©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.
Contents Welcome 5 Technical Support 6 Introducing the AMM-1 Chapter 1 Overview About the Technology So What Exactly Does It Do? 7 8 8 Setting Up Chapter 2 9 Panel Controls and Connectors Chapter 3 Operation The Front Panel The Back Panel 10 13 Chapter 4 Live or Mixdown? Signal Flow Controls Input Section Source Mic Section Modeled Mic Section Preserve Source Tube Saturation Bypass Output Level System Edit 14 14 15 15 16 21 25 26 27 28 28
The Microphone Models Chapter 5 Adding New Mic Models 33 Realistic Expectations Chapter 6 36 Get Creative Chapter 7 40 Appendix 41 Acknowledgments 47 AMM-1 Specifications 48 Index 49
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 AMM-1 Microphone Modeler. Before you proceed any farther, we’d like to strongly encourage you to fill out and return the AMM-1 registration card. To make it as easy as possible, we’ve included a sticker with your serial number already attached to the card. It’s probably a good idea also to write it in your manual for future reference.
Technical Support In the unlikely event that you experience a problem using your AMM-1, 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 (831) 461-7814 Monday through Friday between 9am and 5pm USA Pacific Standard Time. 5.
Chapter 1: Introducing the AMM-1 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 AMM-1.
About The Technology The models employed by the AMM-1 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.
Chapter 2: Setting Up the AMM-1 Setting up the AMM-1 is very straightforward. 1. Find a suitable location. The AMM-1 is designed to be mounted in a standard 19-inch equipment rack. 2. Confirm that the included power supply is correct for the electricity in your part of the world. If you are not sure, or the power supply has a plug that is incompatible with your wall sockets, contact your local Antares dealer for help.
Chapter 3: Panel Controls and Connectors The Front Panel 1 Power Switch As will be immediately obvious, pushing this button in turns on your AMM-1. It will be left as a exercise for the user to discover how to turn it off. 2 D-in LED This LED lights to indicate the presence of a valid digital input at the AES/EBU input connector 3 Input Level Adjusts the digital level of the audio. Used in combination with the Level Meter LEDs to set the optimum input level without clipping.
AMM-1 Front Panel 1 3 2 7 4 5 6 13 8 9 10 11 12 14 15 16 9 Microphone/Cursor Button In normal operation mode, pressing this button allows you to select your desired source or modeled mic. In System Edit Mode, this button lets you move the cursor in the LCD display from field to field so that you can change each field’s value using the Data Entry knob.
AMM-1 Front Panel 15 Bypass Button Press the Bypass button to pass audio through the AMM-1 without any processing. The AMM-1 can also be placed into Bypass Mode via a footswitch or by MIDI. The accompanying LED lights to remind you that you are in Bypass Mode, whether the mode was initiated by the Bypass button, the foot switch, or MIDI. 16 Output Level Sets the output level of the processed audio. This control provides attenuation only; no gain is available.
AMM-1 Back Panels 1 2 3 4 5 6 7 8 The Back Panel 1 Balanced Line Inputs Inputs can be 1/4-inch TRS (tip-ring-sleeve) Phone, 1/4-inch TS (tip-sleeve) Phone or female XLR. Note: The XLR input is NOT a microphone input. A line level signal is required. Also Note: If you use a 1/4-inch TS plug, the input will of course not be balanced. Yet Another Note: The two inputs will not mix two signals. Plugging in a phone plug will disconnect the XLR input.
Chapter 4: Operation Live or Mixdown? The AMM-1 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 AMM-1 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.
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 Level knob adjusts the digital level of the audio. Turning the Input Level knob will temporarily display the Input Level value on the LCD: Input gain (dB) +11.3 In most instances, you should start with the Input Level set to 0dB.
Controls: Source Mic Section Source Mic Section Press the Edit Select button until the Source LED is lit. This puts the AMM-1 in Source Mic Edit Mode and allows you to 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 Selection 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. Some mic names will have as a suffix “(m1)” or “(m2).
A/B Comparison/Proximity 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. A/B Comparison Pressing the Microphone button a third time will move the cursor from the Microphone Name field to the A/B Compare field.
