User manual ANTARES MICROPHONE MODELER

©2000 Antares Audio Technologies. All rights reserved. All trademarks are the property of their respective owners. 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 464 Monterey Avenue, 2nd Floor Los Gatos, California 95030 USA voice: (888) 332-2636 email: info@antarestech.com web: www.antarestech.com Printed in USA Rev 1.5-02/2000 The Obligatory Legal Mumbo-Jumbo The Antares Microphone Modeler 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 Microphone Modeler software and other software offered by Antares Audio Technologies and their documentation. Use of the Antares Microphone Modeler is limited by the following license agreement. Please carefully read all the terms and conditions of this license agreement. At the time of installation of the Antares Microphone Modeler software you will be presented with a copy of the agreement and asked whether or not you agree to it. Continuing with the installation process beyond that point constitutes such agreement. Antares Microphone Modeler License Agreement Antares Audio Technologies grants you a non-transferable, non-exclusive license to use the Antares Microphone Modeler under the terms and conditions stated in this agreement. Use of Antares Microphone Modeler indicates your agreement to the following terms and conditions. License You may: 1. Use Antares Microphone Modeler on only one computer at a time; 2. Physically transfer the program from one computer to another, provided that the program is used on only one computer at a time. You may not: 1. Make copies of Antares Microphone Modeler or of the user manual in whole or in part except as expressly provided for in this agreement. Your right to copy Antares Microphone Modeler and the user manual is limited by copyright law. Making copies, verbal or media translations, adaptations, derivative works, or telecommunication data transmission of Antares Microphone Modeler without prior written authorization of Antares Audio Technologies, is prohibited by law and constitutes a punishable violation of the law. 2. Make alteration or modifications to Antares Microphone Modeler (or any copy) or disassemble or de-compile Antares Microphone Modeler (or any copy), or attempt to discover the source code of Antares Microphone Modeler. 3. Sub-license, lease, lend, rent, or grant other rights in all or any portion of Antares Microphone Modeler (or any copy) to others. Term of the Agreement This agreement is effective until terminated by you or Antares Audio Technologies. You may terminate the agreement at any time by notifying Antares Audio Technologies and destroying all copies of the manual, and erasing Antares Microphone Modeler from all machine-readable media, whether on-line or on archival copies. In the event of breach of any of the terms of this agreement, you shall pay the attorney's fees of Antares Audio Technologies that are reasonably necessary to enforce the agreement plus resulting damages. Limited Warranty and Disclaimer ANTARES MICROPHONE MODELER AND ACCOMPANYING MATERIALS ARE PROVIDED "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESS OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. Antares Audio Technologies does not warrant that the functions contained in the program will meet your requirements. The entire risk as to the use, quality, and performance of Antares Microphone Modeler is with you. Antares Audio Technologies warrants the media on which the program is furnished to be free from defects in materials and workmanship under normal use for a period of ninety (90) days from the day of delivery to you as evidenced by a copy of your receipt. Antares Audio Technologies' entire liability and your exclusive remedy as to the media will be the replacement of the media. SOME JURISDICTIONS DO NOT ALLOW LIMITATIONS ON HOW LONG AN IMPLIED WARRANTY LASTS, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. THIS WARRANTY GIVES YOU SPECIFIC LEGAL RIGHTS. YOU MAY ALSO HAVE OTHER RIGHTS WHICH VARY FROM JURISDICTION TO JURISDICTION. Limitation of Liability IN NO EVENT WILL ANTARES BE LIABLE FOR ANY DAMAGES, INCLUDING LOSS OF DATA, LOST PROFITS OR OTHER SPECIAL, INCIDENTAL, CONSEQUENTIAL OR INDIRECT DAMAGES ARISING FROM THE USE OF ANTARES MICROPHONE MODELER OR ACCOMPANYING MATERIALS. THIS LIMITATION WILL APPLY EVEN IF ANTARES OR ITS AUTHORIZED AGENT HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGE. YOU ACKNOWLEDGE THAT THE LICENSE FEE REFLECTS THIS ALLOCATION OF RISK. SOME JURISDICTIONS DO NOT ALLOW LIMITATION OR EXCLUSION OF LIABILITY FOR INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION MAY NOT APPLY TO YOU. Whew! Now that that's over, let's get on to the good stuff. Contents Getting Started Chapter 1 Installing AMM Authorizing AMM Technical Support 8 8 9 Introducing the Antares Chapter 2 Microphone Modeler Overview About the Technology So What Exactly Does It Do? 10 11 11 Operation Chapter 3 Live or Mixdown Signal Flow Controls Input Section Source Mic Section Modeled Mic Section Preserve Source Tube Saturation Output Level 12 12 13 13 14 17 20 21 22 The Microphone Models Chapter 4 The Mic Model Files Customizing Mic Menus Automation 23 24 24 Realistic Expectations Chapter 5 Choice of Input Microphone Microphone Variations Microphone Technique Excessive Frequency Boost Polar Pattern Selection Off-Axis Response Transient Response 26 26 27 27 27 28 28 Get Creative Chapter 6 Appendix Acknowledgments Index 30 31 37 39 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 Antares Microphone Modeler. Before you proceed any farther, we'd like to strongly encourage