ANTARES
Jan 1, 2001 12:00 PM, REMIX STAFF
AMM-1 and AMM Mic Modelers Mic-modeling hardware and software provides access to a virtual microphone collection.
Chances are you've read about the expensive microphones that hip-hop artists and singers use in the studio, and you've wished you had big bucks in the bank so you could afford some for your own studio setup. Although you could just rent these mics to save money, who wants to drive across town to pick up the gear, lay down a hefty deposit, and then have only a limited amount of time to work with the equipment?
Most of us would like to own a collection of high-quality microphones, but few of us can afford even one decent vocal mic. Antares provides an affordable solution to this dilemma with its mic-modeling technology. Available in a standalone hardware version (the AMM-1 Mic Modeler) or as plug-in software (AMM Mic Modeler), both products are capable of emulating a wide range of microphones.
Using a proprietary technology known as Spectral Shaping, Antares covers an extensive (and growing) list of microphone models. The process of using the Mic-Modeler hardware or software is quite straightforward. You tell the system which microphone you are using, as well as what model you want it to emulate. Offering a clean, easy-to-understand interface, the unit lets you experiment with the available parameters for each mic until you've achieved the most appropriate sound for your application.
REPRO MAN The audio your mic originally records gets fed into the Microphone Modeler hardware or software first. A Source Model then processes it, neutralizing the known characteristics of the input mic. For optimal results, you need to use a source microphone that Antares has already modeled. This way the Mic Modeler knows the characteristics of your input device. If the system doesn't list your particular mic, select the model that most closely resembles its qualities. This is an important consideration, as it directly impacts the system's ability to accurately reproduce the sound of the desired mic.
The next step is to process the audio signal through a second modeled mic. This process imposes the characteristics of your selected model onto the previously neutralized signal. The optional final stage passes the audio through a model of a high-quality tube preamp to apply tube-saturation distortion to the signal.
THE HARD AND THE SOFT The AMM-1 hardware unit is a 1U, rack-mountable signal processor. It has a front-panel interface consisting of four rotary pots (Input Gain, Output Gain, Data, and Tube Saturation Drive); a switch for toggling between the source mic and the desired model; Treble and Bass switches for the Preserve Source function; Microphone Select, Proximity, Low Cut, Pattern, System, and Bypass switches; a Power button; and a backlit LCD panel. A 5-segment LED visually monitors the strength of the input signal.
The unit's rear panel provides both balanced 11/44-inch TRS and balanced XLR analog inputs; unbalanced 11/44-inch and balanced XLR analog outputs; AES/EBU digital I/O (terminated in XLR); MIDI In (for loading new microphone models using MIDI SysEx messages) and MIDI Out; a 11/44-inch jack for a momentary footswitch that toggles the unit's bypass function; and a multipin connector for the external power supply.
The AMM software plug-in incorporates the same features as the AMM-1 hardware unit, with the exception of the System area. Because the plug-in takes its signal from a previously recorded track on your computer, you don't need to tell the Mic Modeler whether your input signal is analog or digital. If you want to process a microphone signal on input - whether for recording or for live sound applications - the AMM-1 hardware is the product for you. If you are recording or remixing existing material in a studio, the AMM plug-in is the way to go.
BACK TO THE SOURCE To test the AMM-1 device, I used my Audio-Technica AT4070/SV - which is, fortunately, a listed mic model. Using this as my source, I experimented with the AMM-1's Compare function, which provides A-B switching between two source-mic selections. You can make adjustments for each microphone's Proximity, Low Cut, and - if your mic is so equipped - Pattern (omni, cardioid, and so on). After you define your settings, toggling between the two source microphones generally produces subtle yet discernible differences. (This A-B switching feature is not available in the plug-in versions.)
Choosing the destination microphone that you would like your source to emulate involves a similar process: again, you define the desired mic for modeling, then make parameter adjustments for Proximity, Low Cut, and (if applicable) Pattern.
At both the Source and the Model stages of processing, the Proximity parameter serves an important role in shaping your desired sound. The parameter defines the distance between your mouth or instrument and the microphone's capsule: the closer you get, the more up-front the sound quality; as you move away from the capsule, your sound becomes thinner and more distant.
BASS IN YOUR FACE The AMM-1's Proximity parameter is effectively a bass boost, defined by distance in inches. If you set the control for 8 inches, you'll get a noticeably less full sound than if you set it at 3 to 4 inches. The Proximity parameter is unique to each model of microphone - it reflects the specific physical characteristics that create that mic's individual proximity effect.
Backing off from a microphone typically introduces room ambience into the signal, but the Proximity parameter does not model this effect. If you want to introduce a room or hall into your signal, you still need to use reverb. Similarly, because omnidirectional microphones do not exhibit a proximity effect, the system will default to no proximity effect whenever you select an omni mic or set a microphone with selectable patterns to omni.
The Mic Modeler has provisions for splitting the audio signal into the bass and treble ranges (known as Preserve Source), so you have more control over your sound's tonal quality. This function lets you create hybrid mics that combine the low-frequency characteristics of one microphone with the high-frequency characteristics of another.
The Tube Saturation effect models the distortion typical of a high-quality tube preamp. The amount of saturation you apply works in conjunction with the Input Level control. This parameter, like Proximity, can have a very noticeable impact on the sound of your microphone. Assuming that you've set your record level sufficiently high, moderation is the key to success here: it's very easy to overdrive the system to the point where your distortion turns from warmth to plain old noise. (Of course, if you're doing a lo-fi or industrial remix, this may be just the kind of dirt you want to wallow in.)
SUPERMODEL Good recording and microphone techniques go a long way when you're working with both the AMM-1 hardware and AMM plug-ins. It's also important to have realistic expectations of what you can achieve. These products won't provide room ambience if the original signal didn't have any, nor will they make a cheap mic sound exactly like a Neumann U87.
So how closely does the AMM-1 Mic Modeler device resemble the real thing? That's a really tough call - like most of us, I don't have a large assortment of expensive mics to make a direct one-to-one comparison - but that's not really necessary. Used carefully, the AMM-1 does an excellent job of tweaking your vocal or instrumental takes into a form that's considerably more refined than what you originally recorded. Using my A-T4070/SV and Shure KSM32 mics as guides, I discovered that the AMM-1 provided convincing emulations of each one.
The Antares AMM-1 and AMM Mic Modelers are terrific tools for altering the sonic characteristics of your source microphone to approximate the sound of another mic closely (for example, getting a warm tube sound from a condenser microphone). The Proximity parameter can do a wonderful job of altering an airy vocal quality to a more up-front sound - just the thing for bringing a microphone-shy rapper more "in your face." With their easy-to-use interfaces, ability to accept both analog and digital signals (AMM-1 only), and updating capabilities for adding new mic models, the AMM-1 and AMM Mic Modelers are a great substitute for a huge mic collection, especially considering that they cost less than just one typical high-end mic.
ANTARES AUDIO TECHNOLOGIES AMM-1 Mic Modeler (hardware) $995
AMM Mic Modeler (software: RTAS, VST, and MAS) $399
AMM Mic Modeler (software: DirectX) $299
PROS: Can significantly enhance vocal takes. Easy to use. Digital I/O capability for live-performance use (AMM-1 hardware only).
CONS: Plug-in software versions lack A-B Source Comparison feature. MIDI Out is currently inoperative on the AMM-1 hardware version, making SysEx storage dumps to your computer or sequencer impossible.
Overall Rating (1 through 5): 4 (hardware), 3.5 (software)
Contact: tel. (888) 332-2636 e-mail info@antarestech.com Web www.antarestech.com
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