Antares kantos 10 user manual

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Floor: kantos ignores signals below this level. Set this above any hum,
residual noise, etc. so kantos isn’t confused by these signals.
Hold: Sets a minimum time before a note off occurs, regardless of what the
input signal is doing.
Note: kantos is happiest with a hot signal level. Set the Input Level
control so that the overload light at the top of the input meter light on
strong signal peaks.
The following example shows a signal’s amplitude envelope. The (1) On
setting is too high, as it misses...

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Here’s the final result. The bottom shows how the correct On and Off
settings generate triggers that respond to the note duration. Note that
kantos also tracks the dynamics, so the final result can sound as dynamic as
the original signal.
 KANTOS 
   TRIGGERS
 OFF 
 ON
TUTORIAL: SETTING GATE GENERATOR PARAMETERS
By now you should have a pretty good idea of how kantos works, so load
any audio file into your hard disk recording program of choice (or use one
of the tutorial files) and loop it.
 ON...

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Set Input Level so that the input meter clip indicators flash on peaks.
Set the GG parameters as follows: On = 0 dB, off = -1 dB, floor = -80 dB,
hold = approximately 100 ms.
Enable the Amp Envelope ON button.
Start your sequencer. You probably won’t hear anything, because the
On parameter will be higher than the audio.
Place your cursor on the On parameter arrow and drag down slowly.
You’ll start hearing the notes as kantos triggers them. The Gate On
light should flash with every new note.
Set...

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Determine how the source will affect the destination with the AMT
slider (located between the Source and Destination boxes). Positive
amounts add the source signal to the parameter. For example, when
using the input signal dynamics to control filter frequency, a positive
amount will kick the filter frequency higher with higher input dynam-
ics. Negative amounts do the opposite: higher input dynamics will
lower the filter frequency. Note that you can also enter the AMT value
in the numerical to the...

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Modulation Destinations
The 35 destinations are:
OSCILLATOR/FILTER-RELATED PARAMETERS
Pitch 1
Pitch 2
Semitone 1
Semitone 2
Chorus Freq 1
Chorus Depth 1
Chorus Freq 2
Chorus Depth 2
Filter Freq 1
Filter Q 1
Filter Freq 2
Filter Q 2
Filter Freq 3
Filter Q 3
PROCESSING-RELATED PARAMETERS
Articulation Amount
Articulation Q
Formant Offset
Delay Time
Delay Feedback
MIXER-RELATED PARAMETERS
Osc 1 Level
Sine 1 (Fund 1) Level
Osc 2 Level
Sine 2 (Fund 2) Level
Noise Level
Delay Level...

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LFOs (Low Frequency Oscillators)
LFOs generate low-speed
control waveforms. We
already had a close encoun-
ter with an LFO when
checking out the Chorus; the
Chorus Rate and Level
controls set the speed and
depth of an LFO dedicated to
the Chorus. LFO1 and LFO2
are general purpose modula-
tion sources.
There are two adjustable
parameters for each LFO. The parameter with the arrow chooses the LFO
waveform. Choices are:
Sine is the traditional LFO waveform that provides a smooth periodic
control...

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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. The more
taps you give kantos, the more accurate the reading because the taps
are averaged over time. Note: keyboards often scan keys fairly slowly,
so if you tap the T key really fast, it might not register. Make sure each
T key tap is more than a few milliseconds long.
Enter the song tempo in the tempo sync numerical box
In either case, the setting affects whichever...

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Here’s the deal with click/dragging:
Set attack time: Click in the rectangle containing the attack curve. If
you host application supports custom cursors, the cursor changes to a
double-arrow; drag left or right to change the attack time.
Set decay time and sustain level: Click in the decay or sustain section.
The cursor turns into a quad arrow if your host can handle this. Drag
up or down to set the sustain level, left or right to set decay time.
Set release time: Click in the rectangle containing...

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Triggering New Parts From Loops
This is not a tutorial per se, but a demonstration of how you can use what
you’ve learned about triggering and modulation to create entirely new
parts from drum loops. We’ve included a few tutorial presets and an audio
file for this purpose:
Load the tutorial audio file DrumBeefLoop.aif
Use it to drive the presets BasicLoop1 through BasicLoop4. These
presets include the original input audio in the mix, so you can immedi-
ately hear how kantos creates new parts from...

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