User manual ANTARES FILTER

[. . . ] Antares Filter Quad Rhythmic Multimode Filters Owner's Manual ©2003 Antares Audio Technologies. Certified Isinglass-freeTM All trademarks are the property of their respective owners. Antares Audio Technologies 231 Technology Circle Scotts Valley, California 95066 USA voice: (831) 461 7800 fax: (831) 461 7801 service: (831) 461 7800 (Option 3) web: www. antarestech. com Printed in USA Rev 1. 0 10/03 PN 40205-M01 The Obligatory Legal Mumbo-Jumbo The Antares Filter 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. [. . . ] As an example, suppose you're processing a wideband signal through Filters #1 and #2. You've set Filter #1 for lowpass at 250Hz and Filter #2 for highpass at 5kHz, so the filter display will look like this: It's obvious that when the two filters are routed in parallel, the output will be your original audio with the range between 250Hz and 5kHz seriously filtered. However, switch to routing #2 and you will hear no output at all. The reason is that Filter #1 starts out by removing the portion of your audio above 250Hz and then passes the remaining 23 portion on to Filter #2 which removes audio under 5kHz. Since the entire signal from Filter #1 is under 5kHz, there's nothing left to send to the output. ANOTHER NOTE: The one place where series routing is not only useful, but pretty much required is when you're dealing with multiple notch filters. As an example, choose routing #6 and set all four filters to notch at different frequencies. Link #2, #3 and #4 to #1 and sweep #1's frequency to hear the effect. Now switch to routing #1 and try the same thing. There will be very little effect because each of the parallel filters is "filling in" the other 3 filters' notches. YET ANOTHER NOTE: When using parallel routings, and particularly routing #1, keep in mind that the final output is the sum of all of the active filters' outputs. If you have three or four filters emphasizing the same frequency ranges or with high Qs, you can generate levels that can cause clipping and distortion. To prevent this, adjust the individual filters' Gain controls to eliminate the clipping. Function Generators Filter's four Function Generators provide a huge variety of dynamic control signals that can be used in combination with the Modulation Matrix to affect pretty much any key Filter parameter. Each of the four Function Generators provides both an Envelope Generator and a Low Frequency Oscillator (LFO), thereby offering a simultaneous total of 4 Envelope Generators and 4 LFOs. Even though each Function Generator can only display the interface of one or the other at a time, both functions are available simultaneously in the Modulation Matrix, i. e. , Function Generator 1 provides both LFO 1 and Env 1, Function Generator 2 provides both LFO 2 and Env 2, etc. Use the LFO/ENV rocker switch in the lower right hand corner of each Function Generator to select which function to display. LFOs Each of Filter's four identical LFOs (Low Frequency Oscillators), provides 10 different shapes -- including three different random shapes -- and can be set to an independent rate or synced to Filter's Master Tempo. 24 NOTE: When using an LFO to produce a desired effect on a particular parameter, it is important to recognize that the LFO provides a bipolar control signal, i. e. , the signal is centered around the value of 0 (the value at which it has no effect on the controlled parameter) and (except for the random shapes) moves symmetrically both above and below 0. What this means in practice is that an LFO will cause the parameter it is controlling to alternately increase and decrease relative to its initial value. If you are going to control something with an LFO, the parameter's initial value should be set with this behavior in mind. SYNC TO MASTER Click on the Sync To Master button to toggle its state. When the button is lit, the LFO is locked to Filter's Master Tempo and its rate is set in beats or fractional beats relative to that tempo. When it is not lit, the LFO's rate can be set directly in Hz or BPM. NOTE: When an LFO is Synced To Master, it is truly locked to the master tempo, its rate can not be affected by modulation. [. . . ] Then try anything else. 45 · If a preset's Master Tempo is set to MIDI, be sure that your host is correctly configured to send MIDI clock to Filter. If it's not getting MIDI clock (i. e. , the MIDI Clock indicator is not lit), the preset will not function as it was designed to. · If a preset is not synced to your host's MIDI clock but makes use of tempo-synced LFOs, Delays, Rhythm Generators or Envelopes, you may have to readjust the internal Master Tempo for the best effect with your particular audio. · If various time-based parameters are not synced to the master, you may want to individually readjust LFO rates, Delay times, Envelope settings, etc. [. . . ]