Antares TA-1VP Manuale Utente

Adds weight and snap to drum 

kit, adjust model mic proximity to 

work kick sound, and Low Pass EQ 

to control high end.

Adjust compressor threshold, EQ 

1&2 gain to taste.

Will give even a well-recorded kick 

drum some spectral enhancement. 

Use input level to increase or 

decrease the overall effect.

A patch designed to properly 

trash a mono beat (or one side of a 

drum loop).

Adjust EQ 1 frequency for your 

specific mix.

Adds power bass and slap sizzle 

to funky bass parts — adjust 

model mic proximity for low end 

response.

Adjust compressor threshold, EQ 1 

frequency, and EQ 2 gain.

Adjust Tube Warmth, EQ 1&2 gain.

Adds grit, tone and presence to 

saxes. Adjust model mic proximity 

for low end thump.

27 MonosynthDbl Enhance and spread out that 

mono synth track. You can also use 

this one on guitars. Pan outputs R/

L.

Allows piano to peak through a 

mix. Adjust modeled mic proximity 

for bass response.

Adjust compressor threshold, EQ 1 

frequency, and EQ 2 gain.

Adjust compressor threshold for 

desired effect.

For that special phone moment 

— less is more! Depending on 

your source level you may need to 

boost Output gain.

Preset built around a live vocal 

track recorded at Caesar’s Palace in 

Vegas in the ‘60s. Mostly designed 

as damage control.

Pumps and isolates the kick drum 

from the rest of the kit (and live) 

sound. Adjust the gate threshold 

to your track.

Adjust the gate threshold and 

Notch EQ frequency to your track.

Adjust the gate and compressor 

thresholds to dynamics.

Although the TA-1VP’s Microphone Modeling seems in 

many ways to be almost magic, it is, in fact, simply very 

clever science. And as such, it has some limitations that 

you must be aware of.
To get the maximum satisfaction out of Mic Modeling, it 

is important to have realistic expectations of exactly what 

it can and can’t do. (Most of what it can’t do relates to 

the physical impossibility of recovering information that 

wasn’t in the original signal to begin with.) Here are the 

main issues to be aware of:

• 

 Luckily for all of us, the 

general quality of “affordable” microphones has reached 

a remarkably high level. Consequently, if you stick 

with well-known manufacturers, most any reasonable 

quality mic will provide sufficient performance to allow 

the TA-1VP to do its processing with good results.
On the other hand, you can’t expect to pick up a cheap 

mic and expect the TA-1VP to make it sound like a 

classic Neumann U87. If a source mic has massive roll-

off in a particular frequency range, there is no way the 

TA-1VP can produce the signal that would have been 

captured had the source mic had better response.
Microphone Technique

• 

 In getting the best possible 

recorded sound, mic technique and placement are at 

least as important (if not more so) that mic choice. A 

good engineer can record a great track with an SM57 

while a poor one can make a U47 sound like a toy. If 

your audio is not well-recorded in the first place, the 

TA-1VP can to do very little to improve it. If you start 

with a poorly recorded track, all the TA-1VP will do is 

make it sound like a track that was poorly recorded 

with a great mic.
Excessive Frequency Boost

• 

 Although the TA-1VP’s 

processing does not itself add noise to your signal, 

any noise in your original audio or noise added by 

intervening processes (e.g., A/D conversion, pre-TA-1VP 

dynamics processing, etc.) will be accentuated by any 

large amount of frequency boost. This should only