Antares kantos 10 user manual
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13 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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14 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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15 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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16 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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17 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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18 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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19 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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20 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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21 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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22 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...