antares microphone modeler manual

8/8/2019 Antares Microphone Modeler Manual

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2000 Antares Aud io Technologies. All right s reserved.

All t rademarks are the propert y of t heir respect ive owners.

All names of microphone manufacturers and microphone model designations

appearing in t his manual are used solely t o ident if y the microphones analysed in

the development of our d igi tal models and do no t in any way imply any association

with or endorsement by any of the named manufacturers.

Ant ares Audio Technolog ies

464 Mont erey Avenue, 2nd Floor

Los Gatos, California 95030 USA

voice: (888) 332-2636

email: inf o@ant arestech.com

web: ww w.antarestech.com

Print ed in USA Rev 1.5-02/2000


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The Obligatory Legal M umbo-Jumbo

The Antares Microphone M odeler sof tware and t his Users Manual are

protected by copyright law. Making copies, adapt ations, or derivative

works wi thout t he prior wr it ten author ization of Antares Audio Technolo-

gies, is prohib it ed by law and const it ut es a punishable violat ion of the law.

Ant ares Audio Technologies retains all ow nership right s to t he Microphone

Modeler software and other software offered by Antares Audio Technolo-

gies and their document ation. Use of t he Antares Microphone Modeler is

limit ed by the fol low ing license agreement .

Please carefully read all the terms and conditions of this license agreement.

At the time of installation of the Antares Microphone Modeler sof tw are

you wi ll be presented w ith a copy of t he agreement and asked whether or

not you agree to it . Cont inuing wit h t he installation p rocess beyond t hat

point const it ut es such agreement .

Antares Microphone Modeler License AgreementAntares Audio Technologies grants you a non-transferable, non-exclusive

license to use the Ant ares Microphone M odeler under t he terms and

condit ions stated in this agreement. Use of Ant ares Microphone Modeler

indicates your agreement to the fo llow ing terms and condit ions.

LicenseYou may:

1. Use Antares Microphone Modeler on only one comput er at a t ime;

2. Physically transfer the program f rom one comput er to another, pro-

vided that the program is used on only one computer at a time.

You may not:

1. Make copies of Ant ares Microphone M odeler or of the user manual in

whole or in part except as expressly provided f or in t his agreement . Your

right to copy Antares Microphone Modeler and the user manual is limitedby copyright law. Making copies, verbal o r media t ranslat ions, adaptat ions,

derivative works, or telecommunicat ion data t ransmission of Ant ares

Microphone Modeler w ithout prior w ritt en authorization of Antares Audio

Technologies, is prohib it ed by law and const it ut es a punishable violat ion of

the law.

2. Make alteration or mod if ications to Ant ares Microphone Modeler (orany copy) or disassemble or de-compile Antares Microphone Modeler (or

any copy), or att empt to discover the source code of Ant ares Microphone

Modeler.

3. Sub-license, lease, lend, rent , or grant ot her right s in all or any port ion

of Ant ares Microphone Modeler (or any copy) to ot hers.


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Term of the AgreementThis agreement is effect ive unt il t erminat ed by you or Antares AudioTechnologies. You may terminate the agreement at any t ime by not if ying

Ant ares Audio Technologies and dest roying all copies of the manual, and

erasing Ant ares Microphone Modeler f rom all machine-readable media,

whether on-line or on archival copies.

In the event of breach of any of t he terms of this agreement, you shall pay

the att orneys fees of Ant ares Audio Technologies that are reasonably

necessary to enforce the agreement plus resulting damages.

Limited Warranty and DisclaimerANTARES MICROPHONE MODELER AND ACCOM PANYING M ATERIALS 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.

Ant ares Audio Technologies does not warrant that t he functions cont ainedin t he program w ill meet your requirement s. The enti re risk as to t he use,

quality, and performance of Antares Microphone Modeler is with you.

Ant ares Audio Technologies warrants the media on w hich the program is

furnished to be f ree from defects in materials and workmanship under

normal use for a period of ninety (90) days f rom t he day of delivery to you

as evidenced by a copy of your receipt. Antares Audio Technologies entireliabil it y and your exclusive remedy as to t he media w ill be the replacement

of t he media.

SOM E JURISDICTIONS DO NOT ALLOW LIM ITATIONS 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 JURISDIC-

TION.

Limitat ion of LiabilityIN NO EVENT WILL ANTARES BE LIABLE FOR ANY DAMAGES, INCLUDING

LOSS OF DATA, LOST PROFITS OR OTHER SPECIAL, INCIDENTAL, CONSE-

QUENTIAL OR INDIRECT DAMAGES ARISING FROM THE USE OF ANTARES

MICROPHONE MODELER OR ACCOM PANYING M ATERIALS. 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. SOM E JURIS-

DICTIONS DO NOT ALLOW LIMITATION OR EXCLUSION OF LIABILITY FORINCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE LIMITATION

MAY NOT APPLY TO YOU.

Whew! Now that t hats over, let s get on t o the good stuf f .


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Contents

Getting Started Chapter 1

Installing AMM 8

Authorizing AMM 8

Technical Support 9

Introducing the Antares Chapter 2

Overview 10

About the Technology 11

So What Exact ly Does It Do? 11

Operation Chapter 3

Live or Mixdown 12

Signal Flow 12

Controls 13Input Sect ion 13

Source Mic Sect ion 14

Modeled Mic Sect ion 17

Preserve Source 20

Tube Saturat ion 21

Output Level 22

The Microphone Models Chapter 4

The Mic Model Files 23

Customizing Mic Menus 24

Automat ion 24

Microphone Modeler


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Realistic Expectations Chapter 5

Choice of Input Microphone 26

Microphone Variat ions 26

Microphone Technique 27

Excessive Frequency Boost 27

Polar Pat tern Select ion 27

Off -Axis Response 28

Transient Response 28

Get Creative Chapter 6 30

Appendix 31

Acknowledgments 37

Index 39


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Welcome!

On behalf of everyone at Antares Audio Technolog ies, wed like tooff er both our thanks and congratulations on your decision t opurchase the Ant ares Microphone Modeler.

Before you proceed any farther, wed l ike t o st rongly encourage youto f ill out and return t he Microphone Modeler regist ration card. Tomake it as easy as possib le, w eve included a st icker w it h your serial

number t o at tach t o t he card. The serial number also appears on t hebott om of t he box, but it s probably a good idea also t o w rit e it inyour manual for f uture reference.

As a Microphone Modeler owner, you are entit led to receive not if i-cation of any sof tware upgrades, technical support , and advanceannouncements of upcoming products. But we cant send you stuf funless we know who and where you are. So please, send that card in.

