Antares Vocal Express user manual
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17 VA RI AT ION Vocal Timbre Behind this unassuming knob lies a compact version of the THROAT Evo vocal modeler. When this control is set to 0, the doubled voice will have exactly the same character as the original voice. As you adjust the control in either direction, DUO Evo sends the doubled voice through a progressively more extreme vocal model. I.e., near 0, the timbre is very close to the original voice. As the control approaches .40 or -.40, the vocal timbre undergoes a fairly radical change. As you might imagine, this knob simultaneously controls a number of vocal modeling parameters. We’ve linked them together to give you quick and easy access to a range of useful timbres. Although the exact effect of any setting will depend a good deal on the vocal being processed, in general: • Selecting a positive value will result in a lengthening of the vocal tract and hence an older/darker/more male vocal quality. • Selecting a negative value will result in a shortening of the vocal tract and hence a younger/brighter/more female vocal quality. Command (Mac)/Control (PC) click the control to reset it to its default value of 0. Vibrato The Vibrato control allows you to select the amount of variation in vibrato depth applied to the doubled voice. Selecting a positive value increases the doubled voice’s vibrato depth relative to the original voice. Selecting a negative value decreases the doubled voice’s vibrato depth relative to the original voice. Imp OrTa NT N OTE: Unlike vibrato controls on most vocal processors, this function does not simply use an LFO to apply a synthesized vibrato. DUO Evo actually analyses the original vocal part to identify its vibrato and modify its depth. As a result, the modified vibrato will still reflect the overall contour of the original vibrato. As an additional consequence however, the Vibrato control will only have affect if the original vocal contains vibrato. It will not add vibrato to a performance that does not originally have it. The Vibrato control may be used by itself to modify the vibrato of a performance. See the Usage Tips below for details. Command (Mac)/Control (PC) click the control to reset it to its default value of 0. Pitch Variation The Pitch Variation control lets you select the amount of random variation in pitch applied to the doubled voice. The higher the value, the larger the maximum amount of allowable variation. Command (Mac)/Control (PC) click the control to reset it to its default value of 10. Timing Variation The Timing Variation control lets you select the amount of random variation in timing applied to the doubled voice. The higher the value, the larger the maximum amount of allowable variation.
18 DUO Evo’s timing variation is completely independent of pitch variation. To get a good idea of the effect of timing variation, use the level controls to listen only to the doubled voice. set Vibrato to 0 and Pitch Variation to 10. Set Timing Variation to maximum and process a rhythmic vocal performance. Pretty weird. Command (Mac)/Control (PC) click the control to reset it to its default value of 10. LEVELS Original Level Sets the level of the original voice. Command (Mac)/Control (PC) click the control to reset it to its default value of 0. Original Pan Position Sets the original voice’s location in the stereo spectrum. This control only functions in Stereo or Mono -> Stereo modes. Command (Mac)/Control (PC) click the control to reset it to its default value of -100 (far left). Double Level Sets the level of the doubled voice. Command (Mac)/Control (PC) click the control to reset it to its default value of 0. Double Pan Position Sets the doubled voice’s location in the stereo spectrum. This control only functions in Stereo or Mono -> Stereo modes. Command (Mac)/Control (PC) click the control to reset it to its default value of 100 (far right).
19 Usage Tips • DUO Evo is available in mono and stereo versions and, depending on the capabilities of your host program, a mono -> stereo version (which in most cases is the preferred routing). In the case of the stereo version, DUO Evo processes only the left channel. DUO Evo is dramatically more effective with the original and doubled parts panned apart, so if at all possible, tr y always to use it with stereo output. • For best performance, DUO Evo requires a clean, pitched monophonic signal. If DUO Evo can not reliably detect the pitch of the input, either because of a noisy or effected signal or because the input is not a single monophonic voice, it will apply Vocal Timbre and Timing variations only. • Experiment with various Pitch and Timing settings. Different combinations can result in distinctly different stylistic effects. • DUO Evo’s Vibrato function can be used by itself to modify the vibrato depth on a recorded track. If you have a track with too deep a vibrato (or too shallow, although that’s a much rarer problem), assign DUO Evo to the track and set the mixer so that only the doubled track is heard. Set Vocal Timbre to 0 and Pitch and Timing to their minimum values. While listening to the track, adjust the Vibrato slider to reduce or expand the vibrato depth as desired. Notice that while you are modifying the vibrato depth, the expressive contour of the singer’s original vibrato is retained.
20 4 : WARM TUBE S ATURATION G ENERATOR So what exactly is WARM? WARM is an easy-to-use 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). WARM’s extended parameter ranges have been designed to allow the creation of a wide variety of sonic effects beyond the classic subtle Based on Antares’ legendary (at least among those of us who work here and, based on the volume of emails we’ve gotten since we discontinued it, a fair number of others as well) Tube plug-in, WARM, warms up your vocals with Antares’ world-renown tube modeling technology, while being so processing-efficient, you can put an instance on pretty much every track in your project and still barely see your CPU meter twitch.
