Antares TASCAM TA-1VP User Manual
TA-1 V P
Vocal Producer
OWNER'S MANUAL
D01141720A
2 TASCAM TA-1VP
IMPORTANT SAFETY PRECAUTIONS
For European Customers
ª
CE Marking Information
a) Applicable electromagnetic environment: E4
b) Peak inrush current: 5 A
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK,
DO NOT REMOVE COVER (OR BACK). NO USERSERVICEABLE PARTS INSIDE. REFER SERVICING TO
QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol,
within equilateral triangle, is intended to
alert the user to the presence of uninsulated
“dangerous voltage” within the product’s
enclosure that may be of sufficient
magnitude to constitute a risk of electric
shock to persons.
The exclamation point within an equilateral
triangle is intended to alert the user to
the presence of important operating and
maintenance (servicing) instructions in the
literature accompanying the appliance.
WARNING: TO PREVENT FIRE OR SHOCK
HAZARD, DO NOT EXPOSE THIS
APPLIANCE TO RAIN OR MOISTURE.
Disposal of electrical and electronic equipment
(a) All electrical and electronic equipment should be
disposed of separately from the municipal waste
stream via collection facilities designated by the
government or local authorities.
(b) By disposing of electrical and electronic equipment
correctly, you will help save valuable resources and
prevent any potential negative effects on human
health and the environment.
(c) Improper disposal of waste electrical and electronic
equipment can have serious effects on the
environment and human health because of the
presence of hazardous substances in the equipment.
(d) The Waste Electrical and Electronic Equipment (WEEE)
symbol, which shows a wheeled bin that has been
crossed out, indicates that electrical and electronic
equipment must be collected and disposed of
separately from household waste.
For U.S.A.
ª
TO THE USER
This equipment has been tested and found to comply
with the limits for a Class B digital device, pursuant to Part
15 of the FCC Rules. These limits are designed to provide
reasonable protection against harmful interference in
a residential installation. This equipment generates,
uses, and can radiate radio frequency energy and, if not
installed and used in accordance with the instruction
manual, may cause harmful interference to radio
communications. However, there is no guarantee that
interference will not occur in a particular installation. If
this equipment does cause harmful interference to radio
or television reception, which can be determined by
turning the equipment off and on, the user is encouraged
to try to correct the interference by one or more of the
following measures.
a) Reorient or relocate the receiving antenna.
b) Increase the separation between the equipment and
receiver.
c) Connect the equipment into an outlet on a circuit
different from that to which the receiver is connected.
d) Consult the dealer or an experienced radio/TV
technician for help.
(e) Return and collection systems are available to end
users. For more detailed information about the
disposal of old electrical and electronic equipment,
please contact your city office, waste disposal service
or the shop where you purchased the equipment.
This appliance has a serial number located on the
bottom panel. Please record the model number and
serial number and retain them for your records.
Model number ______________________________
Serial number ______________________________
CAUTION
Changes or modifications to this equipment not expressly
approved by TEAC CORPORATION for compliance could
void the user's authority to operate this equipment.
TASCAM TA-1VP 3
IMPORTANT SAFETY INSTRUCTIONS
1 Read these instructions.
2 Keep these instructions.
3 Heed all warnings.
4 Follow all instructions.
5 Do not use this apparatus near water.
6 Clean only with dry cloth.
7 Do not block any ventilation openings. Install in
accordance with the manufacturer's instructions.
8 Do not install near any heat sources such as radiators,
heat registers, stoves, or other apparatus (including
ampliers) that produce heat.
9 Do not defeat the safety purpose of the polarized
or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding
type plug has two blades and a third grounding
prong. The wide blade or the third prong are
provided for your safety. If the provided plug does
not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
Do not expose this apparatus to drips or splashes.
•
Do not place any objects filled with liquids, such as
•
vases, on the apparatus.
Do not install this apparatus in a confined space such
•
as a book case or similar unit.
The apparatus draws nominal non-operating power
•
from the AC outlet with its POWER or STANDBY/ON
switch not in the ON position.
The apparatus should be located close enough to the
•
AC outlet so that you can easily grasp the power cord
plug at any time.
The mains plug is used as the disconnect device, the
•
disconnect device shall remain readily operable.