you to fill out and return the Microphone Modeler registration card. To make it as easy as possible, we've included a sticker with your serial number to attach to the card. The serial number also appears on the bottom of the box, but it's probably a good idea also to write it in your manual for future reference. As a Microphone Modeler owner, you are entitled to receive notification of any software upgrades, technical support, and advance announcements of upcoming products. But we can't send you stuff unless we know who and where you are. So please, send that card in. At Antares, we are committed to excellence in quality, customer service, and technological innovation. With your purchase of the Antares Microphone Modeler, you have created a relationship with Antares which we hope will be long and gratifying. Let us know what you think. You can count on us to listen. Again, thanks. The Whole Antares Crew 7 Chapter 1: Getting Started Installing Antares Microphone Modeler Instructions for installing Antares Microphone Modeler for your specific platform are located in the Microphone Modeler Read Me file on the CD ROM. This file may also contain any last-minute Microphone Modeler information that didn't make it into this manual. Authorizing Antares Microphone Modeler Authorization (the process by which the Microphone Modeler software installed on you computer is allowed to run) is accomplished by a technique called "Challenge/Response." This is described in detail in the Read Me file, but basically, the first time you launch Microphone Modeler you will be presented with a string of letters (the Challenge) and will be asked to enter another string of letters (the Response). To receive the appropriate Response, you will need to provide us with both proof of purchase and your Challenge string. Here are the options for accomplishing this: Proof of Purchase: · Fax a copy of your warranty card with the serial number sticker attached to (408) 399-0036. This is a preferred option in that you can be certain that it has arrived prior to your requesting your Response. · If you have access to a scanner, scan your warranty card with the serial number sticker attached and send it as a JPEG attachment in the same email as your Response request (see below). · Mail us your warranty card with the serial number sticker attached. You should only rely on this if you don't have access to either of the other options, as you can never predict when it's actually going to arrive. (However, you should still mail the warranty card in any case, so that we can have it physically on file.) 8 Challenge String: · Once you have reason to believe that we have received your proof of purchase (or if you've attached it as a scan), copy and paste your Challenge string into an email along with your name, the product name (e.g., Microphone Modeler for MAS) and your serial number and send it to: register@antarestech.com. You will receive your Response string by return email, usually within 24 hours (unless you have sent the email over a weekend, in which case you should receive it the following Monday). · If you do not have access to email, fax us your Challenge string along with your proof of purchase as described above. Be sure to include your fax number, We will fax the Response string back to you at that number. When initially installed, Microphone Modeler will run for ten days without authorization, so even if your can't contact us right away you can still use your software in the meantime. (During this period, click the "Continue" button whenever you are presented with the Authorization dialog box.) But don't procrastinate too long. After those ten days are up, you will no longer be able to launch Microphone Modeler until the correct Response is entered. Technical Support In the unlikely event that you experience a problem using Antares Microphone Modeler, try the following: 1. Make another quick scan through this manual. Who knows? You may have stumbled onto some feature that you didn't notice the first time through. 2. Check our web page for tips, techniques, or any late-breaking information: www.antarestech.com 3. Call your local Antares dealer. 4. Call us at (888) 332-2636, or (408) 399-0008 Monday through Friday between 9am and 5pm USA Pacific Standard Time. 5. Email us at: techsupport@antarestech.com For options 3, 4 and 5, please be prepared to provide the serial number of your copy of Antares Microphone Modeler. 9 Chapter 2: Introducing the Antares Microphone Modeler Overview If you've spent any time lately flipping through the pages of pro audio magazines, you have almost certainly noticed the intense focus on microphones. From the proliferation of exotic new mics to the almost cult-like following of certain historical classics, never has the choice been greater. But amassing a substantial collection of high-end mics is financially prohibitive for all but the most wellheeled studios. Enter the Antares Microphone Modeler. Using our patented Spectral Shaping ToolTM technology, we've created precise digital models of a wide variety of microphones, from historical classics to modern exotics, as well as a selection of industry-standard workhorses. Simply tell the Microphone Modeler what microphone you are actually using and what microphone you'd like it to sound like. It's as simple as that. With the Microphone Modeler, you can afford to record each track through a model of the specific mic that will best produce that ideal sound you're looking for. Or use it in live performance to get the sound of mics you'd never consider using on stage. You can even use it during mixdown to effectively change the mic on an already recorded track. Not only do the models reproduce all of the subtle sonic characteristics that make each microphone unique, but they also give you control of each mic's specific options. Does the mic have a low cut filter? If so, it's in the model. Wind screen on or off? Close or far placement? Each option results in the same sonic effect that it would have with the actual modeled mic. And for that final touch of perfection, you can even add some tasty tube saturation. 