MicMod EFX Manual

8/13/2019 MicMod EFX Manual

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©2010 Antares Audio Technologies. All rights reserved.Certified Isinglass-free™Antares®, Auto-Tune®, AVOX®, and Harmony Engine® are registered trademarks of Antares AudioTechnologies. All other trademarks are property of their respective owners.

The “Don’t Sue Us!” Disclaimer: All names of microphone manufacturers and microphone model

designations appearing in this manual are used solely to identify the microphones analyzed in thedevelopment of our digital models and do not in any way imply any association with or endorsementby any of the named manufacturers. This product is not guaranteed to produce, and will notnecessarily produce, audio results that are consistent with or match audio results that could beachieved using any of the referenced microphone models.

www.antarestech.com

Printed in USA Rev 1.0 PN 41031-0910-M01



The Obligatory Legal Mumbo-Jumbo

The Antares® Mic Mod™ EFX software andthis User’s Manual are protected by copyrightlaw. Making copies, adaptations, or derivativeworks without the prior written authorizationof Antares Audio Technologies, is prohibited bylaw and constitutes a punishable violation ofthe law.

Antares Audio Technologies retains allownership rights to the Mic Mod EFX softwareand its documentation. Use of Mic Mod EFX is

limited by the following license agreement.

Please carefully read all the terms andconditions of this license agreement. Atthe time of installation of the Mic Mod EFXsoftware you will be presented with a copyof the agreement and asked whether or notyou agree to it. Continuing with the installationprocess beyond that point constitutes suchagreement.

Mic Mod EFX License AgreementAntares Audio Technologies grants you anon-transferable, non-exclusive license to useMic Mod EFX under the terms and conditionsstated in this agreement. Use of Mic ModEFX indicates your agreement to the followingterms and conditions.

LicenseYou may:

1. Use Mic Mod EFX on only one computer ata time.

You may not:

1. Make copies of Mic Mod EFX or of theuser manual in whole or in part except asexpressly provided for in this agreement.Your right to copy Mic Mod EFX andthe user manual is limited by copyrightlaw. Making copies, verbal or mediatranslations, adaptations, derivative works,or telecommunication data transmissionof Mic Mod EFX without prior written

authorization of Antares, is prohibited bylaw and constitutes a punishable violationof the law.

2. Make alteration or modifications to MicMod EFX (or any copy) or disassemble orde-compile Mic Mod EFX (or any copy), orattempt to discover the source code of MicMod EFX.

3. Sub-license, lease, lend, rent, or grant otherrights in all or any portion of Mic Mod EFX(or any copy) to others.



Term of the AgreementThis agreement is effective until terminatedby you or Antares. You may terminate theagreement at any time by notifying Antares anddestroying all copies of the manual, and erasing

Mic Mod EFX from all machine-readablemedia, whether on-line or on archival copies.

In the event of breach of any of the terms ofthis agreement, you shall pay the attorney’sfees of Antares that are reasonably necessaryto enforce the agreement plus resultingdamages.

Limited Warranty And DisclaimerMIC MOD EFX AND ACCOMPANYINGMATERIALS ARE PROVIDED “AS IS”WITHOUT WARRANTY OF ANY KIND, EITHEREXPRESS OR IMPLIED, INCLUDING, BUT NOTLIMITED TO, THE IMPLIED WARRANTIES OFMERCHANTABILITY AND FITNESS FOR APARTICULAR PURPOSE.

Antares Audio Technologies does not warrantthat the functions contained in the program willmeet your requirements. The entire risk as to theuse, quality, and performance of Mic Mod EFXis with you.

SOME JURISDICTIONS DO NOT ALLOWLIMITATIONS ON HOW LONG AN IMPLIEDWARRANTY LASTS, SO THE ABOVE

LIMITATION MAY NOT APPLY TO YOU. THISWARRANTY GIVES YOU SPECIFIC LEGALRIGHTS. YOU MAY ALSO HAVE OTHER RIGHTSWHICH VARY FROM JURISDICTION TOJURISDICTION.