Caution should be taken when using earphones or
•
headphones with the product because excessive
sound pressure (volume) from earphones or headphones can cause hearing loss.
10 Pro tec t the power cord from bein g walked on
or pi n c hed par t icularly at plugs, convenience
receptacles, and the point where they exit from the
apparatus.
11 Only use attachments/accessories specified by the
manufacturer.
12 Use only with the cart, stand, tripod, bracket, or
table specied by the manufacturer, or sold with the
apparatus. When a cart is used, use caution when
moving the cart/apparatus combination to avoid
injury from tip-over.
13 Unplug this apparatus during lightning storms or
when unused for long periods of time.
14 Refer all servicing to qualified service personnel.
Servicing is required when the apparatus has been
damaged in any way, such as power-supply cord or
plug is damaged, liquid has been spilled or objects
have fallen into the apparatus, the apparatus has
been exposed to rain or moisture, does not operate
normally, or has been dropped.
4 TASCAM TA-1VP
Safety Information
RACK-MOUNTING THE UNIT
ª
Use the supplied rack-mounting kit to mount the unit in a
standard 19-inch rack, as shown below.
Remove the feet of the unit before mounting.
NOTE
Leave 1U of space above the unit for ventilation.
•
Allow at least 10 cm (4 in) at the rear of the unit for
•
ventilation.
For China
ª
TASCAM TA-1VP 5
Contents
IMPORTANT SAFETY PRECAUTIONS ..............2
IMPORTANT SAFETY INSTRUCTIONS ............3
Safety Information .........................................4
1 – Introduction ..............................................6
Included items .....................................................................6
About this manual ..............................................................6
Trademarks ............................................................................ 6
Precautions for placement and use .............................. 6
Beware of condensation ................................................... 6
Cleaning the unit ................................................................. 6
2 – Introducing the TASCAM TA-1VP Vocal
Producer ....................................................7
How to use this manual ....................................................7
The contents of this manual............................................7
TASCAM Vocal Producer Overview ............................... 7
Auto-Tune Pitch Correction .............................................8
A little bit about pitch ................................................8
Some pitch terminology ............................................ 8
How Auto-Tune detects pitch ..................................8
How Auto-Tune corrects pitch ................................9
Scales ................................................................................9
Speed ................................................................................9
An example ....................................................................9
Antares Microphone Modeling ......................................9
About the technology ..............................................10
So what exactly does it do? ....................................10
Understanding Compression .......................................10
Threshold and Ratio ..................................................10
Limiting ..........................................................................11
Dynamic Expansion and Gating ...........................11
Compression and Expansion Combined ........... 11
Hard Knee/Soft Knee ................................................12
Attack and Release Times .......................................12
What is a De-Esser? ...........................................................13
Equalization ........................................................................13
Low Pass - High Pass Filters ....................................13
Shelving Filters ............................................................14
Peaking Filter ...............................................................14
Band Pass and Notch Filters ...................................14
Patching the TA-1VP into your system ....................... 19
As an insert effect using your mixer’s channel
insert jack(s) ..................................................................19
As an insert effect using two mixer channels ..19
With an instrument....................................................20
Live, Direct Microphone connection ..................20
AN IMPORTANT NOTE ABOUT MONITORING ...20
Controls and Display Screens .......................................20
MASTER MODULE ......................................................20
MICROPHONE MODELER MODULE .....................26
AUTO-TUNE MODULE ..............................................28
Why set Scale notes to “Blank”? ...................................28
COMPRESSOR/GATE MODULE ..............................29
DE-ESSER MODULE ....................................................30
EQUALIZER/OUTPUT MODULE .............................31
6 – Get Creative .............................................34
Using the Auto-Tune Module .......................................34
Using Auto-Tune in Double Track Mode ...................34
Using the Microphone Modeler Module ..................34
7 – Appendix .................................................35
TA-1VP Factory Presets ....................................................35
The Presets ..........................................................................35
Realistic Mic Modeling Expectations .........................36
8 – Specifications ..........................................38
Dimensional drawing ......................................................40
Block diagram.....................................................................40
Level diagram .....................................................................41
3 – Setting Up the TASCAM Vocal Producer 15
4 – Names and Functions of Parts ...............16
Front panel ..........................................................................16
Rear panel ............................................................................18
5 – Operation ................................................19
Live or mixdown? ..............................................................19
6 TASCAM TA-1VP
1 – Introduction
Thank you very much for purchasing the TASCAM TA-1VP
Vocal Producer.
