Antares Microphone Modeler user manual

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And with the ability to download new models from our web site,
the Microphone Modeler will always keep you at the forefront of
the microphone art.
About The Technology
The models employed by the Microphone Modeler are not derived
from theoretical considerations. They are generated by a proprietary
analysis process that is applied to each physical mic modeled. Not
only the sonic characteristics, but the behavior of other parameters
such as low-cut filters or proximity effects accurately reflect the
specific performance of each individual microphone we model.
The precision of these models allows the Microphone Modeler to
reproduce even the subtle (and sometimes not-so-subtle) sonic
variations that one often finds in different samples of the same
model of microphone. Consequently, for some important mics,
we’ve provided multiple models, each based on measurements
taken from individual mics.
Another advantage of our model-based approach is that there is
essentially no processing delay apart from the natural phase effects
of the microphones being modeled and any delay inherent in the
operation of the host application or hardware environment.
Finally, the quality and signal-to-noise characteristics of the process-
ing are pristine. Because of our commitment to model-based pro-
cessing, there are none of the limitations or distortions characteristic
of FFT-based algorithms. The quality of the output is limited only by
the quality of the input.
So What Exactly Does It Do?
While there is a lot of fairly complicated stuff going on under the
hood, the essential functionality of the Microphone Modeler is
really quite simple. Basically, audio from a microphone is input to
the Microphone Modeler where it is first processed by a “Source
Model” which serves to neutralize the known characteristics of the
input mic. The audio is then processed by a second “Modeled Mic”
model which imposes the characteristics of the modeled mic onto
the previously neutralized signal. Finally, the audio is passed
through a model of a high-quality tube preamp offering the option
of classic tube saturation distortion.
The details are found in the next chapter. 
						

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Chapter 3: Operation
Live or Mixdown?
The Microphone Modeler functions equally well processing audio
during its original performance or later during the mixdown pro-
cess. However, if you have the choice (which you typically will for
everything but a live stage performance), we strongly recommend
using the Microphone Modeler as an insert effect during mixdown.
This will allow you to experiment with mic choice and various mic
settings while auditioning their effect in the context of the entire mix.
If you do choose to work this way, it is important that you carefully
document all mic data for each recorded track. This should include
the mic used, any settings such as low-cut filter and/or response
pattern selected, as well as the average distance between the mic
and the signal source (singer, instrument, etc.). This information will
be required to properly set the Source Mic controls during the mix.
Signal Flow
The Microphone Modeler is divided into a number of discreet
functional blocks as follows (in the order of signal flow):
Input
For setting the input level of the audio to be processed.
Source Mic
For indicating the mic (and the state of its various parameters) that
was actually used to record the audio.
Modeled Mic
For selecting the mic (and the state of its various parameters) whose
sound you would like to model.
Tube Saturation
For adding a model of analog tube saturation distortion. 
						

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Controls: Input Section
Output
For setting the output level of the processed audio.
The use of each of the individual controls is covered below.
Controls
Input Section
The Input Gain slider, as is no doubt obvious, is
used to set the level of the incoming audio. The
exact amount of gain or attenuation is displayed
numerically above the slider. In most instances, the
input gain should be set at the highest level that
does not cause the 0 dB “LED” of the graphic level
meter to light.
The Level Meter displays the level of the audio as it
is being processed by both the Source and Modeled
Mic models. Because some models (or combinations
of models) can result in increased amplitude at
various frequencies, changing to a different mic
model or changing a model’s settings may require
an adjustment of the Input Gain to avoid clipping. 
						

