Antares kantos 10 user manual

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Sub-Mixer
WHAT’S IT FOR?
The Sub-Mixer alters the levels of the basic kantos waveforms that make up
the output.
WHAT ARE THE PARAMETERS?
NAME RANGE WHAT IT DOES
Osc1 -∞ to +6dB Sets the level of the signal generated by
Oscillator 1
Fund1 -∞ to +6dB Sets the level of the sine wave extracted
from the input signal and modified by the
Osc1 tuning and constraint controls
Osc2 -∞ to +6dB Sets the level of the signal generated by
Oscillator 2
Fund2 -∞ to +6dB Sets the level of the sine wave extracted
from the input signal and modified by the
Osc2 tuning and constraint controls
Noise -∞ to +6dB Sets the level of the white noise
generator
Mute On/off Each channel has a mute button.
Enabling this takes the associated
channel out of the mixer.
Solo On/off Each channel has a solo button.
Enabling this mutes any non-soloed
channels.
Mixer
WHAT’S IT FOR?
The Mixer blends together the Sub-Mixer, Delay Output, and Input, and sets
the level of the final overall Output. A companion output meter indicates
the output signal level, and has lights at the top of the meter to indicate
clipping. The Output level should be set for the maximum level possible
without the clip indicators lighting.
WHAT ARE THE PARAMETERS?
NAME RANGE WHAT IT DOES
Synth -∞ to 0dB Sets the level of the Sub-Mixer output in
the overall output
Delay -∞ to 0dB Sets the level of the output generated by
the delay line 
						

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Input -∞ to 0dB Mixes the original input signal into the
overall output
Output -∞ to 0dB Sets the overall kantos level
Mute On/off Each channel has a mute button. Enabling
this takes the associated channel out of
the mixer. The output mute silences
kantos completely.
Solo On/off The Synth, Delay, and Input channels each
have a solo button. Enabling this mutes
any non-soloed channels.
Pan Continuously When kantos is instantiated as a stereo
effect, the Synth, Delay, and Input
channels each have a pan control that
places the channel output anywhere
within the stereo field, from left to right.
Gate Generator
WHAT’S IT FOR?
The gate generator analyzes the signal driving kantos and derives informa-
tion regarding dynamics. This information is used to trigger envelopes,
restart waves when Retrigger is selected, etc. Several controls allow kantos
to extract this information from a fairly wide variety of signals by adjusting
how the Gate responds to these signals.
WHAT ARE THE PARAMETERS?
Note that the parameter ranges are absolute maximum and minimum
values. The relative maximum and minimum values can change depending
on how parameters are set; for example, the Off parameter cannot be
higher than the On parameter, and neither can be lower than the Floor
parameter.
NAME RANGE WHAT IT DOES
Gate On Lit/dark Lights when kantos generates a gate, and
stays lit throughout the hold duration, or
until the signal goes below the off
parameter level
On -78dB to 0 dB When the signal driving kantos exceeds
this threshold, kantos recognizes it as a
new note and generates a note-on
trigger.
Off -79dB to -1dB When the signal driving kantos drops
below this level, kantos decides the note
has stopped and generates a note-off. variable from
left to right 
						

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Floor -80dB to -2dB kantos ignores signals below this level.
Set this above any hum, residual noise,
etc. so kantos isn’t confused by these
signals.
Hold 10 to 999ms Sets a minimum time before a note off
occurs, regardless of the input signal
status
Manual Gate On/off Click on this to momentarily let the
oscillator sound through without any
filter or Articulator processing. This is
ideal for hearing an oscillator wave’s raw,
unprocessed sound.
LFOs
WHAT ARE THEY FOR?
The LFOs (low frequency oscillators) are modulation sources that produce a
sub-audio, periodic waveform with one of six possible waveforms. For
example, when used to control pitch, they create vibrato; when controlling
amplitude, they creates tremolo. There are two identical LFOs, LFO1 and
LFO2.
WHAT ARE THE PARAMETERS?
Each LFO has the same parameters.
NAME RANGE WHAT IT DOES
Wave Sine, Chooses the shape of the LFO oscillator’s
output.
Freq 0.1Hz to 20Hz Changes the LFO frequency
Modulation Matrix
WHAT’S IT FOR?
The Modulation Matrix routes modulation sources to modulation destina-
tions, and sets the amount of modulation. There are 8 possible routings;
each one has identical parameters.
WHAT ARE THE PARAMETERS?
NAME RANGE WHAT IT DOES
Source 7 options Chooses one of 7 modulation sourcestriangle,
ramp up,
ramp down,
square,
random (momentary) 
						