Before connecting and using the unit, please take time to
read this manual thoroughly to ensure you understand
how to properly set up and connect the unit, as well as
the operation of its many useful and convenient functions.
After you have finished reading this manual, please keep
it in a safe place for future reference.
You can also download the Owner's Manual from the
TASCAM web site (http://tascam.com/).
Included items
The included items are listed below.
Take care when opening the package not to damage the
items. Keep the package materials for transportation in
the future.
Please contact the store where you purchased this unit
if any of these items are missing or have been damaged
during transportation.
Main unit (TA-1VP)• ......................................................................1
AC adaptor (TASCAM PS-1225L)• ............................................1
A rack-mounting screw kit• ....................................................... 1
A warranty card• ........................................................................... 1
Owner’s manual (this manual)
•
...............................................1
association with or endorsement by any of the named
manufacturers.
Precautions for placement and use
The operating temperature should be between 5°C and
•
35°C (41°F and 95°F).
Do not install in the following types of places. Doing
•
so could degrade the sound quality and/or cause
malfunctions.
Places with significant vibrations or that are
•
otherwise unstable
Near windows or other places exposed to direct
•
sunlight
Near heaters or other extremely hot places
•
Extremely cold places
•
Places with bad ventilation or high humidity
•
Very dusty locations
•
Locations exposed directly to rain or other water
•
Do not place any object on the unit.
•
Avoid installing this unit on top of any heat-generating
•
electrical device such as a power amplifier.
About this manual
In this manual, we use the following conventions:
The names of keys and controls are given in the
•
following typeface: SAVE .
Messages on the unit’s display are shown like this:
•
Additional information is introduced in the styles
•
below when needed:
NOTE
Explanation of actions in special situation and
supplement.
Trademarks
TASCAM is a trademark of TEAC Corporation, registered
•
in the U.S. and other countries.
Auto-Tune® and Antares® are registered trademarks of
•
Antares Audio Technologies in the United States.
Other company names, product names and logos
•
in this document are the trademarks or registered
trademarks of their respective owners.
All names of microphone manufacturers and
•
microphone model designations appearing in this
manual are used solely to identify the microphones
analyzed in the development of the respective
digital models and do not in any way imply any
Beware of condensation
If the unit is moved from a cold to a warm place, or
used immediately after a cold room has been heated or
otherwise exposed to a sudden temperature change,
condensation could occur. Should this happen, leave the
unit for one or two hours before turning the unit on.
ON
Cleaning the unit
To clean the unit, wipe it gently with a soft dry cloth. Do
not wipe with chemical cleaning cloths, benzene, paint
thinner, ethyl alcohol or other chemical agents to clean
the unit as they could damage the surface.
TASCAM TA-1VP 7
2 – Introducing the TASCAM TA-1VP Vocal Producer
How to use this manual
The TASCAM TA-1VP Vocal Producer (henceforth referred
to as the TA-1VP) has a very friendly user-interface and
is extraordinarily easy to use. However, to get the full
benefit of its capabilities, we recommend that you give
this manual at least a quick once over.
If the TA-1VP is your first experience with vocal signal
processing, you’ll find a brief introduction to the theory
and application of the various processing modules in this
chapter. (More in-depth information can be found in a
variety of books on recording technique and periodically
in recording-oriented magazines like Electronic Musician,
EQ, Mix, Recording,and Home Recording, among others.)
If you’re already familiar with the functions and uses of
basic studio signal processors (compressor, gate, de-esser,
EQ, etc.), you can go straight to Chapter 5 to see how they
are implemented in the TA-1VP. On the other hand, unless
you have experience with Antares Auto-Tune and Microphone Modeler, it’s probably wise to at least read the
background information on those features in this chapter.
The contents of this manual
Chapter 2: Introducing the TASCAM Vocal Producer
The chapter you are reading. It provides an overview of
the TA-1VP as well as background information on Antares
Auto-Tune pitch correction and Microphone Modeling.
