Antares Filter user manual

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•RG2 (Rhythm Generator 2) The envelope will be triggered whenever
Rhythm Generator 2 is running and encounters an active cell.
•MT (MIDI Trigger) The envelope will be triggered whenever it receives
a MIDI Note On message on the MIDI channel assigned to the Envelope
in the MIDI Setup dialog.
For example, if you assign MIDI Channel 6 to Envelope 2 in the MIDI
Setup dialog and set Envelope 2’s trigger source to MT or MG, Envelope
2 will be triggered whenever a Note On message is received on
Channel 6.
•MG (MIDI Gate) As in the MT mode, the envelope will be triggered
whenever it receives a MIDI Note On message on the MIDI channel
assigned to the Envelope in the MIDI Setup dialog. However, in MG
mode, the Hold Time control is ignored and instead, the Envelope’s
Sustain phase continues until a MIDI Note Off message is received on
the assigned MIDI channel. (The Envelope’s Hold Time control is
inactive when MG is selected.)
TRIGGER INDICATOR
The Trigger “LED” lights whenever a trigger is received from the selected
source.
A Few Tips on Using MIDI Triggering:
•When triggering an envelope using MIDI, the MIDI commands can
come not only from a track programmed in your host’s MIDI sequencer
but live from a MIDI controller.
•When using a MIDI track to trigger an envelope, it is easy to ensure
that every Note On and Note Off is exactly where you want it. How-
ever, when using a MIDI keyboard live, it is probably useful to send in
Mono Mode on the selected track to help prevent imprecise fingering
from resulting in unwanted multiple triggers or unexpected Note Offs.
•To “play” a filter in much the same way you’d play a MIDI synth, use
the Modulation Matrix to assign a MIDI Channel’s Note messages to a
filter’s frequency and assign the same MIDI Channel to trigger an
Envelope that is also assigned to that filter’s frequency and gain. The
effect is that when you play a key on your MIDI keyboard, the key’s
Note value sets the filter’s initial frequency while the Note On message
triggers the Envelope to provide timbral and amplitude articulation.
•While a keyboard might be the most typical live controller, MIDI
percussion controllers can also prove useful (and fun), particularly if
their velocity control is simultaneously used in the Modulation Matrix
to affect a filter’s frequency and/or gain. 
						

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Envelope Follower
The Envelope Follower provides a control signal (for use in the Modulation
Matrix) that is proportional to the input audio’s amplitude (i.e., when the
input audio gets louder, the envelope follower’s value rises, and vice versa).
It’s particularly useful for classic auto-wah effects (when patched to a
bandpass filter’s frequency) as well as a wide range of other effects driven
by your audio’s dynamics.
As you would expect, the Envelope Follower is most useful on tracks with
wide dynamics. Drum loops, for example, will provide Envelope Follower
signals that are both rhythmic and dynamic - a powerful combination.
The Envelope Follower’s Attack and Decay controls allow you to add a
selectable amount of lag to the respective portions of the Envelope
Follower’s signal. (Easier to hear than explain — just try it).
ATTACK
This control is used to set the amount of lag time added to the Envelope
Follower’s Attack. Its effect is to turn very percussive attacks into more
legato ones. It can also smooth out unwanted reattacks caused by noise in
the audio’s attack.
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 15 ms.
RELEASE
This control is used to set the amount of lag time added to the Envelope
Follower’s Release. The numeric display will indicate the time in milliseconds.
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 150 ms. 
						

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Modulation Matrix
Filter’s Modulation Matrix is where you
assign the various control sources
we’ve described above to the param-
eters that you want them to control.
The Mod Matrix (as its friends call it)
lets you choose from eleven internal
modulation sources and another 28
possible MIDI sources which can be
routed to 52 possible modulation
destinations through up to 12 patches
(more than enough to get yourself
into serious trouble).
WHAT IS MODULATION?
Modulation is actually one of those big
words for a simple process designed to
convince the uninitiated that they’re
dealing with a body of hidden knowl-
edge known only to the “experts.” In
point of fact, modulation is simply the
process of changing some characteris-
tic or parameter of a system.
In audio, modulation usually refers to
the process of using one control signal
to alter some other sound producing
or modifying parameter. For a classic
example, turning up the volume on
your stereo is an example of “modulat-
ing” its amplitude with a “control
signal” (your hand turning the knob).
In Filter, the Modulation Matrix is a set of 12 virtual patch cords that let you
connect control sources to their destinations. Here’s how it works:
PATCH ON/OFF
Click on the numbered button next to each modulation patch to turn it on
or off. When you turn a patch off, its controls become inactive and it is
grayed out. However, the patch remembers its most recent settings so that
if you turn the patch back on again those settings are restored.
From an organizational point of view, turning off all unused patches makes
it easier to see at a glance exactly what’s being modulated in a particular
preset. Additionally, alternately turning a patch on and off can help you
determine if its modulation is having the effect you expect. 
						