10 And with the ability to download new models from our web site, the Microphone Modeler will always keep you at the forefront of the microphone art. About The Technology The models employed by the Microphone Modeler are not derived from theoretical considerations. They are generated by a proprietary analysis process that is applied to each physical mic modeled. Not only the sonic characteristics, but the behavior of other parameters such as low-cut filters or proximity effects accurately reflect the specific performance of each individual microphone we model. The precision of these models allows the Microphone Modeler to reproduce even the subtle (and sometimes not-so-subtle) sonic variations that one often finds in different samples of the same model of microphone. Consequently, for some important mics, we've provided multiple models, each based on measurements taken from individual mics. Another advantage of our model-based approach is that there is essentially no processing delay apart from the natural phase effects of the microphones being modeled and any delay inherent in the operation of the host application or hardware environment. Finally, the quality and signal-to-noise characteristics of the processing are pristine. Because of our commitment to model-based processing, there are none of the limitations or distortions characteristic of FFT-based algorithms. The quality of the output is limited only by the quality of the input. So What Exactly Does It Do? While there is a lot of fairly complicated stuff going on under the hood, the essential functionality of the Microphone Modeler is really quite simple. Basically, audio from a microphone is input to the Microphone Modeler where it is first processed by a "Source Model" which serves to neutralize the known characteristics of the input mic. The audio is then processed by a second "Modeled Mic" model which imposes the characteristics of the modeled mic onto the previously neutralized signal. Finally, the audio is passed through a model of a high-quality tube preamp offering the option of classic tube saturation distortion. The details are found in the next chapter. 11 Chapter 3: Operation Live or Mixdown? The Microphone Modeler functions equally well processing audio during its original performance or later during the mixdown process. However, if you have the choice (which you typically will for everything but a live stage performance), we strongly recommend using the Microphone Modeler as an insert effect during mixdown. This will allow you to experiment with mic choice and various mic settings while auditioning their effect in the context of the entire mix. If you do choose to work this way, it is important that you carefully document all mic data for each recorded track. This should include the mic used, any settings such as low-cut filter and/or response pattern selected, as well as the average distance between the mic and the signal source (singer, instrument, etc.). This information will be required to properly set the Source Mic controls during the mix. Signal Flow The Microphone Modeler is divided into a number of discreet functional blocks as follows (in the order of signal flow): Input For setting the input level of the audio to be processed. Source Mic For indicating the mic (and the state of its various parameters) that was actually used to record the audio. Modeled Mic For selecting the mic (and the state of its various parameters) whose sound you would like to model. Tube Saturation For adding a model of analog tube saturation distortion. 12 Controls: Input Section Output For setting the output level of the processed audio. The use of each of the individual controls is covered below. Controls Input Section The Input Gain slider, as is no doubt obvious, is used to set the level of the incoming audio. The exact amount of gain or attenuation is displayed numerically above the slider. In most instances, the input gain should be set at the highest level that does not cause the 0 dB "LED" of the graphic level meter to light. The Level Meter displays the level of the audio as it is being processed by both the Source and Modeled Mic models. Because some models (or combinations of models) can result in increased amplitude at various frequencies, changing to a different mic model or changing a model's settings may require an adjustment of the Input Gain to avoid clipping. 