At Ant ares, we are commit ted to excellence in qualit y, customerservice, and technolog ical innovation. Wit h your purchase of the

Ant ares Microphone Modeler, you have created a relationship w it hAntares which w e hope wil l be long and grati fying. Let us knowwhat you think. You can count on us to listen.

Again, thanks.

The Whole Ant ares Crew


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Chapter 1: Getting Started

Installing Antares Microphone Modeler

Inst ruct ions for installing Antares Microphone Modeler for yourspecific platform are located in the Microphone Modeler Read Mef ile on t he CD ROM. This f ile may also contain any last -minuteMicrophone Modeler information t hat didn t make it into this

manual.

Authorizing Antares Microphone M odeler

Authorization (the process by which t he Microphone Modelersof tware installed on you computer is allow ed to run) is accom-plished by a technique called Challenge/ Response. This is de-scribed in detail in t he Read Me fi le, but basically, the f irst t ime youlaunch Microphone Modeler you will be presented w ith a st ring oflet ters (the Challenge) and wi ll be asked to enter another st ring ofletters (the Response).

To receive the appropriate Response, you will need to provide uswith both proof of purchase and your Challenge st ring. Here are theopt ions for accomplishing this:

Proof of Purchase:

Fax a copy of your w arranty card w ith t he serial number st ickeratt ached to (408) 399-0036. This is a preferred opt ion in t hat youcan be certain t hat it has arrived pr ior to your request ing yourResponse.

If you have access to a scanner, scan your w arrant y card wit h t heserial number st icker at tached and send it as a JPEG at tachmentin the same email as your Response request (see below).

Mail us your warranty card with t he serial number st icker att ached.You should only rely on t his if you don t have access to eit her ofthe other opt ions, as you can never predict when it s actuallygoing to arrive. (However, you should st ill mail t he warrantycard in any case, so t hat we can have it physically on f ile.)


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Challenge String:

Once you have reason to believe that we have received yourproof of purchase (or if youve attached it as a scan), copy andpaste your Challenge st ring int o an email along w ith your name,the product name (e.g., Microphone Modeler for MAS) and yourserial number and send it to: [email protected]. You w illreceive your Response st ring by return email, usually w it hin 24hours (unless you have sent the email over a weekend, in w hichcase you should receive it the follow ing Monday).

If you do no t have access to email , fax us your Challenge st ringalong wit h your proof of purchase as described above. Be sureto include your f ax number, We will fax the Response st ring backto you at that number.

When init ially installed, Microphone Modeler will run for ten days

without author izat ion, so even if your cant contact us right awayyou can st ill use your sof tware in the meant ime. (During this period,click the Continue but ton whenever you are presented wi th theAut horization d ialog box.) But don t procrast inate too long. Aft erthose ten days are up, you w ill no longer be able to launch Micro-phone Modeler unt il the correct Response is entered.

Technical Support

In the unlikely event that you experience a problem using AntaresMicrophone Modeler, try t he follow ing:

1. Make anot her quick scan through t his manual. Who know s?You may have stumbled ont o some feature that you d idn tnot ice the first time through.

2. Check our w eb page for t ips, techniques, or any late-breakinginf ormat ion: www.antarestech.com

3. Call your local Ant ares dealer.

4. Call us at (888) 332-2636, or (408) 399-0008 Monday throughFriday bet ween 9am and 5pm USA Pacif ic Standard Time.

5. Email us at: [email protected]

For opt ions 3, 4 and 5, please be prepared to provide the serialnumber of your copy of Antares Microphone Modeler.


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Chapter 2: Introducing the AntaresMicrophone Modeler

Overview

If youve spent any time lately flipp ing t hrough the pages of proaudio magazines, you have almost certainly not iced t he int ense

focus on microphones. From t he prol if eration of exot ic new mics tothe almost cult -like f ollow ing of certain historical classics, never hasthe choice been greater. But amassing a substantial collection ofhigh-end mics is f inancially prohibi t ive for all but the most well-heeled studios.

Enter the Antares Microphone Modeler.

Using our patented Spect ral Shaping Tool technology, wevecreated precise digi tal models of a wide variet y of microphones,f rom historical classics to modern exot ics, as well as a select ion ofindust ry-standard workhorses. Simply tell the Microphone Modelerwhat microphone you are actually using and what microphoneyou d like it t o sound l ike. It s as simple as that .

With t he Microphone Modeler, you can afford to record each t rackthrough a model of the specif ic mic that w ill best produce that idealsound youre looking for. Or use it in live performance to get thesound of mics you d never consider using on stage. You can even useit during mixdown to eff ect ively change the mic on an alreadyrecorded t rack.

Not only do t he models reproduce all of the subt le sonic characteris-

t ics that make each microphone unique, but they also give youcont rol of each mics specif ic opt ions. Does the mic have a low cutf ilt er? If so, it s in the model. Wind screen on or o f f? Close or f arplacement? Each opt ion result s in the same sonic eff ect that itwould have with the actual modeled mic. And for t hat f inal touchof perfect ion, you can even add some tasty tube saturat ion.


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And w ith the ability to download new models from our web site,the Microphone Modeler wil l always keep you at t he foref ront ofthe microphone art .

About The TechnologyThe models employed by the Microphone Modeler are not derivedf rom theoret ical considerat ions. They are generated by a proprietaryanalysis process that is appl ied to each physical mic modeled. Notonly the sonic characterist ics, but the behavior of other parameterssuch as low -cut f ilt ers or proximit y ef fects accurately reflect thespecif ic performance of each ind ividual microphone we model.

The precision of these models allow s the Microphone Modeler toreproduce even the subtle (and sometimes not-so-subtle) sonicvariations that one of ten f inds in d iff erent samples of the same

model of microphone. Consequent ly, for some import ant mics,weve provided mul t iple models, each based on measurement staken f rom individual mics.

Anot her advantage of our model-based approach is that there isessent ially no processing delay apart f rom the natural phase eff ectsof the microphones being modeled and any delay inherent in t heoperation of the host application or hardware environment .

Finally, the qualit y and signal-t o-no ise characterist ics of the process-ing are prist ine. Because of our commitment to model-based pro-cessing, there are none of the limit ations or d istort ions characterist icof FFT-based algori thms. The qualit y of the out put is limit ed only bythe qualit y of t he input .

So What Exactly Does It Do?

While there is a lot of fairly complicated stuf f going on under thehood, the essential f unct ionalit y of t he Microphone Modeler isreally qui te simple. Basically, audio f rom a microphone is input tothe Microphone Modeler where it is f irst processed by a SourceModel which serves to neut ralize the known characterist ics of the

input mic. The audio is then p rocessed by a second Modeled Micmodel which imposes the characterist ics of the modeled mic ont othe previously neut ralized signal. Finally, the audio is passedthrough a model of a high-quality tube preamp off ering the optionof classic tube saturat ion distort ion.

