Antares Tube user manual

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Chapter 2: Introducing Tube
SOME BACKGROUND
When Antares introduced the ground-breaking Microphone Modeler plug-
in in 1999, we included a function designed to model the distortion that is
typical of a high-quality tube pre-amp. Mic Modeler was an immediate
success and went on to win Mix Magazine’s prestigious TEC Award for
Software Signal Processing. Along the way, virtually every reviewer com-
mented on how great the tube model sounded. We’ve even heard from
users who didn’t feel they needed microphone modeling, but bought Mic
Modeler just to have the tube function.
In the intervening years we’ve had a lot of requests for a plug-in that
would offer the great sound of the Mic Mod tube model in an affordable,
easy to use plug-in.
Well, here it is. 
						

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SO WHAT EXACTLY IS TUBE?
Tube is a multiformat plug-in that accurately models the sonic effects of
recording audio through a high quality analog tube preamplifier. It offers
the choice of two different tube models as well as a unique OmniTube
function that allows the application of the tube effect to the entire signal
(as opposed to only the transients, as is typically the case with a tube
preamp).
Tube’s extended parameter ranges have been designed to allow the
creation of a wide variety of sonic effects beyond the classic subtle tube
“warmth.”
Additionally, Tube has been designed to be extremely DSP efficient, so that
even a relatively modest native system will be capable of running Tube on
many tracks simultaneously.
WHAT’S THE BIG DEAL WITH TUBES ANYWAY?
For most of us in audio recording, distortion is a bad word. We typically
want the cleanest possible recordings, free of any audible distortion. But
for certain types of audio there is an exception: the distortion that comes
from transient clipping in a high quality tube preamplifier.
When high quality tube pre-amps are operated in their linear range, there
is virtually no signal distortion and their audio qualities are essentially
identical to that of high quality solid state pre-amps. However, it is com-
mon for transients to exceed the preamp’s linear voltage range, resulting in
distortion. And here’s where things get interesting. The distortion charac-
teristics of a vacuum tube pre-amp are vastly different than those of solid
state amplifiers. Specifically, the overtones produced by tube distortion are
generally harmonically related to the fundamental input pitch, whereas
solid state overdrive distortion generally produces non-harmonic overtones.
This tube distortion is often described as adding a certain “warmth” to a
sound. This is in contrast to what is often described as the “brittleness” of
the solid state sound.
As a result, many people pay large sums of money for tube preamps
designed to provide this desirable but elusive quality. It was the best sonic
qualities of a number of these preamps that served as the sources for Tube’s
digital models. 
						

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Chapter 3: Tube Controls
This chapter is a reference for all of the controls used in the Tube interface.
T
INPUT AND OUTPUT
PLUGS
Tube can be instantiated
in either stereo or mono
versions. The I/O plugs
provide a graphical
indication of the type of
instantiation. I.e., a mono
version of Tube will have
one Input plug and one
Output plug. A stereo
version will have Left and
Right Input plugs and Left
and Right Output plugs. 
						

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TUBE SELECTOR
Tube includes two different tube models. The heavenly blue
tube models the subtle effects of a classic high-quality tube
preamp. Use this model to add warmth to vocals, acoustic
guitar, horns, strings, synth pads, in fact pretty much anything.
INPUT LEVEL
This control applies gain to the input signal before it’s
passed to the tube model. It is typically used to ensure
that the level of the input is high enough to exceed
the clipping level in the tube model. As a starting
point, adjust the gain such that the input level meter
needle spends most of its time in the top two red
meter segments without lighting the Clip indicator.
(The top of the level meter’s range is 0dB. Each
segment represents a 6dB difference.) Further adjust-
ments can be made in combination with the Drive
setting (see below).
To adjust gain, click anywhere around the circumfer-
ence of the knob and “rotate” the knob in the desired
direction. The numeric display will indicate in dBs the
exact amount of gain applied.
You may also click in the numeric display, type in the desired value, and
then hit Return or Enter. If you start to enter a value and then change your
mind before hitting Return or Enter, you can click anywhere outside the
numeric display to return to the original value.
Option (Mac)/Alt (PC) clicking the knob will reset the value to 0dB.The fiery orange tube models the deep,
warm distortion of an overdriven tube
amplifier. Use it in moderation to impart
a subtle (or not-so-subtle) effect to almost
any track. Or crank it up on electric
guitar, bass, synths, even voice.
To select the blue tube, click on the
button next to the halo icon. The button
will glow blue and the selected tube will
rotate into position.
To select the orange tube, click on the
button next to the pitchfork icon. The
button will glow red and the selected
tube will rotate into position. 
						