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NOTE: Since each patch’s default Modulation Amount is 0 (i.e., no
modulation), if you turn on a patch but hear no effect, check to make
sure that the patch’s Amount has been set to some non-zero value.
SOURCE SELECTION
Click on the Source field to display a popup menu of all the available
sources.
NOTE: The same source can be used in multiple patches and can
therefore simultaneously control multiple destinations.
Filter’s internal sources are:
LFO 1
LFO 2
LFO 2
LFO 4
Envelope 1
Envelope 2
Envelope 3
Envelope 4
Envelope Follower
Rhythm Generator 1
Rhythm Generator 2
The MIDI Controller sources are:
MIDI Note A, B, C, D
MIDI Velocity A, B, C, D
MIDI Mod Wheel A, B, C, D
MIDI Pitch Bend A, B, C, D
MIDI Pressure A, B, C, D
MIDI Volume A, B, C, D
MIDI Pan A, B, C, D
ASSIGNING MIDI CONTROLLERS TO THE MODULATION MATRIX
The letters A, B, C, and D in the names of the various MIDI Controller
modulation sources reference the MIDI Channel assignments made in the
MIDI Setup dialog (accessed in the Master Section). This lets you use up to
seven different controller messages on four different MIDI channels to
control various Filter parameters (for a total of 28 independent MIDI
control sources).
As an example, assume that you make the following assignments in the
MIDI Setup dialog:
A = MIDI Channel 4
B = MIDI Channel 9
C = MIDI Channel 13
D = MIDI Channel 16 
						

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If you then select MIDI Pressure B as the source in a Mod Matrix patch
whose destination is Filter Frequency 2, Filter will monitor MIDI channel 9
and use any Pressure messages on that channel to control Filter #2’s
frequency. Likewise, if you select MIDI Pan D as a source, filter will monitor
MIDI channel 16 looking for Pan messages.
NOTE: You are definitely not limited to using a MIDI control source
only for its named function. If you want to use MIDI Volume B to
control a filter’s delay time or MIDI Pan A to control an LFO’s rate, go
right ahead, it’s no problem.
MODULATION AMOUNT
Use this control to set the amount of the modulation, i.e., how much a
change in the source value will affect the value of the destination. The
greater the absolute value of the number, the more dramatic the modula-
tion effect.
The Amount control is bidirectional. If a negative amount is selected, the
control source is essentially inverted (i.e., a higher source value will result in
a lower destination value).
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 0.
DESTINATION SELECTION
Click on the Destination field to display a popup menu of all the available
destinations.
NOTE: The same destination can be selected in multiple patches and
can therefore be controlled by multiple sources simultaneously.
Filter’s modulation destinations are:
Filter Parameters
Filter Frequency (1-4)
Filter Q (1-4)
Filter Gain (1-4)
Filter Pan (1-4)
Delay Time (1-4)
Delay Feedback (1-4)
Modulator Parameters
LFO Rate (1-4)
Envelope Attack (1-4)
Envelope Decay (1-4)
Envelope Sustain (1-4)
Envelope Hold (1-4)
Envelope Release (1-4) 
						