21 tube “warmth.” Additionally, WARM has been designed to be extremely DSP efficient, so that even a relatively modest native system will be capable of running WARM on an almost unlimited number of 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 common for transients to exceed the preamp’s linear voltage range, resulting in distortion. And here’s where things get interesting. The distortion characteristics 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 WARM’s digital models. Controls 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 (gray and purple) meter segments. Further adjustments can be made in combination with the Drive setting (see below). To adjust gain, click on and move the fader to the desired position. The numeric display will indicate in dBs the exact amount of gain applied. Command (Mac)/Alt (PC) clicking anywhere in the fader track will reset the control to its default value of 0dB. N OTE: 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 never enters the top segments of the meter, no tube effect will be audible with even maximum Drive. a N OTH E r N OTE: 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.
22 Tube Selector WARM includes two different tube models. The Velvet (blue) tube models the subtle effects of a classic high-quality tube preamp. While this model is perfect for adding warmth to vocals, it’s just as useful for acoustic guitar, horns, strings, synth pads, in fact pretty much anything. The Crunch (red) 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 for that “industrial” vocal sound, electric guitar, bass, or synths. To select a tube, simply click the appropriate button. 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 clipping.) It may be necessary to go back and forth between Drive and Input Gain a few times to get exactly the effect you want. N OTE: 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 waveform editing program to digitally increase the level (keeping in mind that this may negatively affect the signal quality).
23 To adjust the Drive amount, click on the fader handle and move it left or right to the desired setting. The numerical display will indicate the amplification factor in dB and the tube graphic’s will “glow” will change to provide an additional visual indication (i.e., “eye candy”). Command (Mac)/Alt (PC) clicking anywhere in the scale will reset the Drive value to 0dB O m n i Tu b e Without OmniTube engaged, WARM 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. Experimentation is the order of the day. To toggle OmniTube on or off, simply click on the OmniTube button. The color of the switch will change to indicate its current state. N OTE: 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 At tenuation 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 meter segments. (The top of the level meter’s range is 0dB. To adjust attenuation, click on and move the fader to the desired position. The numeric display will indicate in dBs the exact amount of attenuation applied. Command (Mac)/Alt (PC) clicking anywhere in the fader track will reset the control to its default value of 0dB.
24 Usage Tips At its most basic level, WARM is designed to add an extremely accurate model of a tube preamp’s sound to warm your digital tracks. But we have purposely designed WARM 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 WARM. Instantiate a stereo version of WARM (or more if you are mixing for surround) on your mix bus. Start with a little Velvet tube with OmniTube off. Experiment with the Drive amount and/or adding OmniTube for a unique timbral effect. Or switch to the Crunch 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 your vocal through the Crunch 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.
25 5 : M U TATO R E v o EX TREME V OICE DESIGNER MUTATOR Evo provides a combination of tools for creating unusual, weird, or downright wacky voices. With high- quality pitch shifting, throat modeling, a pitch-tracking ring modulator for “mutation,” and a mind-bending Alienization function, MUTATOR Evo is the perfect tool for unique vocal effects and post-production sound design.
26 Controls VOCAL R ANGE Use this control to select the range of the track you will be processing. Choices include soprano voice, alto/tenor voice, baritone/bass voice and instrument (a general setting for anything that isn’t actually a vocal). Matching the appropriate algorithm to the input results in faster and more accurate pitch detection and more accurate pitch shifting and modeling. To select vocal range, click on the Vocal Range pop-up and then select the desired range from the pop -up list. N OTE : Choosing the wrong Vocal Range (or just forgetting to set it at all) can result in compromised performance. Pay attention. V OICE D ESIGN S ECTION The following three controls allow you to create the basic vocal characteristics of your voice. Shif t Pitch As its name suggests, this control is used to shift the pitch of the input voice either up or down. MUTATOR Evo’s pitch shifting automatically includes formant correction (i.e., it preserves the resonant characteristics of the original voice), however you can further modify the vocal characteristics using the Throat Length and Throat Width controls described below. The range of the control is four octaves — two octaves up and two octaves down. The control is calibrated in 48 discrete steps of a semitone each. Since an octave is equal to twelve semitones, the values of this control are equivalent to the following musical intervals: 1 = minor 2nd 2 = major 2nd 3 = minor 3rd 4 = major 3rd 5 = perfect 4th 6 = aug 4th/dim 5th 7 = perfect 5th 8 = aug 5th/min 6th 9 = major 6th 10 = minor 7th 11 = major 7th 12 = octave 13 = minor 9th 14 = major 9th 15 = minor 10th 16 = major 10th 17 = perfect 11th 18 = aug 11th 19 = perfect 12th 20 = minor 13th 21 = major 13th 22 = minor 14th (rarely used) 23 = major 14th (rarely used) 24 = 2 octaves To adjust pitch shift, click on the knob and move the cursor up to turn the knob clockwise, or down to turn it counterclockwise. The numeric display will indicate the number of semitones shifted. Command (Mac)/Alt (PC) clicking on the knob will reset it to its default value of 0. Throat Length This control uses the vocal tract modeling technology from THROAT to modify the vocal characteristics of the input voice by actually