The details are found in the next chapter.


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Chapter 3: Operation

Live or Mixdown?

The Microphone Modeler funct ions equally well processing audioduring its original performance or later during the mixdown pro-cess. However, if you have the choice (which you typically w ill foreverything but a live stage performance), we st rongly recommend

using the Microphone Modeler as an insert eff ect during mixdown.This will allow you to experiment wit h mic choice and various micsett ings while audi t ion ing their eff ect in t he context of the entire mix.

If you do choose to work t his way, it is impor tant t hat you careful lydocument all mic data fo r each recorded t rack. This should includethe mic used, any sett ings such as low-cut f il ter and/or responsepattern selected, as well as the average distance between t he micand t he signal source (singer, inst rument , etc.). This inf ormation willbe required to properly set t he Source Mic cont rols dur ing t he mix.

Signal FlowThe Microphone Modeler is divided into a number of discreetfunct ional blocks as follow s (in the order of signal f low):

Input

For sett ing t he input level of the audio t o be processed.

Source Mic

For indicating t he mic (and the state of it s various parameters) thatwas actually used to record t he audio.

Modeled Mic

For selecting the mic (and the state of its various parameters) whosesound you would l ike to model.

Tube Saturation

For adding a model of analog t ube saturat ion distort ion.


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Controls: Source Mic Section

In pract ice, you should start out by sett ing t he Input Gain at a bitunder the optimum level. Once youre conf ident t hat youve foundthe right mic sett ings for your t rack, you should go back and f inetune t he gain f or maximum level wit hout clipping.

Source M ic Section

The SOURCE MIC section is where youspecif y the mic and the sett ings thatwere (or w ill be) used to capture theinput sound. The purpose of theseselect ions is to remove the eff ect ofthe source microphone, result ing inthe signal t hat w ould have beenrecorded by an ideal inst rumentationmicrophone wit h no proximity effect.

Source M ic Menu

The Source Mic pop-up menu is usedto select a specific model of mic.

In some cases a mic wil l have a second l ist ing w it h (w) appendedto t he mics name. This ind icates that the mic we modeled w assupplied wi th a windscreen and this is the model of the mic withthe windscreen att ached. If your audio w as captured using thewindscreen, you should select this version of the model.

When you fi rst install the Microphone Modeler, the menu willinclude all of t he mics that we had modeled up to the point atwhich the CD ROM was released for duplication. You should be sureto check t he Ant ares web sit e (www.antarestech.com) for newmodels completed since that release.

Addit ionally, the menu of fers a select ion called Bypass. WhenBypass is selected, t he source signal is passed unmodif ied to theModeled M ic sect ion. You should select Bypass when your sourcewas not recorded w ith a microphone (e.g., guit ar via direct box,direct synth input , etc.).

If your desired mic is not listed in the menu (nor available as anaddit ional model on our w eb sit e), you can try one of t he follow ing(in order of preference):

1) Use a different mic that is listed this is, of course, only anoption if youve not yet recorded t he audio and do, in f act , haveanother listed mic.


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2) Select another mic on the list w hose characterist ics are known tobe simi lar t o your mic (a simi lar model f rom the same manufac-turer, for example).

3) Select another mic of the same general t ype as your mic, e.g.,

dynamic, large diaphragm condenser, etc.4) Select Bypass f rom the menu

It must be st ressed that select ing opt ion 2, 3 or, especially, 4, wi llcompromise the M icrophone Modelers abili ty to accurately repro-duce the sound of the desired modeled mic. That s not to say thatyou wont be able to get someth ing t hat sounds great , just that i t sunl ikely to be an accurate simulat ion of whichever mic you chose inthe Modeled Mic section.

In particular, if you choose Bypass as the Source Mic and any mic as

the Modeled Mic, the result ing ef fect is equivalent to having re-corded the audio w it h t he actual physical mic (which you, of course,did) and then having p layed back t hat t rack t hrough a perfect set ofspeakers and rerecorded it w it h the Modeled M ic. Again, maybe agreat sounding creative eff ect , but not an accurate representationof the Modeled Mic.

Note:If w e dont have a model of your mic and you really, reallywant to use it as a source mic, you might consider giving us acall and seeing if were interested in modeling i t . If so, youdhave to be w ill ing to send it to us and have it out of your posses-

sion f or about 5 working days.

Low-Cut Menu

If the mic you select in the Source Mic menu is equipped w it h a user-selectable low-cut f ilt er, the Low-Cut pop-up menu w ill allow you toselect f rom among t he actual f ilt er sett ings available on that mic. (Ifthe selected mic does not have a low-cut f ilt er, the menu w ill begrayed ou t .)

If the source mic does include a low -cut f ilt er, select the low-cutsett ing t hat w as (or will be) used when captur ing your audio.

Note:It is important t o keep in mind that the purpose of t hissett ing is to undo the effect of any low-cut f ilter that wasused to capture your audio. If you play around with t his sett ing,you may init ially think that it s working backwards. That is,changing the menu select ion f rom OFF to any fi lt er sett ing willactual ly cause a bassboostin the monitored audio.



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However, once you t hink about it , you w ill realize that t his is theway it s supposed to work. The purpose of all the cont rols in t heSource Mic sect ion is to neutrali ze the eff ects of the source mic.So, when you select a low-cut f ilt er, youre tell ing t he Micro-phone Modeler that the source mic recorded the audio w ith t hat

much bass attenuation and, therefore, the model must nowboost the bass an equal amount to remove the source mics soniccolorat ion. (Trust us, th is f ried our brains a bit at f irst , too.)

Pattern

If the mic you select in the Source Mic menu is equipped w it h user-selectable pick-up pat terns (i.e., omni , cardioid, hypercardioid, etc.),the Pattern pop-up menu w ill allow you to select f rom t he actualpattern sett ings available on t hat mic. (If the source mic does nothave selectable patt erns, the menu will be grayed out .)

If t he source mic does include mul t iple patt erns, select the patternthat w as (or will be) used when captur ing your audio.

Note:The purpose of t he Patt ern select ion is to neut ralize thevarying f requency characterist ics that result f rom each of theavailable pattern settings, with the assumption that the audiowas recorded on axis(i.e., from the front of the microphone).Since the M icrophone Modeler has no w ay of know ing t heactual placement of the signal source, it does not att empt tosimulate of f -axis performance.

Proximity

The Proximi ty knob in t he Source Mic sect ion should be used to setthe average distance that separated t he mic and t he signal sourceduring t he recording of the audio.

The purpose of this cont rol is to allow the model to remove anyProximit y Eff ect that may have been int roduced by t he source mic.