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Controls: Source Mic Section
In practice, you should start out by setting the Input Gain at a bit
under the optimum level. Once you’re confident that you’ve found
the right mic settings for your track, you should go back and fine
tune the gain for maximum level without clipping.
Source Mic Section
The SOURCE MIC section is where you
specify the mic and the settings that
were (or will be) used to capture the
input sound. The purpose of these
selections is to remove the effect of
the source microphone, resulting in
the signal that would have been
recorded by an ideal instrumentation
microphone with no proximity effect.
Source Mic Menu
The Source Mic pop-up menu is used
to select a specific model of mic.
In some cases a mic will have a second listing with “(w)” appended
to the mic’s name. This indicates that the mic we modeled was
supplied with a windscreen and this is the model of the mic with
the windscreen attached. If your audio was captured using the
windscreen, you should select this version of the model.
When you first install the Microphone Modeler, the menu will
include all of the mics that we had modeled up to the point at
which the CD ROM was released for duplication. You should be sure
to check the Antares web site (www.antarestech.com) for new
models completed since that release.
Additionally, the menu offers a selection called “Bypass.” When
Bypass is selected, the source signal is passed unmodified to the
Modeled Mic section. You should select Bypass when your source
was not recorded with a microphone (e.g., guitar via direct box,
direct synth input, etc.).
If your desired mic is not listed in the menu (nor available as an
additional model on our web site), you can try one of the following
(in order of preference):
1) Use a different mic that is listed — this is, of course, only an
option if you’ve not yet recorded the audio and do, in fact, have
another listed mic. 
						

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2) Select another mic on the list whose characteristics are known to
be similar to your mic (a similar model from the same manufac-
turer, for example).
3) Select another mic of the same general type as your mic, e.g.,
dynamic, large diaphragm condenser, etc.
4) Select Bypass from the menu
It must be stressed that selecting option 2, 3 or, especially, 4, will
compromise the Microphone Modeler’s ability to accurately repro-
duce the sound of the desired modeled mic. That’s not to say that
you won’t be able to get something that sounds great, just that it’s
unlikely to be an accurate simulation of whichever mic you chose in
the Modeled Mic section.
In particular, if you choose Bypass as the Source Mic and any mic as
the Modeled Mic, the resulting effect is equivalent to having re-
corded the audio with the actual physical mic (which you, of course,
did) and then having played back that track through a perfect set of
speakers and rerecorded it with the Modeled Mic. Again, maybe a
great sounding creative effect, but not an accurate representation
of the Modeled Mic.
Note: If we don’t have a model of your mic and you really, really
want to use it as a source mic, you might consider giving us a
call and seeing if we’re interested in modeling it. If so, you’d
have to be willing to send it to us and have it out of your posses-
sion for about 5 working days.
Low-Cut Menu
If the mic you select in the Source Mic menu is equipped with a user-
selectable low-cut filter, the Low-Cut pop-up menu will allow you to
select from among the actual filter settings available on that mic. (If
the selected mic does not have a low-cut filter, the menu will be
grayed out.)
If the source mic does include a low-cut filter, select the low-cut
setting that was (or will be) used when capturing your audio.
Note: It is important to keep in mind that the purpose of this
setting is to “undo” the effect of any low-cut filter that was
used to capture your audio. If you play around with this setting,
you may initially think that it’s working “backwards.” That is,
changing the menu selection from OFF to any filter setting will
actually cause a bass boost in the monitored audio.
Controls: Source Mic Section 
						

