking that an analogy to some familiar everyday filter process
might be effective.
Initially, we were going to base our analogy on the common drip coffee
filter. It seemed to make sense. With the coffee filter, you put your raw
materials (ground coffee beans and hot water) into the filter, which passed
through what you wanted (rich, great tasting coffee), while filtering out
what you didn’t (a mess of soggy coffee grounds). In a way, this was just
like Antares Filter, where you put your raw materials (your original track)
into the filter, which passed through what you wanted (stunning sound),
while filtering out what you didn’t (any undesired harmonic content).
Unfortunately, while it appeared promising at first, the more we looked at
it, the more the analogy started to break down. For instance, if you acci-
dentally leave Filter running all night, you won’t come down in the morn-
ing to find a disgusting pool of burnt, acrid audio. And no matter how
much you use Filter, you’re never faced with the unappetizing prospect of
having to empty a wet disintegrating mess of unwanted overtones. And
thankfully, you’ll never have to pour a quart of dilute vinegar through your
DAW’s channel inserts.
In the end, we decided that this probably wasn’t such a great approach
after all.
So instead, let’s just take a closer look at what Filter includes:
•Four warm, analog-sounding stereo multimode filters
Modeled on the legendary analog filters of yore, Filter’s filters give you
great sound and smooth control response (and did we mention that
there’s four of them?).
•Lowpass, highpass, bandpass and notch modes with variable
resonance
Create all the classic synth filter effects, plus a huge variety of new
effects only possible by combining multiple filters
•Variable cutoff slope
To allow filtering from gentle to radical, each filter can be set for 2
pole (12 dB/oct), 4 pole (24 dB/oct), 6 pole (36 dB/oct), or 8 pole (48 dB/
oct) response characteristics 
						

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•Four independent delay sections
Four full-featured Delay sections with feedback and mix for stunning
rhythmic delay effects. Each filter’s Delay section can be patched pre-
or post- filter and can be used alone with no filtering if desired.
•Multiple filter routing options
Use Filter as four independent parallel filters, one four-section series
filter or in a variety of parallel/series combinations. Six choices in all.
•Four flexible Envelope Generators
As a modulation source, each Envelope Generator offers Delay, Attack,
Decay, Sustain Level, Hold Time, and Release parameters and can be
triggered by one of the Rhythm Generators or by MIDI. All of an
Envelope’s time-based parameters can be set in absolute time or synced
to your song’s master tempo
•Four multi-shape LFOs
Each Low Frequency Oscillator offers a choice of 10 different wave-
forms, including three different types of random waves. Each LFO’s rate
can be set in Hertz or BPM and, like all of the time-based parameters in
Filter, can be synced to the master tempo.
•Envelope Follower
For classic effects like auto-wah (and lots more), the Envelope Follower
lets you control filter parameters with the dynamic characteristics of
your input audio.
•Two Rhythm Generators
The two drum machine-style Rhythm Generators let you easily program
loop-based grooves or complex polyrhythms. And of course, their
tempo can be set in BPM or synced to the master tempo.
•Powerful Modulation Matrix
Filter’s Modulation Matrix lets you bring your patches to life by routing
the various internal control sources and external MIDI controllers to
virtually any of Filter’s key parameters.
•Extensive MIDI control
Filter lets you lock all of its parameters to MIDI clock as well as provid-
ing extensive MIDI control capabilities, either from prerecorded MIDI
tracks or live in real time from a variety of MIDI controllers.
•Every time-based parameter syncable to internal master tempo
or MIDI Clock
Each of Filter’s modules with time-based parameters can be set in
absolute time or can be synced to Filter’s master clock, in which case all
parameters will automatically scale properly and remain in sync as the
tempo is changed. 
						

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•A straight-forward, informative, easy-to-use interface
Filter has been designed to be fun and easy-to-use. Virtually every
parameter is immediately accessible, with graphic representations of
filter, envelope, LFO and Rhythm Generator settings.
•A comprehensive collection of great-sounding, ready-to-use presets
Even if you’ve never played with a filter before, Filter gives you a great
out-of-the-box selection of useful, professionally developed presets
designed to provide solutions for a wide range of sonic needs.
Check out the next chapter for all the aromatic details. 
						

