User manual ANTARES AMM-1

[. . . ] All names of microphone manufacturers and microphone model designations appearing in this manual are used solely to identify the microphones analysed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers. Antares Audio Technologies 231 Technology Circle Scotts Valley, California 95066 USA voice: (831) 461-7800 email: info@antarestech. com web: www. antarestech. com Printed in USA Rev 1. 1-11/2000 Contents Welcome Technical Support 5 6 Introducing the AMM-1 Chapter 1 Overview About the Technology So What Exactly Does It Do?7 8 8 Setting Up Panel Controls and Connectors Chapter 2 Chapter 3 The Front Panel The Back Panel 9 10 13 Operation Chapter 4 Live or Mixdown?Signal Flow Controls Input Section Source Mic Section Modeled Mic Section Preserve Source Tube Saturation Bypass Output Level System Edit 14 14 15 15 16 21 25 26 27 28 28 The Microphone Models Chapter 5 Adding New Mic Models 33 Realistic Expectations Get Creative Chapter 6 Chapter 7 Appendix Acknowledgments AMM-1 Specifications Index 36 40 41 47 48 49 Welcome! On behalf of everyone at Antares Audio Technologies, we'd like to offer both our thanks and congratulations on your decision to purchase the AMM-1 Microphone Modeler. [. . . ] 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 Data 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 AMM-1 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). However, judicious use of the Proximity control in combination with some appropriately 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 to 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 Proximity will default to "no proximity effect. ". 23 Modeled Mic Section: Low-Cut Menu Low-Cut Menu Pressing the Low Cut button while in Model Mic Edit mode will display something like this: Model LowCut 80 Hz If the mic you select as the Model Mic is equipped with a userselectable low-cut filter, pressing the Low-Cut button will allow you to use the Data Knob to select from among the actual filter settings available on that mic. (If the selected mic does not have a low-cut filter, the display will default to "none. ". ) 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 manufacturer. However, the AMM-1 does not simply apply a generic lowcut 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 presumably some reason that someone chose to use that filter in the first place. ) Pattern Pressing the Pattern button while in Model Mic Edit mode will display something like this: Model Pattern Cardioid 24 Preserve Source If the mic you select as the Model Mic menu is equipped with userselectable pick-up patterns (i. e. , omni, cardioid, hypercardioid, etc. ), pressing the Pattern button will allow you to use the Data Knob to select from the actual pattern settings available on that mic. (If the modeled mic does not have selectable patterns, the display will default to "none. ") 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 AMM-1 has no way of knowing the actual placement of the signal source, it does not attempt to simulate off-axis performance. Preserve Source The Preserve Source buttons allow 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. [. . . ] · Overdrive the Tube Saturation section for some serious gruzz. None of the above are likely to give you the sound of any mic that exists in nature, but they can definitely give your recordings unique and striking timbres. 40 Appendix Listed below are all of the mics models that are shipped with the AMM-1. (Be sure to check the Antares web site frequently for additional models. ) Please Note: All trademarks appearing below are the property of their respective owners. The following manufacturer names and model designations are used solely to identify the microphones analyzed in the development of our digital models and do not in any way imply any association with or endorsement by any of the named manufacturers AKG C12A Large Diaphragm Condenser A classic multipurpose studio mic (this one dates from the late 60s) C414 C414B/ULS Limited Edition Gold C414B/ULS Modified by Audio Upgrades (m1) C414B/ULS Modified by Jim Williams (m2) Large Diaphragm Condenser Multipurpose studio mic 460B/CK61-ULS Small Diaphragm Condenser Precise, neutral recording mic D1 Dynamic Snare drum, flute D112 Large Diaphragm Dynamic Classic kick drum and bass guitar mic D 790 Large Diaphragm Dynamic Hand-held vocal C1000S Small Diaphragm Condenser With a battery power option, often used for field recording C 3000 Large Diaphragm Condenser General purpose C 4000 B Dual-Diaphragm Condenser Solid state version of the SolidTube, general purpose 41 AKG Solid Tube Large Diaphragm Condenser Vocals, strings, general purpose Alesis AM61 Large Diaphragm Condenser w/tube circuitry A rich warm sound ideal for vocals and instruments Audio Engineering Associates R44C Large Diaphragm Boundary - Ribbon Replica of the classic RCA 44 ribbon mic Audio-Technica ATM11 Dynamic Drums ATM31 Small Diaphragm Condenser General purpose AT853Rx Electret Condenser Hanging choir mic AT3525 Large Diaphragm Condenser Vocals and general purpose AT4047/SV Large Diaphragm Condenser Recreates the sound of vintage F. E. T. [. . . ]