Note:Proximity Effect is a boost in bass f requencies result ingf rom placing a direct ional mic in close proximi ty to a signal

source. The amount of the eff ect varies f rom mic to mic, and isinversely proport ional t o t he distance from t he mic to t he source(i.e., the smaller the distance, the greater the bass boost).

Mics operating in omnidi rect ional mode do not exhibit a proximit yeffect. Consequently, if the source mic is an omni mic, or the sourcemic has selectable patterns and omni is chosen, the Proximity controlwill be disabled.


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Note:Like the Low-Cut cont rol described above, the Source MicProximit y cont rol may init ially seem t o be w orking backwards(i.e., sett ing a shorter distance wi ll result in an audib le bassatt enuation). Refer t o t he explanation back up in t he Low-Cutsect ion to understand w hy this is actually how it is supposed to

work.

Also not e that the eff ect of the Proximit y cont rol is unique for eachmodel of microphone. The Microphone Modeler does not use ageneralized approximation of proximit y effect . Each model reflectsthe specif ic physical propert ies that create the proximity eff ect f orthat individual mic.

Modeled Mic Section

Heres where the fun really starts.The MODELED MIC sect ion is whereyou select the mic (and it s set t ings)whose characterist ics you want toapply to your audio.

Modeled Mic Menu

The Modeled M ic pop-up menu isused t o select your desired mic. Insome cases a mic will have a secondlisting w ith (w) appended to themics name. This indicates that themic we modeled was supplied with

a windscreen and this is the model of the mic wit h the windscreenatt ached. If you w ish to simulate the use of t he windscreen, youshould select this version of the model.

When you fi rst install the Microphone Modeler, the menu willinclude all of t he mics that w e had modeled up to the point atwhich the CD ROM was released for duplicat ion. You should besure t o check t he Antares web sit e (ww w.antarestech.com) f ornew models completed since that release.

Addit ionally, the menu of fers a select ion called Bypass. WhenBypass is selected, no mic model is appl ied. The net sonic eff ect ofselect ing Bypass here depends on the sett ing of the Source Micmenu:

Controls: Modeled Mic Section


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If the correct source mic is selected in the Source Mic menu andBypass is selected in t he Modeled M ic menu, t he f inal output ofthe Microphone Modeler w ill be st ripped of the characterist icsof the source mic, result ing in the signal that w ould have beenrecorded by an ideal inst rumentation microphone wit h no

proximity effect.

If Bypass is selected in the Source Mic menu and Bypass is se-lected in the M odeled M ic menu, the f inal output of the M icro-phone Modeler will be identical to t he original input signal(wit h the exception of any added tube saturat ion).

Low-Cut Menu

If t he mic you select in t he Modeled M ic menu is equipped w ith auser-selectable low-cut f ilt er, the Low-Cut pop-up menu w ill allow

you to select f rom among the fi lt er sett ings available on that mic.(If the selected mic does not have a low-cut f ilt er, the menu w ill begrayed out .)

If t he modeled mic does include a low-cut f ilt er, select ing a low-cutsett ing will reproduce the same eff ect that select ing that sett ingwould have on t he actual modeled mic.

Note:The sett ing labels that appear in the menu are those thatappear on t he physical mic. In some cases, the label is the cut -of ff requency of the low -cut f ilt er as specif ied by the mics manuf ac-turer. However, the Microphone Modeler does not simply apply

a generic low-cut f ilt er at the stated f requency, but insteadmodels the actual f ilt er performance of each modeled mic. Inother w ords, a stated cut -off f requency is only as accurate as thef ilt er on the actual mic.

Another Note:Alt hough i t s always best to let your ears be yourguide, if your audio w as recorded with t he source mics low -cutf ilt er turned on, in most cases it w ill be best to t urn on themodeled mics low -cut f ilt er as well. (Aft er all, there was pre-sumably some reason that someone chose to use that f ilt er inthe f irst place.)

Pattern

If t he mic you select in t he Modeled M ic menu is equipped w ithuser-selectable p ick-up pat terns (i.e., omni , cardioid , hypercardioid,etc.), the Pattern pop-up menu w ill allow you to select f rom t heactual pat tern sett ings available on t hat mic. (If the modeled micdoes not have selectable patterns, the menu w ill be grayed out .)


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If the modeled mic does include multiple patterns, select the patternwhose characteristics produce the effect you desire.

Note:The purpose of t he Patt ern select ion is to model thevarying f requency characterist ics that result f rom each of the

available pattern sett ings, with the assumption that the audiowas recorded on axis(i.e., from t he front of the microphone).Since the M icrophone Modeler has no w ay of know ing t heactual placement of the signal source, it does not att empt tosimulate of f -axis performance.

Proximity

The Proximit y knob in t he Modeled M ic sect ion can be used to selecta desired amount of proximit y eff ect .

Note: Proximi ty Effect is a boost in bass f requencies resul t ing

f rom p lacing a direct ional mic in close proximity to t he signalsource. The amount of the eff ect varies f rom mic to mic, but isgenerally inversely proport ional t o t he distance from t he mic tothe source (i.e., the smaller the distance, the greater t he bassboost).

Using the Proximit y knob t o set a part icular distance wil l result inthe amount of proximity eff ect that would be produced by theactual modeled mic when placed at that d istance from the signalsource.

The eff ect of the Proximit y cont rol is unique f or each model of

microphone. The Microphone Modeler does not use a generalizedapproximation of proximity effect. Each model reflects the specificphysical propert ies that create the individual proximity effect forthat mic.

Note:A secondary effect of mic-to-source distance is the extentto w hich environmental ambience is picked up by a mic. Forexample, as a mic is moved away from the source, the proximit yeffect decreases, but the amount of room tone increases(assuming that you are not in an anechoic chamber). The Micro-phone Modeler does not model th is eff ect . However, judicious

use of t he Proximit y cont rol in combination with some appropri-ately programmed reverb w ill allow you to create the sameeffect , wit h t he addit ional bonus of being able to control t heexact nature of t he room tone.

Mics operating in omnidi rect ional mode do not exhibit a proximit yeff ect . Consequent ly, if the modeled mic is an omni mic, or t hemodeled mic has selectable patterns and omni is chosen, the Proxim-it y cont rol w ill be disabled.



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Controls: Preserve Source

Preserve Source

The Preserve Sourcecont rols allow s you tosplit your audio int o it sbass and t reble rangesand process each rangeseparately. This let s you

create hybrid mics that combine the bass characteristics of one micand the treble characterist ics of another. One of t he tw o mics will beyour actual source mic and t he ot her can be selected f rom any ofthe available models.

Say, for example, that you have a mic whose bass response is greatfor a part icular t rack, but whose treble response just doesnt soundright . Wit h t his feature you can preserve the bass response of yoursource mic while replacing it s t reble characterist ics wit h t hat of anyof the modeled mics.

