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Antares kantos 10 user manual

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Note that while this kind of real-time playing can be fun, the most common
filter application is to add dynamic effects by controlling it with a signal
such as input dynamics or an envelope. This routing would be done in the
Modulation Matrix.
MODE GENERAL EFFECT WHAT FREQ DOES WHAT Q DOES
lowpass 4 pole reduces highs rolls off highs at
24dB/octave starting
at the selected
cutoff freqboosts response at the
cutoff frequency and
slightly lowers the level
of frequencies below the
cutoff frequency
boosts...

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The Chorus
Chorus is an effect that copies the oscillator sound, and detunes it in a
periodic fashion (sort of like a slow, mild vibrato). Mixing the copied,
modulated sound with the original oscillator produces a fat, animated
effect. Not only do we now have the equivalent of two oscillators, the
other oscillator has a chorus also, giving the equivalent of a four-oscillator
synthesizer capable of generating downright corpulent timbres.
TUTORIAL: USING THE CHORUS
Press Play on your sequencer to play...

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Chapter 6: Applied Mixology, Delay,
and Tempo Sync
Before getting into the Articulator, let’s get into the mixing capabilities.
The Sub-Mixer
kantos produces five audio
sources for use in your final
sound:
Oscillator 1: The sound
of oscillator 1.
Fundamental 1: kantos
tracks the input signal’s
pitch, derives the
fundamental fre-
quency, and generates
a sine wave (i.e., a
wave with no harmon-
ics – just the fundamen-
tal) at that frequency.
The fundamental
follows any tuning or
pitch constraint...

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Other Sub-Mixer controls are:
Solo button (one per channel). When enabled, this allows you to hear
one channel (if its fader is up) while muting the rest. Multiple channels
can be soloed.
Mute button (one per channel). When enabled, this silences the
associated channel. Multiple channels can be muted.
TUTORIAL: USING THE SUB-MIXER
Before beginning this tutorial, let’s start with a clean slate. Remove the
kantos plug-in from your sequencer, then call it up again to start with the
default patch.
Load...

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Important note: kantos has lots of modules that can produce substan-
tial amounts of gain, so if you turn everything up, the program can
easily run out of headroom and introduce clipping distortion. Now,
some of you perverse hardcore techno types might appreciate this as a
“feature,” which is fine with us. But those who want a somewhat purer
sound are advised to realize that wherever levels can be set, kantos can
overload. Most platforms assume a lower level from plug-ins than
kantos can provide, so...

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TUTORIAL: USING THE MIXER
Continue playing the VOCALS_WORDS.AIF file, and adjust the levels of
the various Mixer sliders. Note how each element affects the sound.
Click on a channel’s Solo button to hear the channel by itself (assuming
the channel’s fader is up).
Click on Mute for a channel that has its fader up and hear the sound go
away.
Move the output level slider all the way to the top, so that the over-
load indicators shine like the sun at midday. You should hear a very
distorted sound –...

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Delay Tempo Sync/Tap Tempo
You can synchronize the delay
time to song tempo in two ways:
Click your mouse button on
the Tap button in the Tempo
section, or hit the keyboard
“T” key, on quarter notes of
the song’s tempo.
Enter the song tempo in the Tempo sync numerical box.
In either case, the delay time equals the duration of a quarter note at the
song tempo.
To create an eighth note delay, tap out eighth notes for the tap
function, or enter double the tempo in the numerical. For half-note
delays,...

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Chapter 7: The Articulator
The Articulator is the heart of kantos 1.0. It uses the harmonic content and
formant information detected by kantos 1.0’s input section, and applies
that to the output of the oscillators and noise generator. The process is
somewhat like a vocoder, which uses the harmonic content of a voice and
applies that to an oscillator or other instrument. The kantos Articulator can
give the same kind of effects, but because it’s an Antares product, it also
does much more than expected....

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Moving the dot to the upper right hand corner produces the maximum
effect. This equals numerical values of 100% Q and 100% Amount.
The Formant Offset parameter shifts the input’s detected formants
(overall harmonic structure) up or down in frequency, providing yet
another twisted way to affect the sound’s character.
The Emphasis section is a three-band graphic equalizer with separate
controls for low, mid, and high frequencies. Use it to tailor the sound’s
overall character.
TUTORIAL: KOOL...

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Chapter 8: Modulation Mastery
What Is Modulation?
Modulation is the process of using a control signal to vary a sound-altering
or sound-generating parameter. For a simple example, turning up an amp’s
volume is an example of “modulating” the amplitude with a “control
signal” (your hand turning the knob). More examples: synthesizer vibrato
uses an LFO to modulate oscillator pitch, and the tremolo in a guitar amp
modulates level with a periodic waveform.
Some of the modulation has handy defaults. For...
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