It also includes an introduction to basic concepts
in compression, expansion, gating, de-essing, and
parametric equalization.
Chapter 3: Setting Up the TASCAM Vocal Producer
How to get the TA-1VP up and running.
Chapter 4: Names and Functions of Parts
This chapter provides a reference for all of the controls,
displays and connectors on the TA-1VP's front and back
panels.
Chapter 5: Operation
This is a guide to all of the features and functions of the
TA-1VP. If you’re only going to read one chapter, this is the
one.
Chapter 6: Creative Applications for the TA-1VP
Some cool, but not-so-obvious stuff you can do with the
TA-1VP.
TASCAM Vocal Producer Overview
The heart of any great song is a great vocal sound. With
the TA-1VP Vocal Producer, we’ve combined Antares
world-renowned Auto-Tune Evo Pitch Correction and TECAward-winning Microphone Modeler technologies with
state-of-the-art vocal processing modules to give you
everything you need to create stunning vocal tracks in
any musical style.
Live or in the studio, the TA-1VP lets you instantly select
from a library of sounds. From gorgeously mellow to
seriously twisted, we’ve included factory presets for a
wide variety of vocal styles as well as an interface that
makes it easy to create your own signature sounds. (And
given the power and flexibility of the TA-1VP’s processing
modules, we’ve even included a selection of presets for
instrumental and percussion tracks.)
The TASCAM Vocal Producer features:
Antares Auto-Tune Real-time Pitch
•
Correction Antares’s world-renowned Auto-Tune
Evo technology lets you correct the pitch of vocals (or
solo instruments), in real time, without distortion or
artifacts, while preserving all of the expressive nuance
of the original performance.
Antares Microphone Modeling• Antares' TEC
Awarding-winning Microphone Modeler technology
lets you give your vocal tracks the characteristics of a
variety of high-end studio mics as well as adjust the
proximity effect associated with mic distance.
Analog Tube Modeling• Gives your vocals the warmth
of a classic tube preamp.
Variable Knee Compressor• A state-of-the-art
dynamics processor with threshold, ratio, attack and
decay controls as well as a continuously variable knee
characteristic.
Downward Expanding Gate• The TA-1VP's gate, with
threshold and ratio controls, works independently of
the compressor to eliminate noise and breath sounds.
Variable Frequency De-Esser• The TA-1VP's de-esser
tames vocal sibilance with threshold, ratio, attack and
decay controls as well as a variable highpass frequency
to match any vocal performance.
Flexible Parametric EQ• You can fine-tune your vocal
sound with two independent bands of equalization
that let you select from 6 dB or 12 dB high or low cut,
high or low shelving with variable slope, bandpass,
notch and fully parametric peaking.
Automatic Mono or Stereo Double Tracking• You
can automatically mix a doubled track into the TA-1VP's
main output or route it to a separate output for postprocessing and mixing.
Fully Programmable• Once you’ve created the perfect
vocal sound for a particular track, every parameter can
be saved as a preset for instant recall.
Factory Presets for a Wide Variety of Vocal
•
Styles The TA-1VP comes out-of-the-box with an
extensive collection of factory presets for a variety of
vocal styles. (We’ve even included a selection of presets
for instrumental and percussion tracks.)
MIDI Automation• Every variable module parameter
can be controlled via MIDI continuous controllers for
realtime automation.
8 TASCAM TA-1VP
2 – Introducing the TASCAM TA-1VP Vocal Producer
Really Easy To Use• No scrolling though endless
menus to find the parameter you want. Virtually every
major function is only a single button press away.
Auto-Tune Pitch Correction
In 1997, Antares first introduced the ground-breaking
Auto-Tune Pitch Correcting Plug-In for ProTools™
(eventually followed by most other plug-in formats). 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.”
The TA-1VP's Auto-Tune module is a licensed hardware
implementation of Antare's Auto-Tune Evo pitch
correcting software. Like Auto-Tune, the TA-1VP 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).
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 TA-1VP 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 TA-1VP.
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, Auto-Tune 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).