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Amt -100 to +100% Sets how much of the modulation source
affects the modulation destination, and
whether the modulation adds to the
destination parameter value (+ numbers)
or subtracts from it (- numbers).
Destination 36 options Chooses one of 35 modulation destina-
tions, including the modulation amount
controls, or no modulation destination
(none).
Amp Env
WHAT’S IT FOR?
The Amp envelope generates a control signal that can serve as a modula-
tion source. It is triggered according to signals produced by the Gate
Generator. An On parameter allows it to control output dynamics as well as
provide general-purpose modulation.
WHAT ARE THE PARAMETERS?
Parameters are changed either by entering a value in the numeric field, or
clicking within the area indicated by the graphic and dragging.
NAME RANGE WHAT IT DOES
A(ttack) 1 to 999ms After triggering, this is the time required
to go from full off to maximum level
D(ecay) 1 to 999ms After reaching maximum level, decay sets
the amount of time until the envelope
reaches the sustain level
S(ustain) 0 to 100% The envelope stays at this level for as
long as the trigger remains on
R(elease) 0.01 to 9.99 After the trigger turns off, this sets the
time required for the envelope to go
from the sustain level back to zero
On On/off When enabled, the Amp Env determines
the output dynamics, which are normally
derived from the input signal dynamics
Mod Env
WHAT’S IT FOR?
The Mod envelope generates a control signal that can serve as a modula-
tion source. It is triggered according to signals produced by the Gate
Generator.including
none
seconds 
						

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WHAT ARE THE PARAMETERS?
Parameters are changed either by entering a value in the numeric field, or
clicking within the area indicated by the graphic and dragging.
NAME RANGE WHAT IT DOES
A(ttack) 1 to 999ms After triggering, this is the time required
to go from full off to maximum level
D(ecay) 1 to 999ms After reaching maximum level, decay sets
the amount of time until the envelope
reaches the sustain level
S(ustain) 0 to 100% The envelope stays at this level for as
long as the trigger remains on
R(elease) 0.01 to 9.99 After the trigger turns off, this sets the
time required for the envelope to go
from the sustain level back to zero
Tempo
WHAT’S IT FOR?
Synchronizes the LFOs and delay time to a specified tempo, usually that of
the song in which kantos is playing.
WHAT ARE THE PARAMETERS?
NAME RANGE WHAT IT DOES
Tempo 60 to 400 BPM Sets the song tempo to which the desired
parameters synchronize. Each parameter
can have its own tempo setting, although
the readout shows only the tempo of the
most recently-edited parameter.
LFO1 On/off When enabled, the LFO1 frequency syncs
to the specified tempo
LFO2 On/off When enabled, the LFO2 frequency syncs
to the specified tempo
Delay On/off When enabled, the Delay time syncs to
the specified tempo
TapMomentary on Repeatedly clicking on this button (or
typing the T key on the keyboard) causes
kantos to calculate the time between
clicks or keystrokes, from which it derives
the tempo. The tempo is an average of all
clicks or keystrokes. seconds 
						

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Index
A
A(ttack)  46, 47
AIFF files  38
Amount  42
Amp Env  46
A(ttack)  46
D(ecay)  46
On  46
R(elease)  46
S(ustain)  46
Amp Env vs. Mod Env  30
amplitude envelope  23, 24, 26
AMT slider  26
Antares Audio Technologies  ii
Articulation Q  27
Articulator  5, 20, 36, 41
Amount  42
Emphasis High  42
Emphasis Low  42
Emphasis Mid  42
Formant offset  42
Formant slider  21
Noise In  20, 42
Osc 1 In  20
Osc 2 In  20
Osc1 In  42
Osc2 In  42
Q  42
Authorization  2
B
basic kantos setup  4
Biaxial Graphic Adjusters  8, 12
Buttons  8C
Cents  39
Challenge/Response  2
Chorus  5, 40
Active  40
Depth  40
Rate  40
click/dragging  30
Control Protocols  8
Biaxial graphic adjusters  8
Buttons  8
Numericals  8
Sliders  8
Creative Applications  33
D
D(ecay)  46, 47
Delay  6, 18, 19, 42, 43, 47
Feedback  27, 42
Time  27, 42
Depth  40
E
Emphasis  21
Envelope Generators  6
Envelopes  29
Amp Env vs. Mod Env  30
Editing  29
F
Factory Presets  36
feedback  18, 42 
						

