User manual ANTARES ATR-1A

[. . . ] Antares Audio Technologies 231 Technology Circle, Scotts Valley, California 95066 USA voice: (831) 461 7800 fax: (831) 461 7801 service: (831) 461 7814 web: www. antarestech. com Printed in USA Rev 1. 0-10/00 Contents Getting Started Welcome Tech Support A few words from Dr. Andy 5 6 7 Introducing the ATR-1a Chapter 1 Background So what exactly is it?A little bit about pitch Some pitch terminology How the ATR-1a determines pitch How the ATR-1a corrects pitch Program Mode vs. Song Mode 9 9 10 10 11 12 13 Setting Up the ATR-1a Chapter 2 Setting up the ATR-1a 15 Panel Controls and Connectors Chapter 3 Front panel Back panel 17 19 Display Screens and Menu Pages Chapter 4 Flash screen Mode pages Program Edit pages Speed page Make Scale from MIDI page Scale page Vibrato page 20 20 22 23 24 24 26 Program Name page Save Program page Song Edit pages Song Speed page Song Items page Song Vibrato page Song Name page Save Song page System Edit pages Bass Mode page Sensitivity and LCD page Foot Switch and Detune page MIDI page 1 MIDI page 2 MIDI page 3 MIDI page 4 MIDI page 5 Owner Message page 27 27 27 28 28 29 30 30 30 31 31 32 33 34 35 35 36 36 Creative Applications Appendix Chapter 5 37 Factory Programs Scale and Chord Guides MIDI SysEx message formats MIDI SysEx message examples MIDI Implementation Chart ATR-1a Specifications 40 41 44 47 50 51 Index 52 Welcome! On behalf of everyone at Antares Audio Technologies, we'd like to offer both our thanks and congratulations on your decision to purchase the absolute best intonation correction hardware in the world. [. . . ] In this state, the ATR-1a will pass all notes with no correction applied. Another Note: We realize that there is some possibility of confusion between the Make Scale From MIDI function and MIDI Note Mode selected on MIDI Page 1 in the System Edit pages. To clarify: the MIDI Note Mode is used to specify target pitches in real time while pitch correction is occurring, while Make Scale From MIDI is used in advance of correction to create a custom scale for a program. MIDI Note Mode does not need to (and, in fact, shouldn't) be enabled to use the Make Scale From MIDI function. MIDI Note Mode always overrides the current program's scale, including one created by the Make Scale From MIDI function. Scale Page You tell the ATR-1a exactly which notes you want to correct on the Scale Page: XX:CC#DD#EFF#GG#AA#B By: 24 This page allows you to specify the scale notes to which the ATR-1a tunes the input sound. If you have used the Make Scale From MIDI function described above, the notes input via MIDI will already appear on the page and can be further edited here. Each note in the scale can be set to one of three states: Tune (i. e. , the note name appears in the display, but the "By:" field under the note is blank): When the input is near a note set to Tune, the ATR-1a will retune the input to that note. Bypass (i. e. , the note name appears in the display and an "*" appears in the "By:" field under the note): When the input pitch is close to a note set to Bypass, the output remains uncorrected. Blank (i. e. , the note name disappears from the display): A note set to Blank will be omitted from the scale. For example, setting C , D , F , G , A to Blank causes a C Major scale to remain. In that case the ATR-1a would always retune the input to the closest note of the C Major scale. As an example, the following settings result in a D Major scale with no pitch corrections applied to F and C : 23: C#D E F#G A B By: * * Why set Scale notes to "Blank"? To understand why it is sometimes necessary to set even correct scale notes to "Blank, " let's look again at the example from Chapter 1. CORRECTED BY ATR-1 ORIGINAL PERFORMANCE 25 This phrase is in D Major and, if all the pitch errors were no greater than about 49 cents, would work fine with a standard D Major scale (D, E, F , G, A, B, C ). However, the pitch error of three semitones at the end of the last note is so large that with B and C present in the Scale, as the pitch fell, the ATR-1a would see first C and then B as the target pitch and therefore allow the error to remain. With C and B removed from the Scale, the ATR-1a continues to see D as the target pitch for the entire duration of the note and therefore pulls the phrase up to the correct pitch. Vibrato Page Prog:XX Dpth Rt Dly yyyyyy xxx zzz dddd These parameters allow you to superimpose a vibrato (periodic pitch variation) onto the output sound. The yyyyyy field allows you to select the shape of the vibrato's pitch variation through time. The choices are: (off), SINE, SQUARE and SAW (sawtooth). The Dpth (Depth) control varies from 0 to 100 cents, controlling the amount of pitch variation in the vibrato. The vibrato depth can also be modulated (controlled) by the MIDI MOD WHEEL input. Note: The Depth setting is used by the MIDI Mod Wheel controller to define the maximum modulation. You must have the Depth set to a positive value and the wave type set to SINE, SQUARE or SAW in order for Mod Wheel control to work. The Rt (Rate) control varies from . 1 to 9. 7 Hz and controls the speed of the vibrato. The Dly (Delay) control varies from 0 to 3500 milliseconds, and controlls the time between the beginning of a new note and the full onset of the vibrato. [. . . ] Names are also enclosed in braces as symbolic representations defined further into the explanation. Values are decimal unless an H is used to denote Hexadecimal values. For example, the MIDI bytes to select song mode for DEVICE NUMBER 3 are: F0H, 0, 1, 26H, 3, 1, F7H. <sys ex message> <manufacturer> <device num> <message bytes> or or or or or or <system data> = <midi channel> <midi sustain> <program change> <midi note> <pitch bend> <mod wheel> <foot switch> <speed controller #> <vibrato rate controller #> <vibrato delay controller #> <step controller #96> <sensitivity> <detune> <detune direction> <program data> = <program number> <speed> <scale 1>. . . <scale 12> <vibrato type> <vibrato depth> <vibrato rate> = <F0H> <manufacturer> <device num> <message bytes> <F7H> = <0 1 26H> = one byte in range 0 to 15. [. . . ]