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 Auto-Tune detects pitch
In order for Auto-Tune 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 TA-1VP does exactly this: It looks
for a periodically repeating waveform and calculates the
time interval between repetitions.
The pitch detection algorithm in the TA-1VP 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 (no greater
than 4 milliseconds), the output pitch can be detected
and corrected without artifacts in a seamless and
continuous fashion.
The TA-1VP was designed to detect and correct pitches
up to the pitch C6. If the input pitch is higher than C6,
the TA-1VP 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 TA-1VP will detect
pitches as low as 42 Hz. This range of pitches allows
TASCAM TA-1VP 9
10.0 10.5 11.0
D3
B2
C
#
3
ORIGINAL
PERFORMANCE
CORRECTED
BY TA-1VP
2 – Introducing the TASCAM TA-1VP Vocal Producer
intonation correction to be performed on all vocals and
almost all instruments.
Of course, the TA-1VP will not detect pitch when the input
waveform is not periodic. As demonstrated above, the
TA-1VP 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 nonperiodic, and the TA-1VP will have difficulty determining
the pitch of the composite (voice + noise) sound. Luckily,
there is a control (the Sensitivity control, discussed in
Chapter 5) that will let the TA-1VP be a bit more casual
about what it considers “periodic.” Experimenting with
this setting will often allow the TA-1VP to track even noisy
signals.
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.
How Auto-Tune corrects pitch
Auto-Tune 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 5.)
Scales
The heart of Auto-Tune pitch correction is the Scale. The
TA-1VP comes with 25 preprogrammed 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 TA-1VP will apply pitch correction to input
pitches near that note or leave those pitches uncorrected.
You can also edit any of the preprogrammed scales and
save your custom scale as part of a Preset.
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 5 for more details).
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. At the fastest setting, you
will produce the now-infamous “Cher effect.”
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.
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 TA-1VP set to 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 TA-1VP from
trying to correct the seriously flat tail of the last note to
those pitches. See Chapter 5 for more details.)
Antares Microphone Modeling
If you’ve spent any time 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 well-off studios.
Now, using Antare's patented Spectral Shaping Tool™
technology, we’ve created digital models of a variety
of microphones. Simply tell the TA-1VP what type of
microphone you are actually using and what type of
microphone you’d like it to sound like. It’s as simple as
that.
With the TA-1VP, you can record each track through a
model of the type of mic that will best produce that ideal
sound you’re looking for. Or use it in live performance
to get the sound of mics you’d never consider using on
stage. You can even use it during mixdown to effectively
change the mic on an already recorded track. And for that
final touch of perfection, you can even add some tasty
tube saturation.
10 TASCAM TA-1VP
OUTPUT
LEVEL
INPUT LEVEL
LOUDER
LOUDER
THRESHOLD
I/O CURVE
1 TO 1 RATIO
2 TO 1 RATIO
4 TO 1 RATIO
8 TO 1 RATIO
99 TO 1 RATIO
2 – Introducing the TASCAM TA-1VP Vocal Producer
About the technology
The models employed by the TA-1VP 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 microphone modeled.
Another advantage of this model-based approach is that
there is essentially no processing delay apart from the
natural phase effects of the microphones being modeled.
Finally, the quality and signal-to-noise characteristics
of the processing are pristine. Because of Antare's
commitment to model-based processing, there are none
of the limitations or distortions characteristic of FFT-based
algorithms. The quality of the output is limited only by the
quality of the input.
So what exactly does it do?
While there is a lot of fairly complicated stuff going on
under the hood, the essential functionality of the TA-1VP's
Mic Modeling module is really quite simple. Basically,
audio originally recorded by a microphone is input to
the TA-1VP where it is first processed by a “Source Model”
which serves to neutralize the known characteristics of
the input mic. The audio is then processed by a second
“Modeled Mic” model which imposes the characteristics
of the modeled mic onto the previously neutralized signal.
Finally, the audio is passed through a model of a highquality tube preamp offering the option of classic tube
saturation distortion.
Understanding Compression
By using a compressor to decrease the dynamic range of
the vocal, the softer sounds are increased in loudness and
the loudest sounds are reduced in loudness, tending to
even out the overall level of the track. The overall level of
the compressed track can then be increased (using what
is referred to as “make-up gain”), making the vocal track
louder and more consistent in level, and therefore easier
to hear in the mix.