Limitation of LiabilityIN NO EVENT WILL ANTARES BE LIABLEFOR ANY DAMAGES, INCLUDING LOSS OFDATA, LOST PROFITS OR OTHER SPECIAL,INCIDENTAL, CONSEQUENTIAL OR INDIRECT

DAMAGES ARISING FROM THE USE OF MICMOD EFX OR ACCOMPANYING MATERIALS.THIS LIMITATION WILL APPLY EVEN IFANTARES OR ITS AUTHORIZED AGENT HASBEEN ADVISED OF THE POSSIBILITY OF SUCHDAMAGE. YOU ACKNOWLEDGE THAT THELICENSE FEE REFLECTS THIS ALLOCATION OFRISK. SOME JURISDICTIONS DO NOT ALLOWLIMITATION OR EXCLUSION OF LIABILITY FORINCIDENTAL OR CONSEQUENTIAL DAMAGES,SO THE ABOVE LIMITATION MAY NOT APPLYTO YOU.

Whew! Now that that’s over, let’s get on to thegood stuff.



Contents

Chapter 1 Getting Started 3Installing and Authorizing

Technical Support

Chapter 2 Introducing Mic Mod EFX 5About the Technology

So What Exactly Does It Do?

Chapter 3 Using Mic Mod EFX 7Live or Mixdown

Signal Flow

Controls

Input Section 7

Source Mic Section 8

Modeled Mic Section 10

Tube Saturation 12

Output Level 12

Chapter 4 The Modeled Microphones 13Mic Model Files

Customizing Mic Menus

Automation

Chapter 5 Realistic Expectations 15Choice of Input Microphone

Microphone Variations

Microphone Technique

Excessive Frequency BoostPolar Pattern Selection

Off-Axis Response

Transient Response

Chapter 6 Get Creative 17

Chapter 7 Appendix: The Mic Models 19



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Welcome!

On behalf of everyone at Antares Audio Technologies, we’d like to offer both ourthanks and congratulations on your decision to purchase Antares Mic Mod EFX, theworld’s only classic microphone modeler.

Before you proceed any farther, we’d like to strongly encourage you to register andauthorize your copy of Mic Mod EFX. (You can skip ahead to the Authorization and Installationinstructions in the next chapter. We’ll wait.) Also, if you’re planning on discarding that lovely MicMod EFX box, it’s probably a good idea to write down the serial number that appears on the bottomof the box for future reference. (The inside cover of this manual would be a good place.)

At Antares, we are committed to excellence in quality, customer service, and technological

innovation. With your purchase of the Antares Mic Mod EFX, you have created a relationship withAntares which we hope will be long and gratifying. Let us know what you think. You can count on usto listen

Again, thanks.

The Whole Antares Crew



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Chapter 1: Getting Started

Installing Mic Mod EFXMic Mod EFX is designed to work with a widevariety of digital audio applications. Please referto your host application’s user manual for moreinformation on installing and using plug-ins.(Although in most cases, simply double-clickingMic Mod EFX installer and following theresulting directions will be all you need to do.)

Authorizing Mic Mod EFXAuthorization is the process by which Mic ModEFX is allowed to permanently run on yourcomputer. Detailed instructions covering theavailable authorization options will be foundin the file “Authorization Read Me” which isincluded on the installation DVD ROM or withyour software download.

Mic Mod EFX authorization requiresan iLok USB smart key. If you alreadyown other audio plug-ins, you probablyalready have one. If not, they can be

purchased from many local musicstores as well as most online musictechnology retailers.

NOTE: You will need to authorize MicMod EFX before you can run it in yourhost. If you plan to follow along with

the manual (a good idea), go do it now.

