Antares ATR-1 User Manual

©1998 Antares Audio Technology. All Rights Reserved.
Antares Audio Technology

11768 Atwood Drive, No.13
Auburn, CA 95603 USA

voice: [phone]
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
Connectors

Front panel 17
Back panel 19

Display Screens and Chapter 4
Menu Pages

Flash screen 20
Mode pages 20
Program Edit pages 22

Speed page 23
Scale page 23
Vibrato page 25

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

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 gratify­ing. Let us know what you think. You can count on us to listen to you.

Again, thanks.
The Whole Antares Crew

5

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
[phone] Monday through Friday between 9am and 5pm USA
Pacific Standard Time.

5. Email us at: [e-mail]

For options 3, 4 and 5, please be prepared to provide the serial number
of your ATR-1.

6

A few words fr om 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 intona­tion 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
[e-mail]

7

8

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 stand­alone 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 situa­tions. These include a new Song Mode that lets the ATR-1 follow even the
most complex harmonic song structures, foot switch control of Scale selec­tion and Bypass Mode, as well as MIDI control of every ATR-1 parameter.

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A little bit about pitch

Pitch is typically associated with our perception of the “highness” or “low­ness” 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 mecha­nism of these sources is a vibrating element (vocal chords, a string, an air
column, etc.). The sound that is thus generated can be graphically repre­sented 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 summa­tion of a number of individually periodic violins. The summation is non­periodic 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 (abbrevi­ated 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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Pitches are often described relative to one another as intervals, or ratios of
frequency. For example, two pitches are said to be one octave apart if their
frequencies differ by a factor of two. Pitch ratios are measured in units
called cents. There are 1200 cents per octave. For example, two tones that
are 2400 cents apart are two octaves apart.

The traditional twelve-tone Equal Tempered Scale that is used (or rather
approximated) in 99.9% of all Western tonal music consists of tones that
are, by definition, 100 cents apart. This interval of 100 cents is called a
semitone.

How the ATR-1 detects pitch

In order for the ATR-1 to automatically correct pitch, it must first detect the
pitch of the input sound. Calculating the pitch of a periodic waveform is a
straighforward process. Simply measure the time between repetitions of the
waveform. Divide this time into one, and you have the frequency in Hertz.
The ATR-1 does exactly this: It looks for a periodically repeating waveform
and calculates the time interval between repetitions.

The pitch detection algorithm in the ATR-1 is virtually instantaneous. It can
recognize the repetition in a periodic sound within a few cycles. This usually
occurs before the sound has sufficient amplitude to be heard. Used in
combination with a slight processing delay (about 1 to 10 milliseconds), the
output pitch can be detected and corrected without artifacts in a seamless
and continuous fashion.

Pitch

The ATR-1 was designed to detect and correct pitches up to the pitch C6. If
the input pitch is higher than C6, the ATR-1 will often interpret the pitch an
octave lower. This is because it interprets a two cycle repetition as a one
cycle repetition. On the low end, the ATR-1 will detect pitches as low as A0
(55Hz). This range of pitches allows intonation correction to be performed
on all vocals and almost all instruments.

Of course, the ATR-1 will not detect pitch when the input waveform is not
periodic. As demonstrated above, the ATR-1 will fail to tune up even a
unison violin section. But this can also occasionally be a problem with solo
voice and solo instruments as well. Consider, for example, an exceptionally
breathy voice, or a voice recorded in an unavoidably noisy environment. The
added signal is non-periodic, and the ATR-1 will have difficulty determining
the pitch of the composite (voice + noise) sound. Luckily, there is a control
(the SENSITIVITY control, discussed in Chapter 4) that will let the ATR-1 be a
bit more casual about what it considers “periodic.” Experimenting with this
setting will often allow the ATR-1 to track even noisy signals.

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How the ATR-1 corrects pitch

The ATR-1 works by continuously tracking the pitch of an input sound and
comparing it to a user-defined scale. The scale tone closest to the input is
continuously identified. If the input pitch exactly matches the scale tone, no
correction is applied. If the input pitch varies from the desired scale pitch,
an output pitch is generated which is closer to the scale tone than the input
pitch. (The exact amount of correction is controlled by the Speed parameter,
described below and in Chapter 4.)

Scales

The heart of the ATR-1’s pitch correction is the Scale. The ATR-1 allows you
to program 50 different Scales. For each Scale you can define which notes
will sound and which won’t. And for each note that will sound, you can
decide whether the ATR-1 will apply pitch correction to input pitches near
that note or leave those pitches uncorrected.

Speed

You also have control over how rapidly, in time, the pitch adjustment is
made toward the scale tone. This is set with the SPEED control (see Chapter
4 for more details).

Pitch

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• Fast SPEED settings are more appropriate for short duration notes and
for mechanical instruments, like an oboe or clarinet, whose pitch typi­cally changes almost instantly. A fast enough setting will also minimize
or completely remove a vibrato.

