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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. In fact, try one whose characteristics are as different as possible from your physical mic. • Select Bypass in the Source Mic menu to combine the sound of your physical mic with the sound of the modeled mic. • Create a “Hyper” version of one of your source mics. To do this, select Bypass in the Source Mic menu (to pass through the sound of your mic unmodified) and then select your source mic in the Modeled Mic menu.

This is likely to result in some strange timbres, but sometimes strange is good. • Extreme Proximity settings can give strange, but interesting effects. Try wildly differing settings in the Source and Model sections. • Dynamically change Proximity settings during a performance. • Overdrive the Tube Saturation section for some serious gruzz. None of the above are likely to give you the sound of any mic that exists in nature, but they can definitely give your recordings unique and striking timbres.

Chapter 6: Get Creative Up to this point, all of the instructions in this manual have focused on how to use the Microphone Modeler 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. In fact, try one whose characteristics are as different as possible from your physical mic.

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Antares microphone modelr


by Thomas
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