Threshold and Ratio
How is compression measured? What is a little
compression and what is a lot of compression?
The effect a compressor has on a track is determined by
the settings of its threshold and ratio. The threshold is the
level above which the signal is attenuated. The ratio is the
measure of how much the dynamic range is compressed.
The graph shown below shows the relationship between
the input level of a signal and the output level of the
signal after compression. Notice that signals that are
louder than the threshold are compressed (reduced
in level) while those softer than the threshold are
unchanged.
As the input signal exceeds the threshold, gain reduction
(reduction in loudness) is applied. The amount of gain
reduction that is applied depends on the compression
ratio. The higher the compression ratio, the more gain
reduction is applied to the signal.
The graph shows the relationship between compression
ratio and gain reduction. Examine the 2 to 1 ratio curve.
For signals above the threshold, this setting transforms a
range of loudness 2 units large into a range of loudness
one unit large (i.e., if the input signal gets “x” units louder,
the compressed signal increases by only “x/2” units).
Compression is probably the most widely used (and
potentially confusing) signal process used in today’s
studios. Simply put, compression reduces the dynamic
range of a signal. That is, it reduces the difference in
loudness between the loudest and quietest parts of a
piece of music. Another way to think about this is that the
compressor is acting as an automatic fader which fades
down when the signal gets loud and fades back up when
the signal gets soft.
Why reduce the dynamic range? Consider the problem
of mixing the vocal in a contemporary rock or pop song.
Typically, pop music has a relatively consistent level of
loudness. If an uncompressed vocal track is added to a
typical pop mix, loudly sung words or syllables would
jump out of the mix, while quieter phrases would be
buried beneath the instrumental texture. This is because
the difference between the loudest and softest sounds
in the vocal - its dynamic range - is very large. This same
problem occurs for any instrument which has a dynamic
range larger than the music bed into which it is being
mixed. (For that reason, most instruments, not just vocals,
undergo some compression in the typical mix.)
TASCAM TA-1VP 11
OUTPUT
LEVEL
INPUT LEVEL
LOUDER
LOUDER
THRESHOLD
1 TO 2 EXPANSION RATIO
1 TO 1 RATIO
OUTPUT
LEVEL
INPUT LEVEL
LOUDER
LOUDER
THRESHOLD
1 TO 99 EXPANSION RATIO
1 TO 1 RATIO
OUTPUT
LEVEL
INPUT LEVEL
LOUDER
GATE THRESHOLD
COMPRESSOR THRESHOLD
1 TO 99 EXPANSION RATIO
4 TO 1 RATIO
2 – Introducing the TASCAM TA-1VP Vocal Producer
Limiting
Examine the 99:1 curve in the above graph. This setting
reduces all sounds above the threshold to the same
loudness. This is called limiting. Limiting is usually
employed to allow a dynamic signal to be recorded at a
maximum level with no risk that transient peaks will result
in overload. In this application, the threshold setting
(usually set relatively high) determines the extent to
which the peaks will be limited.
Dynamic Expansion and Gating
Sometimes, it is desirable to increase the difference
between the quietest signal and the noise in a recording
by using a downward expander. A typical application
would be eliminating room noises and breath sounds that
can be heard between the phrases of a recorded vocal
part.
The graph below shows the curveÉ<or a downward
expander. Notice that above the threshold, the curve
follows a 1 to 1 ratio (i.e., is unaffected by the gate). For
each unit of input change below the threshold the output
changes by two units. This is called a 1 to 2 expansion
ratio.
As the input signal drops below the threshold, its output
level drops at twice the rate it would using a 1 to 1 ratio.
In effect, sounds below the expander threshold are “faded
out” more quickly than they would be normally.
Sounds that are louder than the threshold get “through
the gate” unchanged. Sounds that are below the
threshold are not heard. Gates can be used to great
effect in processing drum tracks where sounds from the
other instruments in the drum set leak through the mike
of the instrument being recorded. Gates are also used
frequently to “gate off” a reverb tail or the ringing from an
insufficiently damped drum head.