Technical SupportIn the unlikely event that you experience aproblem using Mic Mod EFX, try the following:

1. Make sure you have the latest version ofthe plug-in. You can download and installthe latest version of Mic Mod EFX from thefollowing web page:

http://www.antarestech.com/download/ update.shtml

2. If you are having problems authorizing yoursoftware, be sure that you have the latestversion of the PACE Interlok drivers. Youcan download and install the latest versionfor your operating system from:

http://www.paceap.com

IMPORTANT! Windows users: Afterdownloading and installing thePACE drivers, you must reboot your

computer before running your software.

If your problem is not resolved after taking theabove actions, try the following:

1. Make another quick scan through thismanual. Who knows? You may havestumbled onto some feature that you didn’tnotice the first time through.

2. Consult our searchable knowledgebase at:

http://www.antarestech.com/support/ index.html

3. Check our web site for tips, techniques, or

any late-breaking information:

http://www.antarestech.com

4. Join the Antares online Community. TheAntares Online Community is a placewhere Antares product users can gatherto exchange information, compare notes,and get to know other Antares users fromaround the world. Check it out at:

http://www.antarestech.net

5. For the quickest access to newdevelopments, follow us on Twitter and

“Like” our Facebook pages:

http://twitter.com/AntaresAudio

http://www.facebook.com/pages/Antares-Audio-Technologies/68524457680

http://www.facebook.com/pages/Auto-Tune/81891651280



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A modern reincarnation of Antares’ renowned Microphone Modeler plug-in, Mic ModEFX lets any reasonable quality microphone sound like any of a variety of historicalclassic and rare exotic microphones. Using our patented Spectral Shaping Tool™technology, we’ve created precise digital models that reproduce the subtle sonic

characteristics that make each microphone unique. Simply tell Mic Mod EFX what microphone youare actually using and what microphone myou’d like it to sound like. It’s as simple as that.

Chapter 2: Introducing Mic Mod EFX

With Mic Mod EFX, you can afford to recordeach track through a model of the specific micthat will best produce that ideal sound you’re

looking for. Or use it in live performance to getthe sound of mics you’d never consider usingon stage. You can even use it during mixdownto effectively change the mic on an alreadyrecorded track.

Not only do the models reproduce all of thesubtle sonic characteristics that make eachmicrophone unique, but they also give youcontrol of each mic’s specific options. Does themic have a low cut filter? If so, it’s in the model.Wind screen on or off? Close or far placement?Each option results in the same sonic effectthat it would have with the actual modeled mic.And for that final touch of perfection, you caneven add some tasty tube saturation.

About the TechnologyThe models employed by Mic Mod EFX are notderived from theoretical considerations. Theyare generated by a proprietary analysis processthat is applied to each physical mic modeled.

The precision of these models allows MicMod EFX to reproduce even the subtle (andsometimes not-so-subtle) sonic variations that

one often finds in different samples of thesame model of microphone. Consequently, forsome important mics, we’ve provided multiplemodels, each based on measurements takenfrom individual mics.

Another advantage of our model-basedapproach is that there is essentially no

processing delay apart from the natural phaseeffects of the microphones being modeled andany delay inherent in the operation of the host

application or hardware environment.Finally, the quality and signal-to-noisecharacteristics of the processing are pristine.Because of our commitment to model-basedprocessing, there are none of the limitationsor distortions characteristic of FFT-basedalgorithms. The quality of the output is limitedonly by the quality of the input.

So What Exactly Does It Do?While there is a lot of fairly complicatedstuff going on under the hood, the essential

functionality of Mic Mod EFX is really quitesimple. Basically, audio from a microphoneis input to Mic Mod EFX where it is firstprocessed by a “Source Model” which servesto neutralize the known characteristics of theinput mic. The audio is then processed by asecond “Modeled Mic” model which imposesthe characteristics of the modeled mic onto thepreviously neutralized signal. Finally, the audiois passed through a model of a high-qualitytube preamp offering the option of classic tubesaturation distortion.