Source Mic Edit: Low-Cut Menu 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).
Controls: Pattern 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 working “backwards.” That is, changing the menu selection from OFF to any filter setting will actually cause a bass boost in the monitored audio. However, once you think about it, you will realize that this is the way it’s supposed to work.
Modeled Mic Section Modeled Mic Section Here’s where the fun really starts. Press the Edit Select button until the Model LED is lit. This puts the AMM-1 in Modeled Mic Edit Mode and allows you to select the mic (and its settings) whose characteristics you to want to apply to your audio. Mod:aaaaaaaaaaaaaaaa x y:bbbbbbbbbbbbbbbb Pressing the Microphone button while in Model Edit mode brings up the Model Select screen and allows you to use the Data Knob to select your desired modeled mic.
Modeled Mic Section: A/B Comparison Some mic names will have as a suffix “(m1)” or “(m2).” This indicates different examples of the same model of mic, often with some variation or custom modification of the basic model. Additionally, the list offers a selection called “Bypass.” When Bypass is selected, no mic model is applied.
Modeled Mic Section: Low-Cut Menu Proximity Pressing the Proximity button while in Model Mic Edit mode will display something like this: Model Proximity 6.50 inches and allow you to use the Data Knob to select a mic distance for 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.
Modeled Mic Section: Low-Cut Menu Low-Cut Menu Pressing the Low Cut button while in Model Mic Edit mode will display something like this: Model LowCut 80 Hz If the mic you select as the Model Mic is equipped with a userselectable low-cut filter, pressing the Low-Cut button will allow you to use the Data Knob to select from among the actual filter settings available on that mic. (If the selected mic does not have a low-cut filter, the display will default to “none.”.
Preserve Source If the mic you select as the Model Mic menu is equipped with userselectable pick-up patterns (i.e., omni, cardioid, hypercardioid, etc.), pressing the Pattern button will allow you to use the Data Knob to select from the actual pattern settings available on that mic. (If the modeled mic does not have selectable patterns, the display will default to “none.”) If the modeled mic does include multiple patterns, select the pattern whose characteristics produce the effect you desire.
Preserve Source/Tube Saturation There are four possible states of the two Preserve Source buttons. Here’s what each does (o =LED lit): 1) Preserve Source: Treble O Bass O With neither button pressed, frequency splitting does not take place and the AMM-1 operates in its normal manner according to the settings in the Source and Modeled Mic sections.
Tube Saturation/Bypass The amount of tube saturation effect applied to your audio is controlled by the Tube Saturation Drive control in combination with the Input Level control. Turning the Drive knob will temporarily display the Drive Level value on the LCD: Drive gain (dB) +8.5 The Drive control determines the amplification factor of the modeled tube pre-amp with the numeric display indicating the amplification in dB. At 0 dB , no distortion occurs, even for full amplitude (+1 or -1) signal levels.
Bypass/Output Level/System Edit The MIDI SysEx message to defeat Bypass is: F0 00 01 26 11 03 F7 The accompanying LED lights to remind you that you are in Bypass Mode, whether the mode was initiated by the Bypass button, the footswitch, or MIDI. Output Level The Output Level control is used to fine-tune the AMM-1’s output level. Turning the Output Level knob will temporarily display the Output Level value on the LCD: Output Level (dB) -04.5 This control is strictly an attenuator (i.e.
System Edit: Input/Output Page Input/Output Page Input: xxxxxxxxxxxxx SRate: yyyyyyyy zzzz This page is used to set the format and sample rate of the AMM-1’s input. Use the Cursor button to move between the Input and Sample Rate fields. In the Input field, xxxxxxxxxxxxx represents one of the following input options: ANALOG Process the signal appearing at the analog input. The processed signal will appear at the Analog output.
System Edit 44.1 48.0 Err 44.1 kHz 48.0 kHz Neither 44.1 kHz nor 48.0 kHz or no digital input is present Allow Downloads Page Allow mic downloads? xxx When the xxx field is set to “Yes,” the AMM-1 will respond to MIDI downloads of new mic models. When it is set to”No,” it will ignore such downloads. (See Chapter 5 for details on downloading new mic models.