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NOTE: Since the Drive control is capable of a maximum of 12dB of gain,
the input signal transients must be at least above -12dB to produce any
tube effect. If the input meter needle never enters the red segments of
the meter, no tube effect will be audible with even maximum Drive.
ANOTHER NOTE: Unless you are going for some special effect, you do
not want to have clipping at the input stage. This is not the “good”
clipping that happens in the tube model. Input clipping is that nasty
digital kind.
DRIVE AMOUNT
The amount of tube saturation effect
applied to your audio is controlled by the
Drive control in combination with the
Input Gain control described above.
The Drive control determines the amplification factor of the modeled tube
pre-amp with the numeric display indicating the amplification in dB. At 0
dB , no distortion occurs, even for full amplitude (+1 or -1) signal levels.
These levels represent the “rails” of the amplifier. As the Drive is increased,
the amplification is increased. Any regions of the signal that increase
beyond the rails generate saturation distortion.
Because the maximum Drive amount is +12 dB, generating the tube effect
requires the original signal to be at a level greater than -12 dB. If this is not
the case, you should adjust the Input Gain control to increase the level of
the sound. (Be certain that Input Gain is not increased so much as to cause
the Clip indicator to light.) It may be necessary to go back and forth
between Drive and Input Gain a few times to get exactly the effect you
want.
NOTE: If your audio was recorded at an exceptionally low level, it may
be that even maximum Input Gain and maximum Drive will still not
result in a level high enough to generate distortion. In that case, either
re-record your audio at a higher level (if possible) or use your wave-
form editing program to digitally increase the level (keeping in mind
that this may negatively affect the signal quality).
To adjust the Drive amount:
•Click on the triangular handle and move it left or right to the
desired setting
•Click anywhere on the silver Drive scale and the handle will
snap to that position.
•Click in the numeric display and type in the desired value, and then hit
Return or Enter.
Option (Mac)/Alt (PC) clicking anywhere in the scale will reset the Drive
value to 0dB 
						

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OMNITUBE
Without OmniTube engaged, Tube functions exactly like a tube preamp,
i.e., the regions of the input signal that exceed the clipping level (typically
transients) are affected and all other regions are passed with no change.
With OmniTube on, all regions of the input signal are subject to tube
distortion. To accomplish this, when you engage OmniTube a compressor is
inserted into the signal path after the Input Gain control and before the
tube model. The compressor is set to compress the signal and then apply
sufficient makeup gain to ensure that the Drive control can drive the entire
signal above the clipping level. After the tube effect is applied to the entire
signal, an inverse gain function restores the signal’s original dynamics.
The effect of OmniTube is highly dependent on the character of the input
signal, which tube is selected, and the setting of the Drive control. Experi-
mentation is the order of the day.
To toggle OmniTube on or off, simply click on the OmniTube switch. The
position of the switch will change to indicate its current state.
NOTE: Despite the fact that OmniTube employs a compressor, it is
important to remember that the final output signal is not compressed
and that the original dynamics are maintained. If you want to actually
compress your signal, you’ll need a separate compressor somewhere
else in the signal chain.
OUTPUT ATTENUATION
This control applies attenuation to the signal after it’s
passed through the tube model. It is typically used to
ensure that no clipping occurs as a result of the gain
applied by the Drive control. As a starting point, set the
attenuation to 0dB (i.e., no attenuation). If the Clip
indicator lights, apply just enough attenuation to avoid
the clipping and cause the output level meter needle to
spend most of its time in the top two red meter
segments. (The top of the level meter’s range is 0dB.
Each segment represents a 6dB difference.)
To adjust attenuation, click anywhere around the
circumference of the knob and “rotate” the knob in
the desired direction. The numeric display will indicate
in dBs the exact amount of attenuation applied.
You may also click in the numeric display, type in the desired value, and
then hit Return or Enter. If you start to enter a value and then change your
mind before hitting Return or Enter, you can click anywhere outside the
numeric display to return to the original value.
Option (Mac)/Alt (PC) clicking the knob will reset the value to 0dB. 
						

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Chapter 4: Tube Tips
At its most basic level, Tube is designed to add an extremely accurate model
of a tube preamp’s sound to warm your digital tracks. But we have pur-
posely designed Tube to have a range of controls that allow you to push
well beyond that model. Here are a few other things to try:
•Pass your entire final mix through Tube. Instantiate a stereo version of
Tube (or more if you are mixing for surround) on your mix bus. Start
with a little blue tube with OmniTube off. Experiment with the Drive
amount and/or adding OmniTube for a unique timbral effect. Or switch
to the orange tube for a more dramatic effect. The result will depend a
lot on the nature of your mix, but will rarely be less than “interesting.”
•Run a voice track through the orange tube with OmniTube on and a
high Drive level. Instant industrial vocal.
•Although we usually warn against input clipping, for extreme effects
try purposely clipping the input (for digital distortion) and then passing
the distorted signal through the tube model. This will usually sound
pretty ugly, but in some cases it might be just the ugly you’re looking
for.
•Experiment and let your ears be your guide.
A 
						

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Index
A
amplification factor  9
Antares Audio Technologies  ii
attenuation  10
Authorizing Tube  2
B
blue tube  8, 11
C
Challenge/Response Authorization  2
contact information  ii, 3
Controls  7
Drive Amount  9
Input and Output Plugs  7
Input Level  8
OmniTube  10
Output Attenuation  10
Tube Selector  8
D
Drive Amount  9
G
gain  8
I
Input and Output Plugs  7
Input Level  8
Installing Tube  2
L
License Agreement  iii
M
Microphone Modeler  5
O
OmniTube  1, 10, 11
orange tube  8
Output Attenuation  10
S
serial number  vi
T
Technical Support  3
Tube models  8
blue tube  8
orange tube  8, 11
Tube Selector  8
Tube Tips  11