The details are found in the next chapter.



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Chapter 3: Using Mic Mod EFX

Live or Mixdown?Mic Mod EFX functions equally well processingaudio during its original performance or laterduring the mixdown process. However, if youhave the choice (which you typically will foreverything but a live stage performance), westrongly recommend using Mic Mod EFX asan insert effect during mixdown. This will allowyou to experiment with mic choice and variousmic settings while auditioning their effect in thecontext of the entire mix.

If you do choose to work this way, it isimportant that you carefully document allmic data for each recorded track. This shouldinclude the mic used, any settings such as low-cut filter and/or response pattern selected, aswell as the average distance between the micand the signal source (singer, instrument, etc.).This information will be required to properly setthe Source Mic controls during the mix.

Signal FlowMic Mod EFX is divided into a number ofdiscreet functional blocks as follows (in theorder of signal flow):

Input For setting the input level of the audioto be processed.

Source Mic For indicating the mic (andthe state of its various parameters) that wasactually used to record the audio.

Modeled Mic For selecting the mic (and thestate of its various parameters) whose sound

you would like to model.

Tube Saturation For adding a model ofanalog tube saturation distortion.

Output For setting the output level of theprocessed audio. The use of each of theindividual controls is covered below.

Mic Mod EFX ControlsInput SectionThe Input Gainslider, as is no doubtobvious, is used toset the level of theincoming audio. Theexact amount ofgain or attenuation is

displayed numericallyabove the slider. Inmost instances, theinput gain should beset at the highest levelthat does not causethe 0 dB area of thegraphic level meter tolight.

The Level Meterdisplays the level ofthe audio as it is being

processed by both theSource and ModeledMic models. Because

some models (or combinations of models)can result in increased amplitude at variousfrequencies, changing to a different mic modelor changing a model’s settings may require anadjustment of the Input Gain to avoid clipping

In practice, you should start out by setting theInput Gain at a bit under the optimum level.Once you’re confident that you’ve found theright mic settings for your track, you should go

back and fine tune the gain for maximum levelwithout clipping.



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Source Mic SectionThe Source Mic section is where you specify the mic and the settings that were (or will be) usedto capture the input sound. The purpose of these selections is to remove the effect of the sourcemicrophone, resulting in the signal that would have been recorded by an ideal instrumentationmicrophone with no proximity effect.

Source Mic Menu

The Source Mic pop-up menu is used to selecta specific model of mic. In some cases a micwill have a second listing with “(w)” appended

to the mic’s name. This indicates that the micwe modeled was supplied with a windscreenand this is the model of the mic with thewindscreen attached. If your audio wascaptured using the windscreen, you shouldselect this version of the model.

Additionally, the menu offers a selectioncalled “Bypass.” When Bypass is selected,the source signal is passed unmodified tothe Modeled Mic section. You should selectBypass when your source was not recordedwith a microphone (e.g., guitar via direct box,

direct synth input, etc.).

If your desired mic is not listed in the menu,you can try one of the following (in order ofpreference):

1. Use a different mic that is listed — this is,of course, only an option if you’ve not yetrecorded the audio and do, in fact, haveanother listed mic.

2. Select another mic on the list whosecharacteristics are known to be similar toyour mic (a similar model from the same

manufacturer, for example). 3. Select one of the generic mic types

that matches the type of your mic, e.g.,dynamic, large diaphragm condenser, etc.

4. Select Bypass from the menu.

It must be stressed that selecting option 2, 3 or,especially, 4, will compromise Mic Mod EFX’sability to accurately reproduce the sound of the

desired modeled mic. That’s not to say that youwon’t be able to get something that soundsgreat, just that it’s unlikely to be an accuratesimulation of whichever mic you chose in theModeled Mic section.

