Antares ATR-1 Manual de usuario
©1998 Antares Audio Technology. All Rights Reserved.
Antares Audio Technology
11768 Atwood Drive, No.13
Auburn, CA 95603 USA
voice: (530) 878-4400
web: www.antares-systems.com
Printed in USA
Contents
Getting Started Welcome 5
Tech Support 6
A few words from Dr. Andy 7
Introducing the ATR-1 Chapter 1
Background 9
So what exactly is it? 9
A little bit about pitch 10
Some pitch terminology 10
How the ATR-1 determines pitch 11
How the ATR-1 corrects pitch 12
Program Mode vs. Song Mode 13
Setting Up the ATR-1 Chapter 2
Setting up the ATR-1 15
Panel Controls and Chapter 3
Front panel 17
Back panel 19
Display Screens and Chapter 4
Flash screen 20
Mode pages 20
Program Edit pages 22
Speed page 23
Scale page 23
Vibrato page 25
Connectors
Menu Pages
Program Name page 25
Save Program page 26
Song Edit pages 26
Song Speed page 27
Song Items page 27
Song Vibrato page 28
Song Name page 28
Save Song page 29
System Edit pages 29
MIDI page 1 29
MIDI page 2 30
MIDI page 3 31
MIDI page 4 31
MIDI page 5 32
Foot Switch and Detune page 32
Sensitivity and LCD page 33
Owner Message page 34
Creative Applications Chapter 5 35
Appendix Factory Programs 38
Scale and Chord Guides 39
MIDI System Exclusive message formats 42
MIDI System Exclusive message examples 45
MIDI Implementation Chart 48
ATR-1 Specifications 49
Index 50
5
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.
Before you proceed much farther, we’d like to strongly encourage you to
fill out and return the ATR-1 registration card. As an ATR-1 owner, you are
entitled to receive notification of any firmware 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 it in.
At Antares, we are committed to excellence in quality, customer service,
and technological innovation. With your purchase of the ATR-1, you have
created a relationship with Antares which we hope will be long and gratify-
ing. Let us know what you think. You can count on us to listen to you.
Again, thanks.
The Whole Antares Crew
6
Technical Support
In the unlikely event that you experience a problem using your ATR-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.antares-systems.com
3. Call your local Antares dealer.
4. Call our distributor, Cameo International, at (888) 33-CAMEO, or
(408) 399-0008 Monday through Friday between 9am and 5pm USA
Pacific Standard Time.
For options 3, 4 and 5, please be prepared to provide the serial number
of your ATR-1.
7
A few words from Dr. Andy
I remember, as if it were yesterday, sitting in my junior high school band,
happily playing away on my flute, when I noticed that our conductor was
screaming and jumping up and down on the podium. What was this about?
Suddenly, I realized she was screaming at me. And just in time too — since
I was able to duck and watch a baton fly past my head, missing me by
inches. “Why [expletive] can’t you play in tune?” she asked. But I was in
tune. Everybody else was out of tune. It was then I began to learn about
intonation.
Many artists struggle with intonation. An entire concert can be spoiled by a
single sour note. Many of our most celebrated entertainers spend hours in
the studio doing retake after retake, trying to sing expressively and in tune.
Afterwards, their producers spend yet more time trying to correct intona-
tion problems using inadequate tools.
The ATR-1 is dramatically changing all of that. Because of the ATR-1,
sessions can focus on feeling and expression, rather than retakes. Studio
hours are reduced and production costs are lowered. Even artists in live
performance situations can concentrate on interpretation, confident that
any pitch inaccuracies will be caught and corrected before they make it out
to the audience.
What’s more, the ATR-1 is incredibly easy to use (a fact attested to by the
thinness of this manual). So fire up your ATR-1, invest a half hour or so in
reading the following pages, and prepare to make intonation problems a
thing of the past.
Andy Hildebrand Ph.D.
Founder and Chief Scientist
8
9
Chapter 1:
Introducing the ATR-1
Some background
In 1997, Antares first introduced the ground-breaking Auto-Tune Pitch
Correcting Plug-In for ProTools™ (followed a bit later by the VST and stand-
alone versions). Here was a tool that actually corrected the pitch of vocals
and other solo instruments, in real time, without distortion or artifacts,
while preserving all of the expressive nuance of the original performance.
Recording Magazine called Auto-Tune a “Holy Grail of recording.” And
went on to say, “Bottom line, Auto-Tune is amazing... Everyone with a Mac
should have this program.” In fact, we know of quite a few people who
bought kilo-buck ProTools systems just to be able to run Auto-Tune.
While Auto-Tune has met with tremendous success, we were immediately
barraged with requests for a self-contained “Auto-Tune-in-a-box.” The
result is the ATR-1 which you have presumably just purchased.
So what exactly is it?
The ATR-1 is a rack-mountable hardware implementation of Antares’s
Auto-Tune pitch correcting software. Like Auto-Tune, the ATR-1 employs
state-of-the-art digital signal processing algorithms (many, interestingly
enough, drawn from the geophysical industry) to continuously detect the
pitch of a periodic input signal (typically a solo voice or instrument) and
instantly and seamlessly change it to a desired pitch (defined by any of a
number of user-programmable scales).
In addition, the ATR-1, befitting its easy portability, includes a number of
new features that make it particularly powerful in live performance situa-
tions. These include a new Song Mode that lets the ATR-1 follow even the
most complex harmonic song structures, foot switch control of Scale selec-
tion and Bypass Mode, as well as MIDI control of every ATR-1 parameter.
10
A little bit about pitch
Pitch is typically associated with our perception of the “highness” or “low-
ness” of a particular sound. Our perception of pitch ranges from the very
general (the high pitch of hissing steam, the low pitch of the rumble of an
earthquake) to the very specific (the exact pitch of a solo singer or violinist).
There is, of course, a wide range of variation in the middle. A symphony
orchestra playing a scale in unison, for example, results in an extremely
complex waveform, yet you are still able to easily sense the pitch.
The vocalists and the solo instruments that the ATR-1 is designed to process
have a very clearly defined quality of pitch. The sound-generating mecha-
nism of these sources is a vibrating element (vocal chords, a string, an air
column, etc.). The sound that is thus generated can be graphically repre-
sented as a waveform (a graph of the sound’s pressure over time) that is
periodic. This means that each cycle of waveform repeats itself fairly exactly,
as in the periodic waveform shown in the diagram below:
Because of its periodic nature, this sound’s pitch can be easily identified and
processed by the ATR-1.
Other sounds are more complex. This waveform:
is of a violin section playing a single tone. Our ears still sense a specific
pitch, but the waveform does not repeat itself. This waveform is a summa-
tion of a number of individually periodic violins. The summation is non-
periodic because the individual violins are slightly out of tune with respect
to one another. Because of this lack of periodicity, the ATR-1 would not be
able to process this sound.
Some pitch terminology
The pitch of a periodic waveform is defined as the number of times the
periodic element repeats in one second. This is measured in Hertz (abbrevi-
ated Hz.). For example, the pitch of A3 (the A above middle C on a piano) is
traditionally 440Hz (although that standard varies by a few Hz. in various
parts of the world).
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