• Slow SPEED settings, on the other hand, are appropriate for longer
notes where you want expressive pitch gestures (like vibrato) to come
through at the output and for vocal and instrumental styles that are
typified by gradual slides (portamento) between pitches. An appropri­ately selected slow setting can leave a vibrato unmodified while the
average pitch is accurately adjusted to be in-tune.

Vibrato

The ATR-1 can also apply a vibrato to the input sound. You can program the
vibrato depth, vibrato rate and the onset delay of the vibrato (or even
control it in real time via MIDI). You can also choose the shape of the pitch
variation in the vibrato (sine, ramp or square). By combining a fast Speed
setting with the ATR-1 Vibrato settings, you can even remove a performer’s
own vibrato and replace it with the ATR-1’s programmed vibrato, all in real
time. Also, unusual combinations of Vibrato Waveform, Rate and Depth
settings can be used for some interesting special effects.

An example

As an example, consider this before-and-after graphic representation of the
pitch of a vocal phrase that contains both vibrato and expressive gestures.

CORRECTED
BY ATR-1

ORIGINAL
PERFORMANCE

In the original performance, we can see that although the final note should
be centered around D, the vocalist allowed the tail of the note to fall nearly
three semitones flat. The “after” plot is the result of passing this phrase
through the ATR-1 with a Program consisting of a D Major Scale (with C
and B set to ”Blank”) and a Speed setting of 10. That Speed causes the pitch
center to be moved to D, while still retaining the vibrato and expressive
gestures. (Setting C# and B to ”Blank” is necessary to keep the ATR-1 from
trying to correct the seriously flat tail of the last note to those pitches. See
Chapter 4 for more details.)

#

Program Mode vs. Song Mode

At its top level, the ATR-1 operates in one of two modes, Program Mode or
Song Mode. Which mode you use depends upon your application and, to
some extent, how radical are the required corrections.

Program Mode

In Program Mode, you call up one of the ATR-1’s 50 individual Programs to
control the correction algorithm. Each Program consists of a Scale, a Speed
setting and Vibrato settings. You can step through Programs with a foot
switch or via MIDI.

Use Program Mode when a single scale (or maybe two) is all that’s required
for a particular correction.

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Song Mode

If a performance is quite close to begin with and only requires minor correc­tion (i.e., never more that 50 cents), it’s often sufficient to simply choose the
Chromatic scale, set Speed to about 10 and leave it there.

If you are working in the studio to correct an already recorded track, you
might use Program Mode to deal with the track one section at a time,
stoping to change Programs between sections.

Song Mode

Song Mode offers a more elaborate set of controls primarily designed to
facilitate the use of the ATR-1 in a live performance situation, whether in
actual concert or during tracking in the studio.

The ATR-1 provides 20 Songs. For each Song, you can program a series of
up to 15 Song Steps. Each Step can contain a Program (with associated
scale) or one of a number of navigation controls (See Chapter 4 for details).
In performance you move from Song Step to Song Step via the foot switch
or MIDI. You can also call up different Songs via MIDI Program Change
messages.

Each Song also contains its own Speed and Vibrato settings that override
those settings in the individual Programs. In this way, an individual
Program’s scale can be used in any number of songs, each with different
Speed and Vibrato settings. (To accomplish the same thing in Program Mode
would require you to create multiple Programs, each with the identical scale
but with the different Speed and Vibrato settings. Very inefficient. )

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There is of course no hard and fast rule for which mode to use in any
particular situation. Try out both modes and use what feels comfortable
to you.

Chapter 2:
Setting Up the ATR-1

Setting up the ATR-1 is a very straightforward.

1. Find a suitable location. The ATR-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.

Important! Do not attempt to modify the supply or use any other supply that is not

specifically intended for the ATR-1.

3. First, connect the power supply’s 7-pin DIN connector to the AC INPUT
jack on the rear of the ATR-1. Then plug the power supply into an AC
outlet.

4. Connect a balanced or unbalanced audio input to one of the INPUT
jacks (see Chapter 4 for details).

5. Connect a cable to one of the OUTPUT jacks and route the output as
appropriate for your application.

6. If you will be controlling your ATR-1 via MIDI, connect a MIDI cable from
your MIDI source to the ATR-1’s MIDI IN jack.

An Important Note About Grounding: The ATR-1 is an extremely quiet piece
of gear. When properly connected and grounded, noise and hum will be
inaudible. However, as you’re no doubt well aware, every studio has its own
unique quirks when it comes to connections, grounding and noise.

To help ensure optimum performance, the ATR-1 is equipped with a rear­panel selector switch that lets you choose either circuit board ground or
chassis ground. Which setting is best for you will depend on your particular
studio setup. If you experience any noise or hum when first connecting the
ATR-1 in your system, try setting the selector switch to the other position
(whichever that may be).

15

Setting up the ATR-1

An Important Note About Monitoring: If the ATR-1 is used to pitch-correct

an artist’s performance in real time, it is very important that the performer
is able to monitor their original signal, not the pitch-corrected signal. Trying
to react musically to the processed signal will drive them crazy and, in most
cases, drive them farther off pitch.

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