In particular, if you choose Bypass as theSource Mic and any mic as the Modeled Mic,the resulting effect is equivalent to havingrecorded the audio with the actual physical mic(which you, of course, did) and then havingplayed back that track through a perfect set ofspeakers and rerecorded it with the Modeled

Mic. Again, maybe a great sounding creativeeffect, but not an accurate representation of theModeled Mic.

Low-Cut Menu

If the mic you select in the Source Mic menuis equipped with a user-selectable low-cutfilter, the Low-Cut pop-up menu will allow youto select from among the actual filter settingsavailable on that mic. (If the selected mic doesnot have a low-cut filter, the menu will begrayed out.)

If the source mic does include a low-cut filter,select the low-cut setting that was (or will be)used when capturing your audio.



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NOTE: It is important to keep in mindthat the purpose of this setting is to“undo” the effect of any low-cut filter

that was used to capture your audio. If you playaround with this setting, you may initially thinkthat it’s working “backwards.” That is, changingthe menu selection from OFF to any filtersetting will actually cause a bass boost in themonitored audio.

However, once you think about it, you willrealize that this is the way it’s supposed towork. The purpose of all the controls in theSource Mic section is to neutralize the effects ofthe source mic. So, when you select a low-cutfilter, you’re telling the Mic Mod EFX that thesource mic recorded the audio with that muchbass attenuation and, therefore, the modelmust now boost the bass an equal amount toremove the source mic’s sonic coloration. (Trustus, this fried our brains a bit at first, too.)

Pattern

If the mic you select in the Source Mic menu isequipped with user-selectable pick-up patterns(i.e., omni, cardioid, hypercardioid, etc.), thePattern pop-up menu will allow you to selectfrom the actual pattern settings available on thatmic. (If the source mic does not have selectablepatterns, the menu will be grayed out.)

If the source mic does include multiplepatterns, select the pattern that was (or will be)used when capturing your audio.

NOTE: The purpose of the Patternselection is to neutralize the varyingfrequency characteristics that result

from each of the available pattern settings, withthe assumption that the audio was recorded

on axis (i.e., from the front of the microphone).Since Mic Mod EFX has no way of knowing theactual placement of the signal source, it doesnot attempt to simulate off-axis performance.

Proximity

The Proximity knob in the Source Mic sectionshould be used to set the average distance thatseparated the mic and the signal source duringthe recording of the audio. The purpose of thiscontrol is to allow the model to remove anyProximity Effect that may have been introducedby the source mic.

NOTE: Proximity Effect is a boostin bass frequencies resulting fromplacing a directional mic in close

proximity to a signal source. The amount of theeffect varies from mic to mic, and is inverselyproportional to the distance from the mic to thesource (i.e., the smaller the distance, the greaterthe bass boost).

Mics operating in omnidirectional mode do notexhibit a proximity effect. Consequently, if thesource mic is an omni mic, or the source mic

has selectable patterns and omni is chosen, theProximity control will be disabled.

NOTE: Like the Low-Cut controldescribed above, the Source MicProximity control may initially

seem to be working backwards (i.e., setting ashorter distance will result in an audible bassattenuation). Refer to the explanation back up inthe Low-Cut section to understand why this isactually how it is supposed to work.

Also note that the effect of the Proximitycontrol is unique for each model of microphone.

Mic Mod EFX does not use a generalizedapproximation of proximity effect. Each modelreflects the specific physical properties thatcreate the proximity effect for that individualmic.



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Modeled Mic SectionHere’s where the fun really starts. The Modeled Mic section is where you select the mic (and itssettings) whose characteristics you want to apply to your audio.

Modeled Mic Menu

The Modeled Mic pop-up menu is used toselect your desired mic. In some cases a micwill have a second listing with “(w)” appendedto the mic’s name. This indicates that the micwe modeled was supplied with a windscreenand this is the model of the mic with thewindscreen attached. If you wish to simulatethe use of the windscreen, you should selectthis version of the model.