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Filter  12, 27, 41
Active  41
bandpass 2 pole  13
bandpass 4 pole  13
Freq  41
Frequency  12
highpass 2 pole  13
highpass 4 pole  13
lowpass 2 pole  13
lowpass 4 pole  13
Mode  12, 41
Q  12, 41
Filters  9
Formant Offset  21, 27, 41
Formant offset  42
Formant slider  21
Freq  41
Fund1  43
Fund2  43
Fundamental 1  15
Fundamental 2  15
G
Gate Generator  4, 22, 24, 33, 44
Floor  23
Hold  23
Manual Gate  45
Off  22
On  22
Gate On  44
Glide  40
H
harmonic content  20
I
Infinity  38
Input  39, 44
Level  39
Input dynamics  26
Input pitch  26
Input timbre  26
Installation  2L
LFO1  26, 47
LFO2  26, 47
LFOs (Low Frequency Oscillators)  6, 28, 45
Freq  45
LFO Tempo Sync/Tap Tempo  28
LFO1  26
LFO2  26
Wave  45
License Agreement  iii
Loading presets  9
loop-based music  34
looping  38
M
Mixer  7, 16, 43
audio input  16
Delay line return  16
Mute  17
Output level  17
Output level meters and clip indicators.  17
Pan  17
Solo  17
synth output  16
Mixer-Related Parameters  27
Delay Level  27
Noise Level  27
Osc 1 Level  27
Osc 2 Level  27
Sine 1 (Fund 1) Level  27
Sine 2 (Fund 2) Level  27
Mod Amount parameter  27
Mod Env  46
A(ttack)  47
D(ecay)  47
R(elease)  47
S(ustain)  47
Mod envelope  26
Mode  41
Modulation  22
Modulation Amount Destinations  30
Modulation Destinations  27
Modulation destinations
Mixer-Related parameters  27
Modulation-Related parameters  27
Oscillator/Filter-Related Parameters  27
Processing-Related Parameters  27 
						

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Modulation Matrix  6, 25, 45
Amt  46
Destination  46
Source  45
Modulation sources
Amp envelope  26
Input dynamics  26
Input pitch  26
Input timbre  26
LFO1  26
LFO2  26
Mod envelope  26
Modulation-Related Parameters  27
LFO 1 Freq  27
LFO 2 Freq  27
Mod Amount 1–8  27
Mute  16, 17, 43, 44
N
Noise  15, 27, 43
Noise Generator  5, 14
Noise In  20, 42
Numericals  8
O
Oct  39
Osc 1  20
Osc 2  20
Osc1  43
Osc1 In  42
Osc2  43
Osc2 In  42
Oscillator
Cents  39
Glide  40
Oct  39
Pitch constrain all  40
Pitch constrain clear  40
Pitch constrain keyboard  40
Retrigger  40
Semi  39
Wave  40
Oscillator 1  15
Oscillator 2  15Oscillator/Filter -Related Parameters
Chorus Depth 1  27
Chorus Depth 2  27
Chorus Freq 1  27
Chorus Freq 2  27
Filter Freq 1  27
Filter Freq 2  27
Filter Freq 3  27
Filter Q 1  27
Filter Q 2  27
Filter Q 3  27
Pitch 1  27
Pitch 2  27
Semitone 1  27
Semitone 2  27
Oscillators  5, 9, 27, 39
Output  44
Output level  17
Overview  4
Articulator  5
Audio Input and Gate Generator  4
Delay  6
Envelope Generators  6
LFOs  6
Main Mixer and Output  7
Modulation Matrix  6
Noise Generator And Filter  5
Oscillators And Filters  5
Sub-Mixer  6
Tempo Control section  6
P
Pan  17, 44
Pitch constrain All  40
Pitch constrain clear  40
Pitch constrain keyboard  40
Pitch constrain keyboard.  5
pitch detection  4
Polyphonic and unpitched input  33
Presets, loading  9
Processing-Related Parameters
Articulation Amount  27
Articulation Q  27
Delay Feedback  27
Delay Time  27
Formant Offset  27 
						

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Q
Q  12, 20, 21, 41, 42
R
R(elease)  46, 47
Rate  40
Re-synthesizing a synth part  35
Reference  39
Response  2
Retrigger  40
S
S(ustain)  46, 47
Semi  39
Sliders  8
Solo  16, 17, 43, 44
Sub-Mixer  6, 9, 15, 43
Fundamental 1  15
Fundamental 2  15
Mute button  16
Noise  15
Oscillator 1  15
Oscillator 2  15
Solo button  16
Synth  43
T
Tap  47
Tap Tempo  28
Technical Support  viii
Tempo  6, 19, 47
Delay  47
LFO1  47
LFO2  47
Tap  47
Tempo  47
Tempo Control  6
Tempo Sync/T ap Tempo  28
tempo-to-time interval calculator  19
Time  42
Tracking the pitch of input audio  7
Triggering New Parts Fr om Loops  31Tutorials  10
Constraining Pitch  11
Getting To Know The Oscillators  10
Kool Articulator Fun!  21
Messin’ Around With Delay  19
Setting Gate Generator Parameters  24
The Biaxial Graphic Adjuster  12
Triggering New Parts From Loops  31
Using The Chorus  14
Using The Mixer  18
Using The Sub-Mixer  16
U
Using kantos with guitar  33
W
WAV files  38
Wave  40, 45
waveform  28
Waveforms
Ramp Down  28
Ramp Up  28
Random  28
Sine  28
Square  28
Triangle  28
Wavetables  5, 38
custom  38
“whispering” effect  5