Antares Filter user manual

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A TIP: Another very useful RG function is to rhythmically turn on and
off the output of an individual filter. To do this, set the filter’s gain to
-infinity and patch a Rhythm Generator to the filter’s gain with a
Modulation Amount of +100. The filter will be silent during empty cells
and audible during filled cells. You can then fine tune the On volume
by adjusting the Modulation Amount.
USING THE RHYTHM GENERATORS TO TRIGGER ENVELOPES
When a Rhythm Generator is assigned to trigger an Envelope, it sends the
envelope a trigger signal each time the selected cell moves to a cell con-
taining a black square.
Important Note: Whenever an envelope receives a new trigger, it resets to
its beginning. Therefore it’s important to be aware of the relationship
between an envelope’s time parameters - particularly its Attack time and
Delay time (if used) - and the Rhythm Generator’s trigger rate.
As an (extreme) example, if an envelope has been set to a 10 second Attack
time, but the Rhythm Generator that’s triggering it is running at 120 BPM
and sending a trigger in every other cell, the envelope will be getting a
trigger once every second. In that case, its value will only just begin to rise
above zero before a new trigger forces it back to zero to start over again.
As mentioned in the Envelope section above, the Delay parameter is even
more dangerous. If the Delay time is set longer than the interval between
triggers, the envelope will never even get to begin its Attack phase. So be
careful. 
						

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Output Section
OUTPUT LEVEL
Use the Output Level knob to set Filter’s main output 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)
When Filter is instantiated as a mono->mono plug-in, the Output Section
will display a single level meter.
When Filter is instantiated in a mono->stereo or stereo->stereo version, the
Output 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. 
						

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Chapter 4: About the Factory Presets
When you install Filter you will also get a generous collection of factory
presets designed to provide examples of many of the things that you can
do with Filter, from subtle harmonic sweetening to all-out wackification.
While our sound designers have tried to design their presets around
general audio categories (voice, guitar, drum loops, pads etc.), there’s no
way they can predict the specific audio you will be processing with Filter.
With that in mind, we offer the following tips for getting the best from the
factory presets:
•First and foremost, there are no rules. Try using any audio with any
preset. You never know what might happen. That being said, the
presets are likely to work most predictably with the type of audio they
were designed for.
•When you first call up a factory preset, make a quick scan of the Filter
interface to see exactly what’s happening. How many filters are active?
Which routing? What’s going on in the Mod Matrix? Is Filter synced to
the host’s MIDI and how many of the modules are synced to the master
tempo? Are the Rhythm Generators in use?
•If more than one filter is active, try soloing each filter to see what it’s
doing.
•The various levels in the presets (Input Level, individual filter Gains and
Output Level) have been set to work with a wide range of audio.
However, depending on the nature of your specific audio, it may be
necessary to adjust the various Levels and/or Gains for best balance and
effect. In particular, watch out for clipping or distortion. The filters are
capable of quite a bit of gain, so if your audio has a lot of energy right
at their resonant frequencies, problems could ensue.
•Once the levels are right, the first things to try tweaking are the filters’
frequencies. Sometimes a little adjustment is necessary to get the
preset dialed in to the sweet spot of your audio. (If there’s frequency
linking going on, start by adjusting the master filter.)
•In most cases, the preset designers have selected one or two param-
eters as the most likely candidates for tweaking. Give those a try. Then
try anything else. 
						

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•If a preset’s Master Tempo is set to MIDI, be sure that your host is
correctly configured to send MIDI clock to Filter. If it’s not getting MIDI
clock (i.e., the MIDI Clock indicator is not lit), the preset will not
function as it was designed to.
•If a preset is not synced to your host’s MIDI clock but makes use of
tempo-synced LFOs, Delays, Rhythm Generators or Envelopes, you may
have to readjust the internal Master Tempo for the best effect with
your particular audio.
•If various time-based parameters are not synced to the master, you may
want to individually readjust LFO rates, Delay times, Envelope settings,
etc. to work best with your audio.
•We will periodically be posting new presets on our web site for down-
load. Check out the site often for new additions. (Instructions for
installing the new presets will be included with the downloads.) 
						