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Special Modulation Parameters
Mod1 Amount
Mod2 Amount
Mod3 Amount
Mod4 Amount
These four Mod Amount destinations allow one Mod Matrix patch to
control the modulation amount of another patch. To use this feature,
program the patch whose amount you want to control in patch 1, 2, 3,
or 4. Then set up another patch so that its destination is the amount of
the patch you want to control.
We realize that this can be a bit mind-boggling, so here’s an example:
•Set up patch #1 so that LFO 1 is controlling the frequency of Filter 1,
but set the amount to 0 (so the patch will initially have no effect).
•Now program patch #6 with Env 3 as the source and Mod1 Amt as
the destination.
•Set Env 3 to have a long Attack and set patch #6’s amount to +20.
When Env 3 is triggered it will cause the modulation amount of
patch #1 to slowly increase and therefore allow you to hear more
and more of LFO 1 affecting Filter 1’s frequency.
Rhythm Generators
Filter’s two drum machine style Rhythm Generators are the modules that
really put the “Rhythmic” in Quad Rhythmic Multimode Filters. They let
you easily program loop-based grooves or complex polyrhythms and can be
used directly as control sources in the Mod Matrix or can act as rhythmic
trigger generators for Envelopes (or both). And of course their tempo can
be set independently in BPM or synced to the master tempo. Here’s how
they work:
SYNC TO MASTER
Click on this button to set the Rhythm Generators’ tempo (which defines
the rate at which the Rhythm Generators step from cell to cell) in beats or
fractional beats relative to the Master Tempo. The button will light to
indicate this state, the Tempo knob label will change to Beats, and its data
display will read in beats. Clicking the button again will return the Tempo
setting to BPM. 
						

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NOTE (if you’ve read this entire chapter this far, you probably know
what’s coming here): Keep in mind that when you set the Rhythm
Generators’ Tempo in BPM you are setting an absolute tempo, while
when you set it in beats you are setting a relative tempo.
As always, if the absolute tempo of the Rhythm Generators’ patterns is
of primary importance, set the tempo in BPM. If, however, the patterns
must always remain in sync with the track’s tempo (which will usually
be the case), select Sync To Master to ensure that it will remain in
proper sync with any tempo changes.
TEMPO/BEATS
The Tempo/Beats control allows you to set the rate at which the Rhythm
Generators step from cell to cell.
TEMPO/BEATS — TEMPO MODE
When the Rhythm Generators are not synced to the master tempo (the Sync To
Master button is not lit), this parameter is labeled Tempo and is set in BPM.
Use the Tempo knob to set the desired tempo over a range of 10 BPM to
999.9 BPM
For ease in setting precise tempos, press the Shift key on your keyboard
while turning the knob to adjust the tempo by 0.1 BPM.
The numeric display will indicate the 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.
TEMPO/BEATS — BEATS MODE
When the Rhythm Generators are synced to the master tempo (the Sync To
Master button is lit), this parameter is labeled Beats and is set in beats or
fractional beats relative to the Master Tempo.
Use the Beats knob to select the desired beat division.
The data display will indicate the selected beat as follows:
•For two or more beats, the number of beats (i.e., 2, 3, 4, etc.)
•For beat divisions, a graphic representation of selected beat division
You may also click in the data display to display a popup menu of the
available values. The choices are:
32nd note triplet (1/12 beat)
32nd note (1/8 beat)
dotted 32nd note (3/16 beat)
16th note triplet (1/6 beat)
16th note (1/4 beat) 
						

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dotted 16th note (3/8 beat)
8th note triplet (1/3 beat)
8th note (1/2 beat)
dotted 8th note (3/4 beat)
quarter note triplet (2/3 beat)
quarter note (1 beat)
dotted quarter note (1 1/2 beats)
2 beats
3 beats
4 beats
5 beats
6 beats
7 beats
8 beats
Option (Mac)/Alt (PC) clicking the knob will reset the value to 1 be\
at. NOTE: For ease of programming, whenever you select a fractional beat,
the small index marks on the Rhythm Generator grid will change to
indicate the number of cells that make up one full beat. E.g., if you
select 1/8th note, the marks appear every two cells, while if you select\
16th note triplet, the marks appear every 6 cells. When any number of
whole beats is selected, the marks appear at 4 cell intervals.
THE CELL GRIDS
The heart of the Rhythm Generators are the cell grids, where you program\
each generator’s rhythm pattern. These patterns can then be used to
trigger Envelopes or to control any of the modulation destinations in th\
e
Modulation Matrix.
To  create a rhythm pattern:
• Click on an empty cell to cause a black square to appear in that cell.
• Click on a cell that already contains a black square to clear it.
•T o set multiple cells, click on an empty cell and hold the mouse button
while moving the mouse over a range of cells. All currently blank cells
in that range will be filled with squares.
•T o clear multiple cells, click on a cell that already contains a black
square and hold the mouse button while moving the mouse over a
range of cells. All currently filled cells in that range will be cleared\
.
When the Rhythm Generators are running, the currently selected cell is
highlighted in yellow
THE REPEAT INDICATORS
To  set each Rhythm Generator’s repeat point, click its red triangular repeat
indicator and move it to the point in the pattern where you want it to
repeat. 
						