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Controls: Source Mic Section
However, once you think about it, you will realize that this is the
way it’s supposed to work. The purpose of all the controls in the
Source Mic section is to neutralize the effects of the source mic.
So, when you select a low-cut filter, you’re telling the Micro-
phone Modeler that the source mic recorded the audio with that
much bass attenuation and, therefore, the model must now
boost the bass an equal amount to remove the source mic’s sonic
coloration. (Trust us, this fried our brains a bit at first, too.)
Pattern
If the mic you select in the Source Mic menu is equipped with user-
selectable pick-up patterns (i.e., omni, cardioid, hypercardioid, etc.),
the Pattern pop-up menu will allow you to select from the actual
pattern settings available on that mic. (If the source mic does not
have selectable patterns, the menu will be grayed out.)
If the source mic does include multiple patterns, select the pattern
that was (or will be) used when capturing your audio.
Note: The purpose of the Pattern selection is to neutralize the
varying frequency characteristics that result from each of the
available pattern settings, with the assumption that the audio
was recorded on axis (i.e., from the front of the microphone).
Since the Microphone Modeler has no way of knowing the
actual placement of the signal source, it does not attempt to
simulate off-axis performance.
Proximity
The Proximity knob in the Source Mic section should be used to set
the average distance that separated the mic and the signal source
during the recording of the audio.
The purpose of this control is to allow the model to remove any
Proximity Effect that may have been introduced by the source mic.
Note: Proximity Effect is a boost in bass frequencies resulting
from placing a directional mic in close proximity to a signal
source. The amount of the effect varies from mic to mic, and is
inversely proportional to the distance from the mic to the source
(i.e., the smaller the distance, the greater the bass boost).
Mics operating in omnidirectional mode do not exhibit a proximity
effect. Consequently, if the source mic is an omni mic, or the source
mic has selectable patterns and omni is chosen, the Proximity control
will be disabled. 
						

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Note: Like the Low-Cut control described above, the Source Mic
Proximity control may initially seem to be working backwards
(i.e., setting a shorter distance will result in an audible bass
attenuation). Refer to the explanation back up in the Low-Cut
section to understand why this is actually how it is supposed to
work.
Also note that the effect of the Proximity control is unique for each
model of microphone. The Microphone Modeler does not use a
generalized approximation of proximity effect. Each model reflects
the specific physical properties that create the proximity effect for
that individual mic.
Modeled Mic Section
Here’s where the fun really starts.
The MODELED MIC section is where
you select the mic (and its settings)
whose characteristics you want to
apply to your audio.
Modeled Mic Menu
The Modeled Mic pop-up menu is
used to select your desired mic. In
some cases a mic will have a second
listing with “(w)” appended to the
mic’s name. This indicates that the
mic we modeled was supplied with
a windscreen and this is the model of the mic with the windscreen
attached. If you wish to simulate the use of the windscreen, you
should select this version of the model.
When you first install the Microphone Modeler, the menu will
include all of the mics that we had modeled up to the point at
which the CD ROM was released for duplication. You should be
sure to check the Antares web site (www.antarestech.com) for
new models completed since that release.
Additionally, the menu offers a selection called “Bypass.” When
Bypass is selected, no mic model is applied. The net sonic effect of
selecting Bypass here depends on the setting of the Source Mic
menu:
Controls: Modeled Mic Section 
						

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Controls: Modeled Mic Section
•If the correct source mic is selected in the Source Mic menu and
Bypass is selected in the Modeled Mic menu, the final output of
the Microphone Modeler will be stripped of the characteristics
of the source mic, resulting in the signal that would have been
recorded by an ideal instrumentation microphone with no
proximity effect.
•If Bypass is selected in the Source Mic menu and Bypass is se-
lected in the Modeled Mic menu, the final output of the Micro-
phone Modeler will be identical to the original input signal
(with the exception of any added tube saturation).
Low-Cut Menu
If the mic you select in the Modeled Mic menu is equipped with a
user-selectable low-cut filter, the Low-Cut pop-up menu will allow
you to select from among the filter settings available on that mic.
(If the selected mic does not have a low-cut filter, the menu will be
grayed out.)
If the modeled mic does include a low-cut filter, selecting a low-cut
setting will reproduce the same effect that selecting that setting
would have on the actual modeled mic.
Note: The setting labels that appear in the menu are those that
appear on the physical mic. In some cases, the label is the cut-off
frequency of the low-cut filter as specified by the mic’s manufac-
turer. However, the Microphone Modeler does not simply apply
a generic low-cut filter at the stated frequency, but instead
models the actual filter performance of each modeled mic. In
other words, a stated cut-off frequency is only as accurate as the
filter on the actual mic.
Another Note: Although it’s always best to let your ears be your
guide, if your audio was recorded with the source mic’s low-cut
filter turned on, in most cases it will be best to turn on the
modeled mic’s low-cut filter as well. (After all, there was pre-
sumably some reason that someone chose to use that filter in
the first place.)
Pattern
If the mic you select in the Modeled Mic menu is equipped with
user-selectable pick-up patterns (i.e., omni, cardioid, hypercardioid,
etc.), the Pattern pop-up menu will allow you to select from the
actual pattern settings available on that mic. (If the modeled mic
does not have selectable patterns, the menu will be grayed out.) 
						