13 Controls: Source Mic Section In practice, you should start out by setting the Input Gain at a bit under the optimum level. Once you're confident that you've found the right mic settings for your track, you should go back and fine tune the gain for maximum level without clipping. Source Mic Section The SOURCE MIC section is where you specify the mic and the settings that were (or will be) used to capture the input sound. The purpose of these selections is to remove the effect of the source microphone, resulting in the signal that would have been recorded by an ideal instrumentation microphone with no proximity effect. Source Mic Menu The Source Mic pop-up menu is used to select a specific model of mic. In some cases a mic will have a second listing with "(w)" appended to the mic's name. This indicates that the mic we modeled was supplied with a windscreen and this is the model of the mic with the windscreen attached. If your audio was captured using the windscreen, you should select this version of the model. When you first install the Microphone Modeler, the menu will include all of the mics that we had modeled up to the point at which the CD ROM was released for duplication. You should be sure to check the Antares web site (www.antarestech.com) for new models completed since that release. Additionally, the menu offers a selection called "Bypass." When Bypass is selected, the source signal is passed unmodified to the Modeled Mic section. You should select Bypass when your source was not recorded with a microphone (e.g., guitar via direct box, direct synth input, etc.). If your desired mic is not listed in the menu (nor available as an additional model on our web site), you can try one of the following (in order of preference): 1) Use a different mic that is listed -- this is, of course, only an option if you've not yet recorded the audio and do, in fact, have another listed mic. 14 Controls: Source Mic Section 2) Select another mic on the list whose characteristics are known to be similar to your mic (a similar model from the same manufacturer, for example). 3) Select another mic of the same general type as your mic, e.g., dynamic, large diaphragm condenser, etc. 4) Select Bypass from the menu It must be stressed that selecting option 2, 3 or, especially, 4, will compromise the Microphone Modeler's ability to accurately reproduce the sound of the desired modeled mic. That's not to say that you won't be able to get something that sounds great, just that it's unlikely to be an accurate simulation of whichever mic you chose in the Modeled Mic section. In particular, if you choose Bypass as the Source Mic and any mic as the Modeled Mic, the resulting effect is equivalent to having recorded the audio with the actual physical mic (which you, of course, did) and then having played back that track through a perfect set of speakers and rerecorded it with the Modeled Mic. Again, maybe a great sounding creative effect, but not an accurate representation of the Modeled Mic. Note: If we don't have a model of your mic and you really, really want to use it as a source mic, you might consider giving us a call and seeing if we're interested in modeling it. If so, you'd have to be willing to send it to us and have it out of your possession for about 5 working days. Low-Cut Menu If the mic you select in the Source Mic menu is equipped with a userselectable low-cut filter, the Low-Cut pop-up menu will allow you to select from among the actual filter settings available on that mic. (If the selected mic does not have a low-cut filter, the menu will be grayed out.) If the source mic does include a low-cut filter, select the low-cut setting that was (or will be) used when capturing your audio. Note: It is important to keep in mind that the purpose of this setting is to "undo" the effect of any low-cut filter that was used to capture your audio. If you play around with this setting, you may initially think that it's working "backwards." That is, changing the menu selection from OFF to any filter setting will actually cause a bass boost in the monitored audio. 15 Controls: Source Mic Section However, once you think about it, you will realize that this is the way it's supposed to work. The purpose of all the controls in the Source Mic section is to neutralize the effects of the source mic. So, when you select a low-cut filter, you're telling the Microphone Modeler that the source mic recorded the audio with that much bass attenuation and, therefore, the model must now boost the bass an equal amount to remove the source mic's sonic coloration. (Trust us, this fried our brains a bit at first, too.) Pattern If the mic you select in the Source Mic menu is equipped with userselectable pick-up patterns (i.e., omni, cardioid, hypercardioid, etc.), the Pattern pop-up menu will allow you to select from the actual pattern settings available on that mic. (If the source mic does not have selectable patterns, the menu will be grayed out.) If the source mic does include multiple patterns, select the pattern that was (or will be) used when capturing your audio. Note: The purpose of the Pattern selection is to neutralize 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 Microphone Modeler has no way of knowing the actual placement of the signal source, it does not attempt to simulate off-axis performance. Proximity The Proximity knob in the Source Mic section should be used to set the average distance that separated the mic and the signal source during the recording of the audio. The purpose of this control is to allow the model to remove any Proximity Effect that may have been introduced by the source mic. Note: Proximity Effect is a boost in bass frequencies resulting from placing a directional mic in close proximity to a signal source. The amount of the effect varies from mic to mic, and is inversely proportional to the distance from the mic to the source (i.e., the smaller the distance, the greater the bass boost). Mics operating in omnidirectional mode do not exhibit a proximity effect. Consequently, if the source mic is an omni mic, or the source mic has selectable patterns and omni is chosen, the Proximity control will be disabled. 