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All cells to the right of each indicator are grayed out, but any previously
programmed cells are remembered, so that if you later move the repeat
indicator back to the right, those cells are restored with their programming
intact.
RUN/STOP
The Run/Stop button is the Rhythm Generators’ transport control. It is lit to
indicate the Run state and unlit to indicate the Stop state. Clicking on the
button toggles its state.
The Run/Stop button functions differently depending on the setting of the
Sync To Master button and the selected Tempo Source in the Master section
as follows:
Not Synced to Master
If the Rhythm Generators are not synced to the master tempo (the Sync
To Master button is not lit), clicking Run (i.e., clicking the button so it
lights) will cause the Rhythm Generators to run at the rate selected by
the Rhythm Generator Tempo control.
Clicking the Run/Stop button while the Rhythm Generators are running
will cause them to stop with the selected cells remaining at their stop
points. Clicking the button again will cause the Rhythm Generators to
resume running from the stop points.
Synced to Master and Master Tempo Set to Int
If the Rhythm Generators are synced to the master tempo (the Sync To
Master button is lit) and Tempo Source (in the Master section) is set to
Int, clicking Run (i.e., clicking the button so it lights) will cause the
Rhythm Generators to run at the rate defined by Filter’s Master Tempo
and the Rhythm Generator Beat setting.
Clicking the Run/Stop button while the Rhythm Generators are running
will cause them to stop with the active cells remaining at the stop
point. However, while the Rhythm Generators are stopped, Filter will
continuously keep track of where in the rhythm patterns the selected
cells would be if the Rhythm Generators had remained running.
In this case, clicking the Run/Stop button again will cause the Rhythm
Generators to instantaneously jump forward to the points where they
would have been if they had remained running and then resume
running from there.
Synced to Master and Master Tempo Set to MIDI
When the Rhythm Generators are synced to the Master Tempo and the
Tempo Source (in the Master section) is set to MIDI (and MIDI Clock is
properly routed to Filter), the Rhythm Generators will be controlled by
your host’s transport controls.
In this situation, the Run/Stop button functions more as a Run Enable
button. 
						

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When it is in its Stop state (unlit), the Rhythm Generators will not run
regardless of the host’s transport state.
When it is in its Run state (lit), the Rhythm Generators will run when-
ever the host’s transport is in Play mode and will stop whenever the
host’s transport is in Stop or Pause mode.
Furthermore, in this mode Filter uses MIDI Clock to keep track of the
Rhythm Generator positions for your entire song. Consequently, you
can navigate to any point in your song and the the Rhythm Generators
will automatically locate to the correct points in their patterns for that
position.
We realize that the above can be a bit confusing to read about, but if you
just spend a few minutes trying out the Run/Stop button with the various
Sync and Master Tempo settings described above, it will all become clear.
RESET
The Reset button is only active when the Rhythm Generators are not synced
to the master tempo (the Sync To Master button is not lit). In that case,
clicking the Reset button will force the Rhythm Generators to reset their
positions to the beginning of their patterns.
When the Rhythm Generators are Synced to Master, the positions of the
selected cells are locked to the master tempo or MIDI Beat Clock and the
Reset button has no effect.
USING THE RHYTHM GENERATORS AS MODULATION SOURCES
When you select a Rhythm Generator as a source in the Modulation Matrix,
it works as follows:
•While the selected cell is a blank cell, the Rhythm Generator will send a
value of zero and will therefore have no effect on the destination
parameter.
•While the selected cell contains a black square, the Rhythm Generator
will send a maximum positive value. In this case, it will affect the
destination parameter in an amount defined by the patch’s Modulation
Amount setting. If Modulation Amount is set to a positive value, it will
increase the destination parameter, while if it is set to a negative value
it will decrease the destination parameter.
•When a Rhythm Generator transitions between a blank cell and a cell
containing a black square, the value changes instantaneously from zero
to maximum. When a Rhythm Generator transitions between a cell
containing a black square and a blank cell, the value changes instanta-
neously from maximum to zero.
As modulation sources, Rhythm Generators are particularly useful for
rhythmically changing parameters between two distinct values.