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Chapter 5: Fun Facts About Sturgeons
•Long considered a nuisance fish and hated by commercial fishermen
for the damage they did to nets, the once lowly sturgeon has finally
achieved status as a top game fish. Prized by the angler for its strength
and speed, gourmets and backyard chefs alike have come to savor its
firm flesh.
•Instead of scales, sturgeon have tough skin and rows of bony plates
called scutes.
•Sturgeons are the most primitive of the bony fishes (family Acipenseridae)
alive today, modern relics of an ancient group of fishes, changed very
little since they appeared 200 million years ago.
•The last known sturgeon in Chesapeake Bay was reported in 1876 in
the Potomac River, Washington, DC.
•You can visit a group of pet sturgeons living in a big pond at the
Bonneville Dam on the Columbia River, west of Portland, Oregon.
Follow that icon to find them.
•The biggest one is named Herman.
•Under their snouts are four hairlike projections called barbels.
•Historically, sturgeon have been reported to live up to 200 years.
Today, they generally live 80 to 125 years.
•There have been reports of sturgeon growing to over 1800 pounds.
Today’s population generally grow to about 600 pounds.
•In the wild, females reach maturity between 15 and 20 years of age
and males between 7 and 15 years.
•A female sturgeon can produce up to 3 million eggs (roe). Sturgeon roe
(caviar) is sold as a luxury food and commands extremely high prices.
•Isinglass, which is used in the clarification of wines and beers as well as a
stiffening agent for jellies, is made from the dried air bladders of sturgeons. 
						

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Index
A
Antares Audio Technologies  iv
Assigning MIDI controllers to the Modulation
Matri  36
Attack  31, 34
authorizing Filter  3
B
Beats  26
C
Cell Grids  40
Challenge/Response Authorization  3
contact information  iv, 5
D
data displays  10
Decay Rate and Sustain Level  32
Delay  31
Delay Section  16
Delay Time/Beats - Beats Mode  17
Delay Time/Beats - Time Mode  16
Feedback  17
Mix  18
Pre/Post  18
Sync  18
Delay Time/Beats  16
Destination Selection  37 
						

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E
Envelope Follower  8, 34
Attack  34
Release  34
Envelope Generators  8, 29
Envelope overview  30
F
factory presets  45
Feedback  17
Filter Display Style  11
Filter License Agreement  v
Filter Output  19
Gain  19
Pan  20
Phase Invert  19
Filter Routing  22
Filter Settings  13
Filter Type  15
Frequency  15
Frequency Link  14
On  13
Poles  16
Q (Resonance)  15
Solo  13
Filter Type  15
Bandpass  16
Flat  16
Highpass  15
Lowpass  15
Notch  16
Frequency  15
Frequency Link  14
Function Display Selector  29
Function Generators  24
Attack  31
Beats  26
Decay Rate and Sustain Level  32
Delay  31
Envelope Generators  29
Envelope Overview  30
Function Display Selector  29Hold Time  32
LFOs  24
Rate  26
Rate Style  25
Rate/Beats  25
Release  32
Shape  27
Sync To Master  25
Time Base  30
Trigger Indicator  33
Trigger Selector  32
G
Gain  19
general control behavior  10
data displays  10
knobs  10
getting started  2
Graphic Filter Display  20
H
Hold Time  32
I
Input Level  11
Input Section  11
Input Level  11
Level Meter(s)  11
installing Filter  3
Introducing Filter  6
isinglass  iv, 47
K
knobs  10 
						

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L
Level Meter(s)  11, 44
LFO  8, 26, 27, 36, 46
Long Pulse  28
Ramp Down  27
Ramp Up  27
Random Hold  28
Random Ramp  28
Random Slew  28
Short Pulse  28
Sine  27
Square  28
Triangle  27
License Agreement  v
M
Master Section  11
Filter Display Style  11
MIDI Clock Indicator  11
MIDI Setup  12
Tap Tempo  12
Tempo  12
Tempo Source  11
MG  33
MIDI  8, 11, 12, 33, 36, 41
MIDI Clock Indicator  11
MIDI Setup  12
Mix  18
Modulation Amount  37
Modulation Matrix  8, 35
Assigning MIDI controllers  36
Cell Grids  40
Destination Selection  37
Modulation Amount  37
Patch On/Off  35
Repeat Indicators  40
Reset  42
Run/Stop  41
Source Selection  36
Tempo/Beats  39
Tempo/Beats - Beats Mode  39
Tempo/Beats - Tempo Mode  39Using the Rhythm Generators
as Modulation Sources  42
Using the Rhythm Generators
to Trigger Envelopes  43
What is modulation?  35
MT  33
O
On  13
Output Level  44
Output Section  44
Level Meter(s)  44
Output Level  44
P
Pan  20
Patch On/Off  35
Phase Invert  19
Poles  16
Pre/Post  18
presets  9, 45
Q
Q (Resonance)  15
R
Rate  26
Rate Style  25
Rate/Beats  25
Release  32, 34
Repeat Indicators  40
Reset  42
RG1  32
RG2  33
Rhythm Generators  8
Routing  22
Run/Stop  41 
						

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S
Shape  27
So what exactly is Filter?  6
Solo  13
Source Selection  36
sturgeons  47
Sync  18
Sync To Master  25, 38
T
Tap Tempo  12
technical support  5
Tempo  12
Tempo Source  11
Tempo/Beats  39
Time Base  30
Trigger Indicator  33
Trigger Selector  32
U
Using the Rhythm Generators
as Modulation Sources  42
to Trigger Envelopes  43