Heres how it works:

1) Make all t he appropriate sett ings in t he Source Mic sect ion. (Donot select Bypass unless you are go ing for some special eff ect , asit will defeat the normal f unct ion of th is feature.)

2) Choose the other mic for your hybrid and make all the appropri-ate sett ings in t he Modeled M ic sect ion. (Again, do not selectBypass unless you are going for some special effect.)

3) In the Preserve Source sect ion, click on eit her t he Bass or Treblebutton (its associated LED wil l light ) depending on whetheryou w ant to preserve the bass or t reble characterist ics of yoursource mic.

There are four possible states of the two Preserve Source but tons.Heres what each does ( o = LED li t ):

1) Preserve Source: BassO Treble O

With neither but ton pressed, frequency split t ing does not take placeand the Microphone Modeler operates in it s normal manner accord-

ing to t he sett ings in the Source and Modeled M ic sect ions.

2) Preserve Source: Basso Treble O

With t he Bass but ton pressed, the source mics bass characteristicsare allowed through unchanged while the t reble characterist ics areneutralized. Then, at the model end, only the models treble character-ist ics are appl ied to the signal. The net eff ect is that you get the sourcemics bass characterist ics and the modeled mics treble characterist ics.


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3) Preserve Source: BassO Treble o

This, as youve probably guessed, is the reverse of No. 2. With theTreble but ton pressed, the source mics bass character ist ics areneutralized while t he t reble characterist ics are allow ed through

unchanged. Then, at the model end, only the models bass characteris-t ics are applied to the signal. The net eff ect is that you get the sourcemics treble characterist ics and t he modeled mics bass characteristics

4) Preserve Source: Basso Treble o

Wit h bot h but tons pressed, both the sources bass and t reble charac-terist ics are allowed through unchanged and no model is applied toeither range. This is equivalent to select ing Bypass in both the SourceMic and Modeled M ic menus, wit h t he exception that t he Proximit ycont rols for bot h t he source and modeled mics remain act ive.

Tube Saturation

The Tube Saturat ion sect ion is designed to model t he distort ion thatis typical of a high-quality tube pre-amp.

When tube pre-amps are operated in their linear range, there isvirt ually no signal distort ion and t heir audio quali t ies are essent ially

ident ical t o solid state pre-amps. However, it commonly occurs thatt ransients exceed the linear volt age range, result ing in distort ion.The distort ion characterist ics of a vacuum tube pre-amp are vast lydif ferent f rom t hat o f solid state amplif iers and are of ten describedas adding a cert ain warmth to a sound (in contrast to what isof ten described as the brittleness of the solid state sound).

The amount of tube saturat ion eff ect applied to your audio iscont rolled by t he Tube Saturat ion Drive cont rol i n combination withthe Input Gain cont rol.

The Drive cont rol determines the amplif ication factor of the mod-

eled tube pre-amp wi th t he numeric display indicating the amplif i-cation in dB. At 0 dB , no distort ion occurs, even for f ull amplitude(+1 or -1) signal levels. These levels represent the rails of theamplifier. As the Drive is increased, the amplification is increased.Any regions of the signal that increase beyond the rails generatedistort ion. (But instead of the usual ugly dig it al clipping, they aredistort ed the same way the tube pre-amp w ould distort the sound.)

Controls: Tube Saturation


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Because the maximum drive is limited to +10 dB, using the TubeSaturat ion model requires the orig inal signal to be at a level greaterthan -10 dB. If this is not the case, you should adjust the Input Gaincont rol to increase the level of the sound. (Be certain t hat InputGain is not increased so much as to cause the 0 dB meter LED to

light .) It may be necessary to go back and f ort h between Drive andInput Gain a few t imes to get exact ly the eff ect you want .

Note:If your audio w as recorded at an except ionally low level, itmay be that even maximum Input Gain and maximum Drive willst ill not result in a level high enough t o generate distort ion. Inthat case, either re-record your audio at a higher level (if pos-sible) or use your waveform editing program to digitally increasethe level (keeping in mind that t his may negatively aff ect thesignal qualit y).

If you want t o add tube saturation distort ion w ithou t otherwiseaffect ing your sound, set both t he Source Mic and Modeled Micmenus to Bypass.

Output Level

The Output Level cont rol is used to f ine-tune theMicrophone Modelers out put level. This cont rol isst rictly an att enuator (i.e., no gain is available). Youshould alw ays start w it h it at 0dB (the top of it srange) and then reduce level as necessary. It isparticularly useful when adding large amounts oftube saturat ion.

Controls: Output Level


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Chapter 4: The Microphone Models

Your copy of Microphone Modeler comes with a collect ion of micmodels that is automat ically installed along with t he plug-in applica-t ion. These mics will appear in t he Source Mic and M odeled M icmenus. In addi t ion, we are constant ly modeling more mics. Whethernew mics that have just come to market, or classics weve justmanaged t o get ahold of , you should f ind an ever-grow ing collec-

tion to dow nload from our website.Wed also appreciate any suggest ions you have for specif ic mics tomodel. Email your suggest ions to us at [email protected] withthe words Mic Suggest ion in the subject line. We can t guaranteethat we ll be able to include every mic suggested, but if we seecertain mics gett ing a lot of votes we ll do our best to include them.

The Mic Model Files

Each mic model consists of two f iles: the model f ile, which is namedfor t he modeled mic, and a matching source mic f ile whose name

also includes the name of t he modeled mic with the addit ion of thesuffix, inv .

These model f iles are found in a f older named AntaresModels. On Macintosh systems, this folder is located inthe Preferences folder inside the System folder. On PCsystems, this folder is located inside the same folder as theMicrophone Modeler plug-in. The Antares Models folder in

turn cont ains a Modeled Mics fo lder and a Source Mics folder.Each folder cont ains one f ile f or each microphone.

This version of Microphone Modeler includes the abilit y to add onelevel of sub-folders in t he Source Mics and Modeled Micsfolders. This resul ts in easy-to-organize hierarchical menus in theSource Mic and M odeled Mic pop-ups.

As you will see, we have used th is feature t o organize the mic modelsby manufacturer. However, you are f ree to change th is organizationto anything t hat w orks well for you. Simply add or rename sub-folders as desired and put the appropriate models in each folder.


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Customizing Mic Menus

Note t hat the model f iles are not cross-platf orm compatible. Whendownloading new models f rom the Antares web sit e, be sure t oselect the f iles that are intended for your comput er.

For each new model you download from t he Antares web sit e, you

will end up wit h two f iles. As is probably obvious, you should placethe model mic file in the Modeled M ics folder and the source micfile (the one with t he inv suffix) in the Source Mics folder.