Additionally, the menu offers a selection called“Bypass.” When Bypass is selected, nomic model is applied. The net sonic effect ofselecting Bypass here depends on the settingof the Source Mic menu:

• If the correct source mic is selected in theSource Mic menu and Bypass is selected

in the Modeled Mic menu, the final outputof Mic Mod EFX will be stripped of thecharacteristics of the source mic, resulting inthe signal that would have been recorded byan ideal instrumentation microphone with noproximity effect.

• If Bypass is selected in the Source Mic menuand Bypass is selected in the Modeled Micmenu, the final output of Mic Mod EFX willbe identical to the original input signal (withthe exception of any added tube saturation).

Low-Cut Menu

If the mic you select in the Modeled Mic menuis equipped with a user-selectable low-cut filter,the Low-Cut pop-up menu will allow you toselect from among the filter settings availableon that mic. (If the selected mic does not havea low-cut filter, the menu will be grayed out.)

If the modeled mic does include a low-cut filter,selecting a low-cut setting will reproduce thesame effect that selecting that setting wouldhave on the actual modeled mic.

NOTE: The setting labels that appearin the menu are those that appearon the physical mic. In some cases,

the label is the cut-off frequency of the low-cutfilter as specified by the mic’s manufacturer.However, Mic Mod EFX does not simply applya generic low-cut filter at the stated frequency,



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but instead models the actual filter performanceof each modeled mic. In other words, a statedcut-off frequency is only as accurate as the filteron the actual mic.

ANOTHER NOTE: Although it’s alwaysbest to let your ears be your guide,

if your audio was recorded with thesource mic’s low-cut filter turned on, in mostcases it will be best to turn on the modeledmic’s low-cut filter as well. (After all, there waspresumably some reason that someone choseto use that filter in the first place.)

Pattern

If the mic you select in the Modeled Micmenu is equipped with user-selectable pick-uppatterns (i.e., omni, cardioid, hypercardioid,

etc.), the Pattern pop-up menu will allow youto select from the actual pattern settingsavailable on that mic. (If the modeled mic doesnot have selectable patterns, the menu will begrayed out.) If the modeled mic does includemultiple patterns, select the pattern whosecharacteristics produce the effect you desire.

NOTE: The purpose of the Patternselection is to model the varyingfrequency characteristics that result

from each of the available pattern settings, withthe assumption that the audio was recorded

on axis (i.e., from the front of the microphone).Since Mic Mod EFX has no way of knowing theactual placement of the signal source, it doesnot attempt to simulate off-axis performance.

Proximity

The Proximity knob in the Modeled Mic sectioncan be used to select a desired amount ofproximity effect.

Using the Proximity knob to set a particulardistance will result in the amount of proximityeffect that would be produced by the actualmodeled mic when placed at that distance

from the signal source.

The effect of the Proximity control is uniquefor each model of microphone. Mic Mod EFXdoes not use a generalized approximationof proximity effect. Each model reflects thespecific physical properties that create theindividual proximity effect for that mic.

NOTE: A secondary effect of mic- to-source distance is the extent towhich environmental ambience is

picked up by a mic. For example, as a mic ismoved away from the source, the proximity

effect decreases, but the amount of “roomtone” increases (assuming that you are not inan anechoic chamber). Mic Mod EFX does notmodel this effect. However, judicious use ofthe Proximity control in combination with someappropriately programmed reverb will allow youto create the same effect, with the additionalbonus of being able to control the exact natureof the room tone.

Mics operating in omnidirectional mode do notexhibit a proximity effect.

Consequently, if the modeled mic is an omnimic, or the modeled mic has selectablepatterns and omni is chosen, the Proximitycontrol will be disabled.



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Tube Saturation

The Tube Saturation section is based onAntares’ renowned WARM Tube SaturationGenerator and is designed to model the“warmth” that is typical of a high-quality tubepre-amp.

The amount of tube saturation effect applied toyour audio is controlled by the Tube SaturationDrive control in combination with the Input Gaincontrol.