Compression and Expansion Combined
The TA-1VP allows you to use both compression and
expansion simultaneously. This ability is useful in taming
the typical problems that arise when processing vocal
tracks. The graph below illustrates the use of compression
with a downward expanding gate.
When expanders use ratios higher than 1:10, sounds
below the threshold are faded out very rapidly. This effect
is called gating and can sound very abrupt. Adjusting the
gate ratio can smooth out the abrupt change. The graph
below shows the input/output curve for a typical gate.
Using this setting, levels above the compressor threshold
will be compressed at a 4 to 1 ratio. Levels below the
compressor threshold but above the gate threshold will
not be changed. Levels below the gate threshold will be
gated out completely.
12 TASCAM TA-1VP
OUTPUT
LEVEL
INPUT LEVEL
LOUDER
LOUDER
GATE THRESHOLD
1 TO 1.5 EXPANSION RATIO
COMPRESSOR
THRESHOLD
OUTPUT
LEVEL
INPUT LEVEL
SOFT KNEES
KNEE = 100
COMPRESSOR THRESHOLD
GATE THRESHOLD
UNCOMPRESSED INPUT COMPRESSED
1 mSEC AT T A CK
COMPRESSED
10 mSEC AT T A CK
2 – Introducing the TASCAM TA-1VP Vocal Producer
Used on a vocal track, this setting will compress only hot
peaks in the voice, while gating out the room sounds,
mike stand sounds, and breath noises in the track.
Precisely what gets compressed and gated is a function of
the compressor and gate threshold settings.
The graph below shows a dynamic expander. In this
application, the gate threshold and ratio are set to gently
expand the program material at a 1 to 1.5 ratio. The
compressor ratio is set to 1 to 1. The setting is useful for
repairing over-compressed material or for adding some
punch to drums or other percussive sounds.
Attack and Release Times
The attack time of a compressor is how long it takes for
the compressor to react once the input level has met
or exceeded the threshold level. With a fast attack time,
the signal is brought under control almost immediately,
whereas a slower attack time will allow the start of
a transient or a percussive sound to pass through
uncompressed before the processor begins to react.
For sounds without percussive attacks (voices, synth pads,
etc.), a fairly short attack time is usually used to ensure
even compression. For instruments with percussive
attacks (drums and guitars, for example), a slower attack
time is typically used to preserve the attack transients
and, hence, the characteristic nature of the instruments.
The illustration below shows the effect of various the
attack times.
Hard Knee/Soft Knee
The graphs shown above have what are described as
“hard knees” in their gain curves. This means that as the
signal passes through the threshold, the gain reduction
it receives will begin abruptly. In settings where the
compression or expansion ratios have high values, the
abrupt change can be heard and often sounds artificial.
To make it possible to create settings where the
dynamic effects are more natural sounding, the TA-1VP
incorporates a Knee control which allows you to soften
the transition between sections of the gain curve. The
graph below shows a curve which has “soft knees,”making
the dynamic transitions more subtle.
The release time of a compressor is the time it takes for
the gain to return to normal after the input level drops
below the threshold. A fast release time is used on rapidly
varying signals to avoid affecting subsequent transients.
However, setting too quick a release time can cause
undesirable artifacts with some signals. On the other
hand, while slower release times can give a smoother
effect, if the release time is too long, the compressor
will not accurately track level changes in the input. Slow
release times may also result in audible level changes
known as “pumping.”
TASCAM TA-1VP 13
COMPRESSOR
IN
IN OUT
OUT
SIDECHAIN
INPUT
HIGH
PASS
FILTER
LOG
MAGNITUDE
(dB)
FREQUENCY
50
-18
-12
-6
0
6
100 300 1000 3000 10000 22050
LP
LOW PASS FILTER
Frequency: 1,000 Hz
Gain: N/A
Bandwidth: N/A
LOG
MAGNITUDE
(dB)
FREQUENCY
50
-18
-12
-6
0
6
100 300 1000 3000 10000 22050
HP
HIGH PASS FILTER
Frequency: 1,000 Hz
Gain: N/A
Bandwidth: N/A
2 – Introducing the TASCAM TA-1VP Vocal Producer
What is a De-Esser?