Customizing the Source and Model Mic Menus

The Source Mic and Modeled Mic menus will always ref lect the sub-folders and model fi les in t heir respect ive folders. Adding a new f ileor sub-fo lder to either folder wi ll cause that sub-fo lder or model tobecome available in the appropriate menu.

Here are a few hint s for managing your mic menus:

It is not necessary to have the same mic models in each f older.You could, for example, put only the source model f iles for t hemics you actually ow n at t he top level of the Source Mic folder,eliminating the need to constantly hunt in sub-fo lders for t hefew you usually use.

For quick access to a f ew specif ic mics on a part icular project,create t wo t emporary sub-folders named Project Source Micsand Project Modeled M ics and put all t he mics you plan to usefor t hat part icular project in them. When you fini sh your project ,

just move all the models back in to t heir respect ive fo lders. The mic names that appear in t he menus ref lect the names of

the model files. We have assumed that the actual mic names areprobably t he most inf ormative. However, if youd prefer some-thing else, you can change t he names of the model f iles andthose new names will appear in t he menus.

If you choose to do this, we st rongly recommend that you g ivebot h t he source and model f iles the same name and keep t he inv suf f ix for t he source fi le. (The Microphone Modeler wi llautomat ically st rip t he inv f rom the end of the name when

displaying it in the Source Mic menu. However, if you acciden-tally (or purposely) put a source mic file in the Modeled Micfolder, the inv will appear as part of the name in the ModeledMic menu.)


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Chapter 5: Realistic Expectations(or, Microphone Modeler Meets the

Space-Time Continuum)

Although the Microphone Modeler seems in many ways to bealmost magic, it is, in fact, simply very clever science. And as such, it

remains subject t o those pesky laws of physics.To get the maximum satisfact ion out of the Microphone Modeler, itis import ant to have realist ic expectations of exact ly what it can andcant do. (Most of what it cant do relates to t he physical impossibi l-it y of recovering inf ormation that wasnt in t he original signal tobegin wit h.) Here are the main issues to be aware of :

Choice of Input Microphone Luckily for all of us, the generalquality of affordable microphones has reached a remarkablyhigh level. Consequently, if you st ick w ith well-known manuf actur-ers, most any reasonable quality mic will provide sufficient perfor-

mance to allow the Microphone Modeler to do it s magic. (OK, wesaid it wasnt magic, but w ere speaking metaphorically here.)

On the other hand, you cant expect to go in to a large (butunnamed) mass merchandiser of low-cost elect ronics gear andpick up a $19.95 mic and expect the Microphone Modeler tomake i t sound like a U87. If a source mic has massive roll -of f in aparticular f requency range, there is no w ay the M icrophoneModeler can produce the signal that would have been capturedhad the source mic had better response.

Microphone Variations While t here are obviously major dif fer-ences between various models of microphones, there are alsoof ten more subt le dif ferences betw een di f ferent samples of thesame model of microphone. Whether due to manufacturingvariances, age or condit ion, there is no guarantee that the micwe modeled will be ident ical to your source mic or t o a specif icmic you want to model. In the case of some well-known classics,we have even provided mult iple models of the same (but soni -cally differing) mic from different sources.


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Realistic Expectations

Microphone Technique In get t ing the best possible recordedsound, mic technique and p lacement are at least as import antas mic choice (if not more so). A good engineer can record agreat t rack w it h an SM57 while a poor one can make a U47sound like doo doo. If your audio is not well-recorded in the fi rst

place, the Microphone Modeler can to do very lit t le to improveit . If you start w ith a poorly recorded t rack, all t he MicrophoneModeler wi ll do is make it sound like a track t hat w as poorlyrecorded w ith a great mic.

Excessive Frequency Boost Although t he Microphone Modelersprocessing does not itself add noise to your signal, any noise inyour orig inal audio or noise added by int ervening processes(e.g., A/D conversion, pre-Microphone Modeler dynamics pro-cessing, etc.) will be accentuated by any large amount of f re-quency boost . This should only be a problem when your source

mic has a substant ial bass or t reble roll-of f and the modeled michas a corresponding boost or, more likely, when your audio wasrecorded w ith a low -cut f ilt er on t he source mic and you do notuse a low-cut on the modeled mic. In both of these cases, themodels will apply substantial gain t o t he affected f requencyranges, raising the level of added noise along w ith t he desiredsignal. If the resulting noise level is unacceptable, you shouldchoose a diff erent combinat ion of mics and/or t urn on t hemodeled mics low -cut f ilt er.

Polar Pattern Selection The Microphone Modeler cant recover

inf ormat ion t hat w as not recorded as part o f the original signal.For example, if the original audio w as recorded w ith a highlydirect ional pat tern (hence picking up li t t le room t one), you cantset t he modeled mic to Omni and expect the room t one thatwould have been recorded if the original was set t o Omnisuddenly to appear. You can however, simulate that ef fect w it hsome judicious use of reverb or an environmental simulator.

Conversely, if your source was recorded w it h an omni mic and itpicked up some unw anted audio f rom the rear, you cant realist i-cally expect to set t he modeled mic to hypercardioid and have

the unwanted audio disappear.

Off-Axis Response The purpose of the Patt ern select ion is tomodel the varying f requency characterist ics that result f romeach of the available pattern sett ings, with the assumption thatthe audio w as recorded on axis (i.e., from t he front of themicrophone). Since the Microphone Modeler has no w ay ofknowing t he actual placement of the signal source, it does notatt empt t o model of f -axis performance.


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Transient Response One of the key characterist ics of varioustypes of microphones is their t ransient response (i.e., the waythat t heir diaphragms respond t o ext remely rapid amplit udefluctuations, typically during a sound s attack phase).

Intui t ion would suggest that modeling changes in t ransientresponse between mics would be next to impossible particu-larly changing a source mic wit h a slow response to a modeledmic with a fast response. Amazingly, that turns out not to be thecase. The Microphone Modelers models do model variations int ransient response in both direct ions.

Rather than explain how this is done (which we are disinclinedto do, anyway), we suggest t hat you demonstrate it t o yourselfwit h the follow ing experiment:

1. In your waveform editor, use the Pencil Tool (or equivalent

waveform drawing t ool) to create a single high-amplit ude spike.

2. Process this fil e through the M icrophone Modeler w ith theSource Mic set to Bypass (so the spike is passed through the

Source sect ion unchanged) and the Modeled M ic set to t heATM31.

3. Examine the processed signal in the waveform edit or. Youshould see obvious evidence of the smeared transient.


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4. Now t ake that processed file (which is now a model of t he spikeas it would have been recorded by t he ATM31) and send i tth rough t he Microphone Modeler again, this time w ith theSource Mic set to t he ATM31, and t he Modeled M ic sect ion setto Bypass. If that Source Mic model is doing it s job, it should

actually remove the characterist ics of the ATM31, including t hatsmeared transient.