16 Controls: Modeled Mic Section Note: Like the Low-Cut control described above, the Source Mic Proximity control may initially seem to be working backwards (i.e., setting a shorter distance will result in an audible bass attenuation). Refer to the explanation back up in the Low-Cut section to understand why this is actually how it is supposed to work. Also note that the effect of the Proximity control is unique for each model of microphone. The Microphone Modeler does not use a generalized approximation of proximity effect. Each model reflects the specific physical properties that create the proximity effect for that individual mic. Modeled Mic Section Here's where the fun really starts. The MODELED MIC section is where you select the mic (and its settings) whose characteristics you want to apply to your audio. Modeled Mic Menu The Modeled Mic pop-up menu is used to select your desired mic. In some cases a mic will have a second listing with "(w)" appended to the mic's name. This indicates that the mic we modeled was supplied with a windscreen and this is the model of the mic with the windscreen attached. If you wish to simulate the use of the windscreen, you should select this version of the model. When you first install the Microphone Modeler, the menu will include all of the mics that we had modeled up to the point at which the CD ROM was released for duplication. You should be sure to check the Antares web site (www.antarestech.com) for new models completed since that release. Additionally, the menu offers a selection called "Bypass." When Bypass is selected, no mic model is applied. The net sonic effect of selecting Bypass here depends on the setting of the Source Mic menu: 17 Controls: Modeled Mic Section · If the correct source mic is selected in the Source Mic menu and Bypass is selected in the Modeled Mic menu, the final output of the Microphone Modeler will be stripped of the characteristics of the source mic, resulting in the signal that would have been recorded by an ideal instrumentation microphone with no proximity effect. · If Bypass is selected in the Source Mic menu and Bypass is selected in the Modeled Mic menu, the final output of the Microphone Modeler will be identical to the original input signal (with the exception of any added tube saturation). Low-Cut Menu If the mic you select in the Modeled Mic menu is equipped with a user-selectable low-cut filter, the Low-Cut pop-up menu will allow you to select from among the filter settings available on that mic. (If the selected mic does not have a low-cut filter, the menu will be grayed out.) 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 Microphone Modeler does not simply apply a generic low-cut 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 If the mic you select in the Modeled Mic menu is equipped with user-selectable pick-up patterns (i.e., omni, cardioid, hypercardioid, etc.), the Pattern pop-up menu will allow you to select from the actual pattern settings available on that mic. (If the modeled mic does not have selectable patterns, the menu will be grayed out.) 18 Controls: Modeled Mic Section 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 Microphone Modeler has no way of knowing the actual placement of the signal source, it does not attempt to simulate off-axis performance. Proximity The Proximity knob in the Modeled Mic section can be used to select a desired amount of proximity effect. Note: Proximity Effect is a boost in bass frequencies resulting from placing a directional mic in close proximity to the signal source. 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 Proximity 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 Microphone Modeler 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). The Microphone Modeler does not model this effect. 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 do 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 control will be disabled. 19 Controls: Preserve Source Preserve Source The Preserve Source controls allows 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. Say, for example, that you have a mic whose bass response is great for a particular track, but whose treble response just doesn't sound right. With this feature you can preserve the bass response of your source mic while replacing its treble characteristics with that of any of the modeled mics. Here's how it works: 1) Make all the appropriate settings in the Source Mic section. (Do not select Bypass unless you are going for some special effect, as it will defeat the normal function of this feature.) 2) Choose the other mic for your hybrid and make all the appropriate settings in the Modeled Mic section. (Again, do not select Bypass unless you are going for some special effect.) 3) In the Preserve Source section, click on either the Bass or Treble button (its associated "LED" will light) depending on whether you want to preserve the bass or treble characteristics of your source mic. There are four possible states of the two Preserve Source buttons. Here's what each does ( o = LED lit): 1) Preserve Source: Bass O Treble O With neither button pressed, frequency splitting does not take place and the Microphone Modeler operates in its normal manner according to the settings in the Source and Modeled Mic sections. 2) Preserve Source: Bass o Treble O With the Bass button pressed, the source mic's bass characteristics are allowed through unchanged while the treble characteristics are neutralized. Then, at the model end, only the model's treble characteristics are applied to the signal. The net effect is that you get the source mic's bass characteristics and the modeled mic's treble characteristics. 20