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T
Chapter 3: Filter Controls
This chapter is a reference for all of the controls used in the Filter interface.
General Control Behavior
KNOBS
•When the cursor passes over an active knob control, it changes to a
double-ended horizontal arrow. Click, hold, and move the mouse to
the right to increase the value of the associated parameter or move it
to the left to decrease the parameter.
•To allow more precise setting of tempos, rates and filter frequencies,
pressing Shift while adjusting those knobs will increase the control’s
resolution.
•Option-click (Mac) or Alt-click (PC) a knob to return it to its factory
default value.
NOTE: If the cursor does not change to the horizontal arrow when over
a knob, it indicates that that control is not currently active. (In that
case, the knob’s associated data display will also be grayed out.)
DATA DISPLAYS
The various alphanumeric data displays act as parameter value indicators
for their associated controls as well as allowing direct data input.
•For fields with continuous numeric values, single-click the field to
highlight the entire value. You may then:
>Type a new value (replacing the previous value)
>Use your keyboard’s up and down arrow keys to increment or
decrement the highlighted value
>Click in the highlighted value to place the cursor at the point you
click and edit the current value
When you have changed a field’s value by any of these techniques,
type Enter or Return to accept the new value.
If you edit a field’s value but then change your mind before typing
Enter or Return, click anywhere outside the data display to return to
the original value. 
						

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•For fields with a set of discrete choices (e.g., Filter Type, Poles, LFO
Shape, etc.), click on the field to display a popup menu of the available
choices.
Input Section
INPUT LEVEL
Use the Input Level knob to set your audio track’s input level. In most cases,
start by setting the highest level that does not result in clipping. The
numeric display will indicate in dBs the exact amount of gain applied.
You may also click in the numeric display and type in the desired value.
Option (Mac)/Alt (PC) clicking the knob will reset the value to 0dB.
LEVEL METER(S)
On a mono track, Filter may be instantiated in either a mono->mono or
mono->stereo version. In either case, the Input Section will display a single
level meter.
Filter can be instantiated in a stereo->stereo version on a stereo track, and
in that case the Input Section will display dual level meters.
In either case, the small white triangles indicate instantaneous peak levels
and the red Clip “LED” will light to indicate signal clipping.
Master Section
This is where you make settings that effect the overall plug-in.
FILTER DISPLAY STYLE
Click the appropriate button to display the filters’ frequencies in either
Hertz or MIDI note names. The horizontal scale of the graphical filter
display will also change to reflect this selection.
TEMPO SOURCE
The Tempo Source buttons select between Filter’s internal clock and your
host’s MIDI clock. Whichever is chosen becomes the Master Clock to which
each of Filter’s time-based parameters will be synchronized whenever their
individual Sync To Master buttons are pressed (see below for details about
syncing Filter’s various parameters to the Master Tempo).
MIDI CLOCK INDICATOR
If the Tempo Source is set to MIDI, this indicator will light whenever Filter is
receiving MIDI clock from your host. 
						

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VERY IMPORTANT NOTE: In order to use MIDI Clock as the source of
Filter’s Master Tempo, you must be sure that your host is properly
routing MIDI Clock to Filter. If the MIDI Clock Indicator is not lit, Filter is
not getting MIDI Clock. Host programs typically each have their own
method of routing MIDI Clock. Consult your host’s manual to ensure
that you have correctly configured the MIDI Clock routing.
TEMPO
If Int (Internal) is selected as the tempo source, use the Tempo knob to set
the desired tempo over a range of 10.0 BPM to 400.0 BPM.
For ease in setting precise tempos, press Shift while turning the knob to
adjust the tempo by 0.1 BPM.
The numeric display will indicate selected tempo in BPM.
You may also click in the numeric display and type in the desired tempo.
Option (Mac)/Alt (PC) clicking the knob will reset the value to 120.0 BPM
If Tempo Source is set to MIDI, the Tempo control will be inactive. However,
if your host program provides the MIDI tempo value to plug-ins, the data
display will display the tempo of the received MIDI Clock.
TAP TEMPO
If Int is selected as the tempo source and you want to match Filter’s tempo
to an existing track whose BPM you don’t know, just click on the Tap Tempo
button in time with the track’s tempo. Repeatedly clicking the button
causes Filter to calculate the time between clicks, from which it will derive
the tempo.
If Tempo Source is set to MIDI, this control is inactive.
MIDI SETUP
Pressing MIDI Setup opens a dialog box for selecting
which MIDI channels will supply the control signals for
use in the Modulation Matrix and to let you assign MIDI
channels for triggering the Envelope Generators. (Using
MIDI for these purposes is covered in detail in their
respective sections below.)
In either case, simply select the desired MIDI channel
from each assignment popup menu.