5. Once again, examine the processed signal. The evidence oft ransient smearing will be gone and t he spike restored to it sformer spikey self . (Frankly, the f irst t ime we tried it , we couldhard ly believe i t ourselves. Thanks, Dr. Andy.)


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Chapter 6: Get Creative

Up to t his point , all of the inst ructions in t his manual have focusedon how to use the Microphone Modeler for it s primary purpose:making one mic sound as accurately as possible l ike anot her. Butdont let t hat limit you. Weve purposely given the cont rols wideranges to allow you to move beyond what might be considereduseful for st rict modeling. Try some of the fo llow ing:

Select a Source Mic that doesn t match your physical mic. In fact ,t ry one whose characterist ics are as dif ferent as possible f romyour physical mic.

Select Bypass in the Source Mic menu to combine the sound ofyour physical mic wit h the sound of the modeled mic.

Create a Hyper version of one of your source mics. To do this,select Bypass in the Source Mic menu (t o pass through the soundof your mic unmodif ied) and then select your source mic in t heModeled Mic menu. The result w ill be to accentuate all o f the

characterist ics that give your source mic it s unique character,making it sound like itself , only more so.

Swap some model f iles between t he Source and Model f olders(i.e., put the source fi le in t he Modeled Mic folder and viceversa). This is likely t o resul t in some st range t imbres, but some-times strange is good.

Extreme Proximi ty sett ings can give st range, but int erest ingeff ects. Try wild ly dif fering sett ings in t he Source and Modelsections.

Dynamically change Proximit y sett ings dur ing a performance. Overdrive the Tube Saturation section for some serious gruzz.

None of the above are likely to give you t he sound of any mic thatexists in nature, but they can definit ely give your record ings uniqueand st riking t imbres.


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Appendix

Listed below are all of the mics that we have modeled as of the datethis manual went to press. (Be sure to check the Antares web sitef requently for addit ional models.)

Please Note:All t rademarks appearing below are the propert y oftheir respect ive owners. The follow ing manuf acturer names andmodel designations are used solely to ident if y the microphones

analyzed in the development of our digit al models and do not inany way imply any associat ion w it h or endorsement by any of thenamed manufacturers

AKG C12A Large Diaphragm CondenserA classic multipurpose studio mic (this one datesf rom t he late 60s)

C414

C414B/ULS Limit ed Edi t ion Gold

C414B/ULS Modif ied by Audio Upgrades (mod1)

C414B/ULS Modif ied by Jim Will iams (mod2)Large Diaphragm CondenserMult ipurpose studio mic

460B/CK61-ULS Small Diaphragm CondenserPrecise, neutral recording mic

D112 Large Diaphragm DynamicClassic kick drum and bass guitar mic

D 790 Large Diaphragm DynamicHand-held vocal

C1000S Small Diaphragm CondenserWith a batt ery power opt ion, oft en used for f ieldrecording

C 3000 Large Diaphragm CondenserGeneral purpose

C 4000 B Dual-Diaphragm CondenserSolid state version of the SolidTube, generalpurpose


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Alesis AM 61 Large Diaphragm Condenser w /t ube circuit ryA r ich warm sound ideal for vocals andinstruments

Audio Engineering Associates

R44C Large Diaphragm Boundary - RibbonReplica of the classic RCA 44 ribbon mic

Audio-Technica ATM11 DynamicDrums

ATM31 Small Diaphragm CondenserGeneral purpose

AT853Rx Elect ret CondenserHanging choir mic

AT3525 Large Diaphragm CondenserVocals and general purpose

AT4047/SV Large Diaphragm CondenserRecreat es the sound of vintage F.E.T. condensermics

AT4033a/SM Large Diaphragm CondenserGeneral purpose, drum overheads

AT4050 Large Diaphragm CondenserGeneral purpose

AT4055 Large Diaphragm CondenserLive vocal mic

AT4060 Large Diaphragm Condenser - Tube Circuit ryVocals and general purpose

Audix D4 DynamicKick drum, acoustic bass, piano, sax

OM2 DynamicHand held vocal

OM3-xb DynamicGeneral purpose

OM5 DynamicVocals

Please Note:All t rademarks appearing above are the property oftheir respect ive owners. The manufacturer names and model desig-nat ions are used solely to ident if y the microphones analyzed in t hedevelopment of our digit al models and do not in any way imply anyassociation w ith or endorsement by any of t he named manufacturers.


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B & K 4007 Large Diaphragm Prepolarized CondenserClose-micing drums, percussion, brass

beyerdynamic M-500 Limited Edition Classic (Silver)Large Diaphragm CondenserVocal, inst ruments

MC-834 Large Diaphragm CondenserVocals , piano, st rings, brass, voice-overs

Brauner VM 1 Large Diaphragm Tube Condenser w /Class A ampReference recording

CAD Equ itek E100 CondenserVocal, inst rument , drum overheads

Equ itek E200 CondenserVocal, orchest ra, acoust ic gui tar, kick drum

Equitek E350 Servo Condenser

Vocal, piano, overhead, acoust ic guit ar, amps

C400S Large Diaphragm CondenserGeneral Studio

VSM1 Single Valve CondenserVocal, strings, guitar

95Ni DynamicVocal, inst rument amps

Coles 4038 Large Diaphragm Boundary - RibbonSax, horns, piano , gui tar

Earthworks Z30x Enhanced Cardioid CondenserVocal, guitar, drums, general purpose

TC30K Omni CondenserDrums, guitar, bass

ElectroVoice PL20 Mid Diaphragm DynamicEarly predecessor to the RE20 - Bass, drums, vocals,electric guitar

N/D357 Mid Diaphragm DynamicFrequency expressly contoured f or female vocals

Groove Tubes MD-1 Large Diaphragm Tube CondenserStudio vocal, general purpose

Please Note:All trademarks appearing above are the property oftheir respect ive owners. The manufacturer names and model desig-nat ions are used solely to ident if y the microphones analyzed in t hedevelopment of our digit al models and do not in any way imply anyassociation w ith or endorsement by any of t he named manufacturers.


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Lawson L47MP Large Diaphragm Tube CondenserVocals, acoust ic guit ar, st rings, piano, choir,orchest ra, sax

Manley Labs Reference Gold Large Diaphragm Tube CondenserUltra high quality recording

MicroTech Gefell UMT 800 Large Diaphragm CondenserClose-miced vocals, horns, ensembles

Neumann U 47 Large Diaphragm Tube CondenserA classic vocal mic. Sinatras f irst choice.