When recording spoken or sung material, the sibilants
(Ss, Ts, CHs, and SHs) in the track often sound louder than
the rest of the signal. The effect is unnatural and often
irritating. The solution to this problem is to compress
only the sibilants, thereby lowering their level relative to
the rest of the track. Processing a signal this way is called
de-essing.
The diagram below shows how analog hardware is
traditionally configured to accomplish de-essing.
Equalization
The TA-1VP’s two bands of equalization each offer seven
different filter types: Low Pass (6 dB/octave and 12 dB/
octave), Low Shelf, Band Pass, Notch, Peaking, High Shelf,
and High Pass (6 dB/octave and 12 dB/octave). Each
filter type has its own characteristics and applications.
The graphs used in the next section show the frequency
response for each type with the settings used to generate
the curves notated next to the graph.
Low Pass - High Pass Filters
The low pass and high pass filters available in the TA-1VP
offer both a 6 dB per octave and a 12 dB per octave rolloff characteristic. The 6 dB per octave versions offer a
more subtle effect, while the 12 dB per octave roll-off is
useful for attenuating sub-sonic noise, rumble, mic stand
noise, high frequency hiss, and other environmental
noises encountered in the recording process. Additionally,
the 12 dB per octave versions provide a “Q” control that
allows you to create a variable height peak at the cut-off
frequency.
Only the sibilants pass through the highpass filter. When
the input signal contains sibilant material, the output of
the filter causes the compressor to compress the signal.
The compressor only operates when a sibilant is present.
The TA-1VP uses a digital algorithm to implement the deesser function. While the details of the algorithm are quite
complex, the resulting effect is functionally equivalent to
the diagram above.
14 TASCAM TA-1VP
LOG
MAGNITUDE
(dB)
FREQUENCY
50
-6
0
6
12
18
100 300 1000 3000 10000 22050
HS
HIGH SHELF FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: N/A
LOG
MAGNITUDE
(dB)
FREQUENCY
50
-6
0
6
12
18
100 300 1000 3000 10000 22050
LS
LOW SHELF FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: N/A
LOG
MAGNITUDE
(dB)
FREQUENCY
50
-6
0
6
12
18
100 300 1000 3000 10000 22050
BP1
PEAKING FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: 1.0 octave
LOG
MAGNITUDE
(dB)
FREQUENCY
50
-6
0
6
12
18
100 300 1000 3000 10000 22050
BP1
PEAKING FILTER
Frequency: 1,000 Hz
Gain: +12 dB
Bandwidth: 0.1 octave
2 – Introducing the TASCAM TA-1VP Vocal Producer
Shelving Filters
Shelving filters are used primarily as “tone controls,”
cutting or boosting whole regions of the spectrum. (You
can think of them as fancy versions of the traditional “Bass”
and “Treble” controls you’d find on home stereos or boom
boxes.) A high shelf filter, for instance, acts by raising
or lowering the part of the spectrum above the cut-off
frequency.
The graphs below show the response of the high shelf
and low shelf filters at +12 dB gain. Notice that the slope
of the roll-off is 6 dB per octave. The TA-1VP’s shelf filters
provide a slope control that let’s you vary the filter’s slope
between 2 dB and 12 dB per octave.
Peaking Filter
The peaking filter is the traditional fully parametric EQ. It
can be used to subtly accentuate or attenuate a frequency
or for much more radical effects.
In the TA-1VP, the peaking filter works over a range of
20 Hz to 20 kHz and can boost or cut the signal at the
selected frequency by ± 18 dB. Additionally, you can vary
the bandwidth from 0.1 to 4.0 octaves.
The graphs below show the effect of changing the
bandwidth control of the peaking filter.
Band Pass and Notch Filters
Band pass and notch filters can be thought of as extreme
examples of the peaking filter.
The Band Pass filter sharply attenuates all frequencies
except for a band centered around the cutoff frequency.
The width of the pass band is set by the bandwidth or “Q”
control. The band pass filter is typically used to isolate a
particular frequency range in a track or mix.
The Notch Filter passes all frequencies except for a band
centered around the cutoff frequency, which is sharply
attenuated. The width of the notch is also set by the “Q”
control. The notch filter is used to eliminate unwanted
sounds appearing at a specific frequency in a track or mix.
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