System Edit This page allows you to specify for each mic model downloaded into FLASH memory whether or not it will appear in the appropriate mic selection list. It is also the first step in permanently erasing a model from FLASH memory (see the Compress FLASH Page below for more details).
System Edit When you select a model that has previously been marked as deleted, the top line of the display will read: to: restore Pressing the Enter button at this point will restore the model to active status. It will once again appear in the appropriate mic selection list and will not be subject to erasure during the FLASH compression process. Note: The Source and Model versions of each mic may be individually set to active or deleted status.
Chapter 5: The Microphone Models Your AMM-1 comes with a collection of approximately 100 mic models permanently stored in EPROM. (A complete list will be found in the Appendix to this manual.) In addition, we are constantly modeling more mics. Whether new mics that have just come to market, or classics we’ve just managed to get ahold of, you should find an ever-growing collection to download from our website. We’d also appreciate any suggestions you have for specific mics to model.
Adding New Mic Models When the AMM-1 detects the new mic file, the following message will appear on the LCD: Busy receiving MIDI model download The models are written to the FLASH memory as they are received. Once all of the models have been received, the names of the new mics are merged into the mic selection lists. while this is happening, the following message is displayed: Adding new models to menus This all happens fairly quickly.
Adding New Mic Models If FLASH memory becomes full in the middle of a download, the following message is displayed: Error, FLASH full. Press bypass... Press the Bypass button to return to normal operation. If necessary, use the Delete/Restore FLASH Models Page and the Compress FLASH Page to erase enough mics from FLASH to make room for the new models.
Chapter 6: Realistic Expectations (or, AMM-1 Meets the Space-Time Continuum) Although the AMM-1 seems in many ways to be almost magic, it is, in fact, simply very clever science. And as such, it remains subject to those pesky laws of physics. To get the maximum satisfaction out of the AMM-1, it is important to have realistic expectations of exactly what it can and can’t do.
Realistic Expectations • Microphone Technique In getting the best possible recorded sound, mic technique and placement are at least as important (if not more so) that mic choice. A good engineer can record a great track with an SM57 while a poor one can make a U47 sound like doo doo. If your audio is not well-recorded in the first place, the AMM-1 can to do very little to improve it.
Realistic Expectations • Transient Response One of the key characteristics of various types of microphones is their transient response (i.e., the way that their diaphragms respond to extremely rapid amplitude fluctuations, typically during a sound’s attack phase). Intuition would suggest that modeling changes in transient response between mics would be next to impossible - particularly changing a source mic with a slow response to a modeled mic with a fast response.
Realistic Expectations 4. Now take that processed file (which is now a model of the spike as it would have been recorded by the ATM31) and send it through the AMM-1 again, this time with the Source Mic set to the ATM31, and the Modeled Mic section set to Bypass. If that Source Mic model is doing its job, it should actually remove the characteristics of the ATM31, including that smeared transient. 5. Once again, examine the processed signal in the waveform editor.
Chapter 7: Get Creative Up to this point, all of the instructions in this manual have focused on how to use the AMM-1 for its primary purpose: making one mic sound as accurately as possible like another. But don’t let that limit you. We’ve purposely given the controls wide ranges to allow you to move beyond what might be considered useful for strict modeling. Try some of the following: • Select a Source Mic that doesn’t match your physical mic.
Appendix Listed below are all of the mics models that are shipped with the AMM-1. (Be sure to check the Antares web site frequently for additional models.) Please Note: All trademarks appearing below are the property of their respective owners.