U 87

U 87 70th Anniversary Gold Edit ionLarge Diaphragm CondenserVocals, piano, acoustic bass, drums, acoustic guitar

M 149 Large Diaphragm Tube Condenser

The best mic I have EVER used. ~Chuck Surack(Thanks Chuck!)

TLM 103 Large Diaphragm CondenserVocals, acoust ic guit ar, horns, piano

TLM 193 Large Diaphragm CondenserVocals, acoust ic guit ar, drum overheads, st rings,sax

KM 184 Small Diaphragm CondenserAcoust ic gui tar, drum overheads, hi hat , st rings,percussion, piano

Oktava MC-012 Small Diaphragm CondenserGeneral purpose inst ruments and l ive performance

MK-319 Large Diaphragm CondenserVocal, general purpose

RCA BK5A Uniaxial RibbonVocal, general purpose

Rode NT1 Large Diaphragm CondenserVocals, inst rument s

NT2 Large Diaphragm Condenser

Vocals, acoust ic gui tar, w inds, piano

NTV Large Diaphragm Tube CondenserVocal, general studio



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Royer R-121 RibbonElectric guitar, overhead drums, orchestral, choral,room micing

Sennheiser MD421 Large Diaphragm DynamicDrums, vocals guit ar, amps

MD441 Large Diaphragm DynamicDesigned to simulate the sound of a condensermic for vocal, sax

E609 Large Diaphragm DynamicLive performance guit ar amp and drum mic

E835S Large Diaphragm DynamicLive perf ormance vocal

Shure Beta 52 Large Diaphragm DynamicKick drum, bass amp, acoust ic bass

Bet a 57A Large Diaphragm DynamicDrums, guitar amplifiers, brass, woodwinds, vocals.

Bet a 87A Large Diaphragm CondenserVocals, live performance

Bet a 98D/S M ini CondenserToms, snares, percussion

SM7A DynamicVocals, bass amp

SM57 Large Diaphragm Dynamic

Guitar, guit ar amp, drumsSM58 Large Diaphragm Dynamic

Vocals, general purpose

Shure SM81 Large Diaphragm CondenserGuitar, cymbals, strings, vocals, piano

SM98A Large Diaphragm CondenserDrums, brass, winds

KSM32 Large Diaphragm CondenserVocals, acoustic guitar, winds, ensembles, anddrum overheads.

VP88 Large Diaphragm Condenser - Single Point St ereoModeled in M S (mono simulat ion) mode

Please Note:All trademarks appearing above are the property oftheir respect ive owners. The manufacturer names and model desig-nat ions are used solely to ident if y the microphones analyzed in t hedevelopment of our digit al models and do not in any way imply anyassociation w ith or endorsement by any of t he named manufacturers.


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Sony C800G Large Diaphragm Tube CondenserVocals: studio and post -product ion

C37P Tube CondenserGeneral purpose

C48 Large Diaphragm FET CondenserVocals, gui tar

Telefunken U-47 Large Diaphragm Tube CondenserAn extremely rare vint age version of the U-47from the days when Telefunken distributed micsfor Neumann. This sample is st ill equipped w iththe original tube.



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Acknowledgments

As you might imagine, sourcing and modeling all of those mics was(and remains) an interest ing logist ical challenge. Luckily for us, wehave had assistance f rom a variety of interested dealers, manuf ac-turers, studios and ind ividuals who w ere all w ill ing to let us subjecttheir precious microphones to our arcane modeling ritual.

Thanks to all t hose listed below :

Rob ActisActis Company, San Diego, CA

Audio Engineering AssociatesPasadena, CA

Audix CorporationWilsonvil le, OR

Demien BannisterBananas at Large, San Rafael, CA

jeramy bassermann

Opus Nine, El Granada, CA

Robert Berrysoundtek studios, Campbell, CA

Ken Capit anichMars Stud ios, Aptos, CA

Eric ChunCreative Music Services,Auburn, CA

Cutting Edge Audio

San Francisco, CAGuitar ShowcaseSan Jose, CA

Stephen JarvisSan Francisco, CA

Manley LaboratoriesChino, CA

National Sound EngineeringNorcross, GA

Glen PeiserGui tar Cent er San Jose

Sant a Cruz Sound CompanySanta Cruz, CA

Paul SavastaOdyssey Pro Sound, Salem, MA

Skips Music

Sacramento, CA

David StaatsCastro Valley, CA

Studio Tech SupplyDallas, TX

Chuck SurackSweetwater Sound,Ft . Wayne, IN

Trakworx

San Francisco, CAWind Over the EarthBoulder, CO

And, of course, our ownMichael Mr. Microphone Logueand mic tester extraordinaireKelly M ontgomery.


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Index

Symbols (w ) 14, 17

AAbout t he technology 11Acknowledgments 37Antares Audio Technologies

contacting 9Antares Microphone Modeler

about t he technology 11authorizing 8controls 13installing 8overview 10what it does 11

Authorizing Antares MicrophoneModeler 8

Aut omation and the Mic Menus 25

BBypass 14, 15, 17, 18, 29, 30

CChallenge St ring 9 Challenge/Response 8Controls 13

Input Section 13Modeled Mic Section 17Output Level 22Preserve Source 20

Source Mic Section 14Tube Satu rat ion 21

Creat ive techniques 30Customizing the Source and Model

Mic Menus 24

DDrive control 21

FFrequency boost, excessive 27

IInput 12Input Gain 13Input M icrophone, choice of 26Installing Antares Microphone

Modeler 8 inv 23

LLevel Meter 13Live or Mixdow n? 12Low-Cut Menu 15, 17

MManaging m ic menus 24Mic Model Files 23

Microphone 26hybrid 20of f -axis response 27omnidirectional mode 16, 19polar pattern select ion 27technique 27transient response 28Variation in 26

Microphone Models 23, 31Modeled Mic 12Modeled Mic Section

Low-Cut Menu 18Modeled Mic Menu 17Pattern 18Proximity 19


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OOff -Axis Response 27Operation 12Output 13Output Level 22

Overview 10

PPattern 16

cardioid 16, 18hypercardio id 16, 18omni 16, 18

Polar pat tern select ion 27Preserve Source 20Proof of Purchase 8Proximity 16, 17, 19Proximity Effect 16, 19

SSerial number

location of 7, 8Signal Flow 12Source Mic 12Source Mic Sect ion 14

Low-Cut Menu 15Pattern 16Proximity 16Source Mic Menu 14

Spectral Shaping Tool 10

Submit t ing suggest ions 23

TTechnical Support 9Transient Response 28Tube Sat uration

10, 11, 12, 21, 22, 30

WWhat it does 11

antares microphone modeler manual

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