User manual ANTARES AVOX

[. . . ] Certified Isinglass-freeTM All trademarks are the property of their respective owners. Antares Audio Technologies 231 Technology Circle, Scotts Valley, California 95066 USA web: www. antarestech. com Printed in USA Rev 1. 0 08/05 PN 35030-0805-M01 The Obligatory Legal Mumbo-Jumbo The AVOX software and this User's Manual are protected by copyright law. Making copies, adaptations, or derivative works without the prior written authorization of Antares Audio Technologies, is prohibited by law and constitutes a punishable violation of the law. Antares Audio Technologies retains all ownership rights to the AVOX software and its documentation. [. . . ] The Throat Shaping display itself consists of two elements: the original throat plot and the model throat plot. It represents the original length and width of the four throat sections and serves as a reference relative to which changes to the model throat are made. The model throat plot is colored red and includes five control points that can be grabbed and moved, effectively adjusting the length and width of individual sections of the throat. Additionally, the background of the display is divided into two sections by color. The lighter blue central area represents the range of adjustments that are consistent with typical 12 human anatomy. As long as all control points and plot lines fall in this area, the results of your model will be more or less "realistic. " The darker blue area represents the range of adjustments that exceed the dimensions of typical human vocal tracts. When any control point or plot line falls in this area, the result may or may not sound like something that you might recognize as a human voice. The more points and/or plot lines fall in this area, the more extreme the effect. When you open a new instance of THROAT, the default state of the Throat Shaping display is with the original and model throat plots exactly superimposed, indicating no difference. If you adjust the Throat Length and/or Throat Width sliders, you will see the entire red model plot move to reflect the changes. For width changes, any part of the model plot that lies above the original plot indicates a widening of the throat while any part of the model plot below the original plot indicates a narrowing of the throat. Here are some things to consider when working with the Throat Shaping display: · Point (1), which represents the vocal chords, serves as the anchor of the vocal tract. · When you move points (2), (3), or (4) horizontally, you are adjusting the relative lengths of the adjacent sections. For example, if you move point (3) to the right, you are lengthening the section between (2) and (3) while shortening the section between (3) and (4). · Only by moving point (5) can you change the overall length of the model (apart from using the Throat Length slider, of course). · As we've mentioned, if you're looking for "realistic" vocal characteristics, you would do well to start with relatively small adjustments that result in all control points and plot lines remaining in the central light blue area. · In addition to the plot point positions, watch the contour of the plot lines connecting them. It's possible to place the points in positions relative to each other that cause the plot lines to bow out towards the edges of the display (or even pin against an edge of the display). (Of course, if it's artifacts you're looking for, they may be just what you want. ) · When you have created a custom model contour, the Model Throat Length and Width controls will adjust the overall throat length and width while retaining (and scaling) your custom contour. · Extremely striking effects can be created by moving plot points in realtime. You can do this manually (for one point at a time) or, much more powerfully, you can use your host's automation capabilities to program movements of all five points simultaneously. For the purposes of automation, each point is represented by two parameters, one for horizontal position (length) and one for vertical position (width). [. . . ] · The Impact control has been purposely designed with a wide enough range to produce some pretty odd effects at its extreme. · While PUNCH has been designed for the voice, it can perform its magic effectively on pretty much any recorded part. Check it out. 25 Chapter 7: SYBIL Variable Frequency De-Esser The diagram below shows how a compressor and a high pass filter are traditionally configured to accomplish de-essing. While the details of the algorithm are quite complex, the resulting effect is functionally equivalent to the diagram below. Controls S YBIL is a digital equivalent of a traditional vocal de-esser. When recording spoken or sung material, the sibilant sounds (Ss, Ts, CHs, and SHs) in the track sometimes (depending on the individual performer) appear louder than the rest of the signal. [. . . ]