AKG Solid Tube Large Diaphragm Condenser Vocals, strings, general purpose Alesis AM61 Large Diaphragm Condenser w/tube circuitry A rich warm sound ideal for vocals and instruments Audio Engineering Associates R44C Large Diaphragm Boundary - Ribbon Replica of the classic RCA 44 ribbon mic Audio-Technica ATM11 Dynamic Drums ATM31 Small Diaphragm Condenser General purpose AT853Rx Electret Condenser Hanging choir mic AT3525 Large Diaphragm Condenser Vocals and general purpose AT4047/SV Large Diaphragm Condense
Audix B&K Behringer beyerdynamic Brauner CAD Coles Earthworks CX111 Large Diaphragm Condenser General purpose SCX1 Small Diaphragm Condenser Piano, drum overheads 4007 Large Diaphragm Prepolarized Condenser Close-micing drums, percussion, brass ECM8000 Measurement mic Ultravoice XM8500 Handheld vocal mic M-500 Limited Edition Classic (Silver) Large Diaphragm Condenser Vocal, instruments MC-834 Large Diaphragm Condenser Vocals , piano, strings, brass, voice-overs VM1 Large Diaphragm Tube Condenser w/C
Earthworks ElectroVoice Groove Tubes Lawson Manley Labs MicroTech Gefell Neumann TC30K Omni Condenser Drums, guitar, bass PL20 Mid Diaphragm Dynamic Early predecessor to the RE20 - Bass, drums, vocals, electric guitar N/D357 Mid Diaphragm Dynamic Frequency expressly contoured for female vocals MD-1 Large Diaphragm Tube Condenser Studio vocal, general purpose L47MP Large Diaphragm Tube Condenser Vocals, acoustic guitar, strings, piano, choir, orchestra, sax Reference Gold Large Diaphragm Tube Condenser U
Oktava MC-012 MK-219 MK-319 RCA BK5A 77dx Rode NT1 NT2 NTV Royer R-121 Sennheiser MD421 MD441 E609 E835S Shure Beta 52 Beta 57A Beta 58 Beta 87A Small Diaphragm Condenser General purpose instruments and live performance Large Diaphragm Condenser General purpose Large Diaphragm Condenser Vocal, general purpose Uniaxial Ribbon Vocal, general purpose Classic Ribbon Try it on everything Large Diaphragm Condenser Vocals, instruments Large Diaphragm Condenser Vocals, acoustic guitar, winds, piano Larg
Shure Sony Soundelux Tannoy Telefunken Beta 98D/S Mini Condenser Toms, snares, percussion SM7A Dynamic Vocals, bass amp SM57 Large Diaphragm Dynamic Guitar, guitar amp, drums SM58 Large Diaphragm Dynamic Vocals, general purpose SM81 Large Diaphragm Condenser Guitar, cymbals, strings, vocals, piano SM98A Large Diaphragm Condenser Drums, brass, winds KSM32 Large Diaphragm Condenser Vocals, acoustic guitar, winds, ensembles, and drum overheads.
Acknowledgments As you might imagine, sourcing and modeling all of those mics was (and remains) an interesting logistical challenge. Luckily for us, we have had assistance from a variety of interested dealers, manufacturers, studios and individuals who were all willing to let us subject their precious microphones to our arcane modeling ritual.
AMM-1 Specifications Data format 20-bit linear 56-bit internal processing Sample rates 44.1 kHz, 48 kHz Frequency response 10Hz–20kHz, +0.06dB/-0.23dB Distortion + Noise Less than 0.005% (@1kHz) ADC 20 bit 103 dB Dynamic Range (A weighted) 97 dB S/(N+D) DAC 24 bit 105 dB Dynamic Range (A weighted) 94 dB S/(N+D) Analog Inputs XLR: Balanced, 17.9 dBu, 40kW 1/4 inch Phone: TRS Balanced, 17.9 dBu, 40kW Unbalanced, 17.
Index Symbols G R * 16 -w 17, 21 grounding 9 A Input Level 10 Input Level meter 10 Realistic Expectations 36 choice of input mic 36 excessive frequency boost 37 mic technique 37 mic variations 36 off-axis response 37 polar pattern selection 37 transient response 38 A/B Comparison 18 about the technology 8 acknowledgements 47 adding new mic models 33 B back panel connectors 13 Bypass 12, 17, 27 MIDI SysEx message 27 C Controls 15 Bypass 27 Input Section 15 Modeled Mic Section 21 Output Level 28 Pr
U URL 6 W website address 6 Welcome 5 what the AMM-1 does 8 50