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If the modeled mic does include multiple patterns, select the pattern
whose characteristics produce the effect you desire.
Note: The purpose of the Pattern selection is to model the
varying frequency characteristics that result from each of the
available pattern settings, with the assumption that the audio
was recorded on axis (i.e., from the front of the microphone).
Since the Microphone Modeler has no way of knowing the
actual placement of the signal source, it does not attempt to
simulate off-axis performance.
Proximity
The Proximity knob in the Modeled Mic section can be used to select
a desired amount of proximity effect.
Note: Proximity Effect is a boost in bass frequencies resulting
from placing a directional mic in close proximity to the signal
source. The amount of the effect varies from mic to mic, but is
generally inversely proportional to the distance from the mic to
the source (i.e., the smaller the distance, the greater the bass
boost).
Using the Proximity knob to set a particular distance will result in
the amount of proximity effect that would be produced by the
actual modeled mic when placed at that distance from the signal
source.
The effect of the Proximity control is unique for each model of
microphone. The Microphone Modeler does not use a generalized
approximation of proximity effect. Each model reflects the specific
physical properties that create the individual proximity effect for
that mic.
Note: A secondary effect of mic-to-source distance is the extent
to which environmental ambience is picked up by a mic. For
example, as a mic is moved away from the source, the proximity
effect decreases, but the amount of “room tone” increases
(assuming that you are not in an anechoic chamber). The Micro-
phone Modeler does not model this effect. However, judicious
use of the Proximity control in combination with some appropri-
ately programmed reverb will allow you to create the same
effect, with the additional bonus of being able to control the
exact nature of the room tone.
Mics operating in omnidirectional mode do not exhibit a proximity
effect. Consequently, if the modeled mic is an omni mic, or the
modeled mic has selectable patterns and omni is chosen, the Proxim-
ity control will be disabled.
Controls: Modeled Mic Section 
						

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Controls: Preserve Source
Preserve Source
The Preserve Source
controls allows you to
split your audio into its
bass and treble ranges
and process each range
separately. This lets you
create hybrid mics that combine the bass characteristics of one mic
and the treble characteristics of another. One of the two mics will be
your actual source mic and the other can be selected from any of
the available models.
Say, for example, that you have a mic whose bass response is great
for a particular track, but whose treble response just doesn’t sound
right. With this feature you can preserve the bass response of your
source mic while replacing its treble characteristics with that of any
of the modeled mics.
Here’s how it works:
1) Make all the appropriate settings in the Source Mic section. (Do
not select Bypass unless you are going for some special effect, as
it will defeat the normal function of this feature.)
2) Choose the other mic for your hybrid and make all the appropri-
ate settings in the Modeled Mic section. (Again, do not select
Bypass unless you are going for some special effect.)
3) In the Preserve Source section, click on either the Bass or Treble
button (its associated “LED” will light) depending on whether
you want to preserve the bass or treble characteristics of your
source mic.
There are four possible states of the two Preserve Source buttons.
Here’s what each does ( o = LED lit):
1) Preserve Source: Bass OTreble O
With neither button pressed, frequency splitting does not take place
and the Microphone Modeler operates in its normal manner accord-
ing to the settings in the Source and Modeled Mic sections.
2) Preserve Source: Bass oTreble O
With the Bass button pressed, the source mic’s bass characteristics
are allowed through unchanged while the treble characteristics are
neutralized. Then, at the model end, only the model’s treble character-
istics are applied to the signal. The net effect is that you get the source
mic’s bass characteristics and the modeled mic’s treble characteristics.