User manual ANTARES ATR-1

[. . . ] Antares Audio Technology 11768 Atwood Drive, No. 13 Auburn, CA 95603 USA voice: (530) 878-4400 web: www. antares-systems. com Printed in USA Contents Getting Started Welcome Tech Support A few words from Dr. Andy 5 6 7 Introducing the ATR-1 Chapter 1 Background So what exactly is it?A little bit about pitch Some pitch terminology How the ATR-1 determines pitch How the ATR-1 corrects pitch Program Mode vs. Song Mode 9 9 10 10 11 12 13 Setting Up the ATR-1 Chapter 2 Setting up the ATR-1 15 Panel Controls and Connectors Chapter 3 Front panel Back panel 17 19 Display Screens and Menu Pages Chapter 4 Flash screen Mode pages Program Edit pages Speed page Scale page Vibrato page 20 20 22 23 23 25 Program Name page Save Program page Song Edit pages Song Speed page Song Items page Song Vibrato page Song Name page Save Song page System Edit pages MIDI page 1 MIDI page 2 MIDI page 3 MIDI page 4 MIDI page 5 Foot Switch and Detune page Sensitivity and LCD page Owner Message page 25 26 26 27 27 28 28 29 29 29 30 31 31 32 32 33 34 Creative Applications Appendix Chapter 5 35 Factory Programs Scale and Chord Guides MIDI System Exclusive message formats MIDI System Exclusive message examples MIDI Implementation Chart ATR-1 Specifications 38 39 42 45 48 49 Index 50 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 absolute best intonation correction hardware in the world. [. . . ] Each note in the scale can be set to one of three states: Tune (i. e. , the note name appears in the display, but the "By:" field under the note is blank): When the input is near a note set to Tune, the ATR-1 will retune the input to that note. Bypass (i. e. , the note name appears in the display and an "*" appears in the "By:" field under the note): When the input pitch is close to a note set to Bypass, the output remains uncorrected. Blank (i. e. , the note name disappears from the display): A note set to Blank will be omitted from the scale. For example, setting C , D , F , G , A to Blank causes a C Major scale to remain. In that case the ATR-1 would always retune the input to the closest note of the C Major scale. 23 Display Screens and Menu Pages As an example, the following settings result in a D Major scale with no pitch corrections applied to F and C : 23: C#D E F#G A B By: * * Why set Scale notes to "Blank"? To understand why it is sometimes necessary to set even correct scale notes to "Blank, " let's look again at the example from Chapter 1. CORRECTED BY ATR-1 ORIGINAL PERFORMANCE This phrase is in D Major and, if all the pitch errors were no greater than about 49 cents, would work fine with a standard D Major scale (D, E, F , G, A, B, C ). However, the pitch error of three semitones at the end of the last note is so large that with B and C present in the Scale, as the pitch fell, the ATR-1 would see first C and then B as the target pitch and therefore allow the error to remain. With C and B removed from the Scale, the ATR-1 continues to see D as the target pitch for the entire duration of the note and therefore pulls the phrase up to the correct pitch. 24 Display Screens and Menu Pages Vibrato Page Prog:XX Dpth Rt Dly yyyyyy xxx zzz dddd These parameters allow you to superimpose a vibrato (periodic pitch variation) onto the output sound. The yyyyyy field allows you to select the shape of the vibrato's pitch variation through time. The Dpth (Depth) control varies from 0 to 100 cents, controlling the amount of pitch variation in the vibrato. The vibrato depth can also be modulated (controlled) by the MIDI MOD WHEEL input. Note: The Depth setting is used by the MIDI Mod Wheel controller to define the maximum modulation. You must have the Depth set to a positive value and the wave type set to SINE, SQUARE or SAW in order for Mod Wheel control to work. The Rt (Rate) control varies from . 1 to 9. 7 Hz and controls the speed of the vibrato. The Dly (Delay) control varies from 0 to 3500 milliseconds, and controlls the time between the beginning of a new note and the full onset of the vibrato. For example, if Delay is set to 1000, the first 500 milliseconds of a new note will contain no vibrato and the next 500 milliseconds will make a transition from no vibrato to the full vibrato. The vibrato is restarted each time the ATR-1 detects a new attack (i. e. , input is detected after some finite period of silence). As long as the input is sustained without interruption, changing pitch will not restart the vibrato delay. Hence, even with a slow SPEED value of 10, a SQUARE wave vibrato will still result in instantaneous changes in pitch. Program Name Page This page allows you to name each of your Programs. Typically, you would name the program after the scale that it contains. Alternatively, you could name it after the song or portion of a song in which it's used. Do whatever helps you best remember what you had in mind when you created the Program. Program:XX Name:aaaaaaaaaaaaa 25 Display Screens and Menu Pages To enter the name, place the cursor under each character space and use the data knob to select the appropriate character. The following characters are available for naming (in this order): (space) (UPPER CASE LETTERS) (lower case letters) ­ . [. . . ] The phrygian mode, which features a lowered second scale degree as its most distinctive characteristic, is seldom used in popular music, though found fairly often in world music styles. The mixolydian mode is basically the major scale with a lowered seventh scale degree, and is often used in rock music. 39 Scale and Chord Guides Scales/Modes reference chart KEY MAJOR NATURAL MINOR C C /D D D /E E F F /G G G /A A A /B B CDEFGAB C D FF G A C DEF GABC D FGG A CD EF G ABC D FGAA CDE F G A BC D F GABCDEF G A CC D FG ABC DEF G A CDD FGA BC D EF G A C D D# F G G# A# C D EF G AB DEFGAA C D FF G A BC EF GABCD FGG A CC D F G ABC DE GAA CDD F G A BC D EF ABCDEFG A CC D FF G BC DEF GA Chord reference chart KEY MAJOR SEVENTH (7) MAJOR SEVENTH (MAJ 7) C C /D D D /E E F F /G G G /A A A /B B 40 CEG C FG DF A D GA EG B FAC FAC GBD G CD AC E A DF BD F CEGA C FG B DF AC D GA C EG BD FACD FACE GBDF G CD F AC EG A DFG BD F A CEGB C FG C DF AC D GA D EG BD FACE FACF GBDF G CD G AC EG A DFA BD F A Scale and Chord Guides HARMONIC MINOR DORIAN PHRYGIAN MIXOLYDIAN CDD FGG B C D EF G AC DEFGAA C D FF G A BD EF GABCD FGG A CC E F G ABC DF GAA CDD F G A BC D EG ABCDEFG A CC D FF A BC DEF GA CDD FGAA C D EF G A B DEFGABC D FF G A CC EF GABC D FGG A CDD F G ABC D E GAA CDEF G A BC D FF ABCDEF G A CC D FGG BC DEF G A CC D FGG A C DEF G AB DD FGAA C D EF G A BC EFGABCD FF G A CC D F GABC DE GG A CDD F G ABC D EF AA CDEFG A BC D FF G BCDEF GA CDEFGAA C D FF G A B DEF GABC D FGG A CC EF G ABC D FGAA CDD F G A BC D E GABCDEF G A CC D FF ABC DEF G A CDD FGG BC D EF G A MINOR MINOR SEVENTH (M7) DIMINISHED (DIM) DIMINISHED SEVENTH (DIM7) AUGMENTED (+) CD G C EG DFA DFA EGB FG C F AC GA D G BD ACE ACF BDF CD GA C EG B DFAC DFAB EGBD FG CD F AC E GA DF G BD F ACEG A C FG BDF A CD F A C EGA DFG B D F AC EGA C FG BD F ACD GA C E G BDF ACD F A C EG BDFG CD F A C EGB DFG C D F AC EGA D FG BD F ACE GA C F G BDF ACD G A C EG BDFA CEG C FA DF A D GB EG C FAC FAC GBD G CE AC F A DF BD G 41 MIDI SyEx message formats MIDI System Exclusive Message Formats In the explanations, below, braces < > are used to represent enclosed MIDI data bytes. Names are also enclosed in braces as symbolic representations defined further into the explanation. For example, the MIDI bytes to select song mode for DEVICE NUMBER 3 are: F0H, 0, 1, 26H, 3, 1, F7H. [. . . ]