The Drive control determines the amplificationfactor of the modeled tube pre-amp with thenumeric display indicating the amplificationin dB. At 0 dB , no distortion occurs, even forfull amplitude signal levels. As the Drive isincreased, the amplification is increased. Anyregions of the signal that increase beyond fullamplitude generate distortion. (But instead ofthe usual ugly digital clipping, they are distortedthe same way the tube pre-amp would distortthe sound.)

Because the maximum drive is limited to +10dB, using the Tube Saturation model requiresthe original signal to be at a level greater than-10 dB. If this is not the case, you should adjustthe Input Gain control to increase the level ofthe sound. (Be certain that Input Gain is notincreased so much as to cause the 0 dB meterarea to light.) It may be necessary to go backand forth between Drive and Input Gain a fewtimes to get exactly the effect you want.

NOTE: If your audio was recorded at

an exceptionally low level, it may bethat even maximum Input Gain andmaximum Drive will still not result in a level highenough to generate distortion. In that case,either re-record your audio at a higher level (ifpossible) or use your waveform editing programto digitally increase the level (keeping in mindthat this may negatively affect the signal quality).

If you want to add tube saturation distortionwithout otherwise affecting your sound, setboth the Source Mic and Modeled Mic menusto Bypass.

Output LevelThe Output Levelcontrol is used to fine-

tune Mic Mod EFX’soutput level. Thiscontrol is strictly anattenuator (i.e., no gainis available). You shouldalways start with itat 0dB (the top of itsrange) and then reducelevel as necessary. Itis particularly usefulwhen adding largeamounts of tubesaturation.



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Chapter 4: The Microphone Model Files

Your copy of Mic Mod EFX comes with a collection of mic models that isautomatically installed along with the plug-in. These mics will appear in the SourceMic and Modeled Mic menus.

The Microphone Model FilesThese model files are found in a folder named“Antares Models.” On Macintosh systems,this folder is located in the Application Supportfolder inside the Library folder. On PC

systems, this folder is located at: Documentsand Settings\All Users\Application Data\ Antares Models. The Antares Models folder inturn contains a “Modeled Mics” folder and a“Source Mics” folder. Each folder contains onefile for each microphone.

This version of Mic Mod EFX includes the abilityto add one level of sub-folders in the “SourceMics” and “Modeled Mics” folders. Thisresults in easy-to-organize hierarchical menus inthe Source Mic and Modeled Mic pop-ups.

As you will see, we have used this feature

to organize Mic Models by manufacturer.However, you are free to change thisorganization to anything that works well for you.Simply add or rename sub-folders as desiredand put the appropriate models in each folder.

Customizing Microphone MenusThe Source Mic and Modeled Mic menus willalways reflect the sub-folders and model files intheir respective folders.

Here are a few hints for managing your mic

menus:• It is not necessary to have the same mic

models in each folder. You could, forexample, put only the source model files forthe mics you actually own at the top level ofthe Source Mic folder, eliminating the need toconstantly hunt in sub-folders for the few youusually use.

• For quick access to a few specific mics ona particular project, create two temporarysub-folders named Project Source Mics andProject Modeled Mics and put all the micsyou plan to use for that particular projectin them. When you finish your project,

just move all the models back into theirrespective folders.

• The mic names that appear in the menusreflect the names of the model files. Wehave assumed that the actual mic names areprobably the most informative. However, ifyou’d prefer something else, you can changethe names of the model files and those newnames will appear in the menus.

Automation and the Mic MenusMost host applications provide the ability toautomate the settings of plug-ins. AlthoughMic Mod EFX is totally automatable, you shouldbe aware that the fact that you can add anddelete items from the Source Mic and ModeledMic menus can result in problems with someautomation systems.

To understand why, it’s important to note thathost applications typically remember menuselections not by storing the actual itemselected, but by storing its position in the menu.

Imagine, for example, that you select a mic that

is the 17th mic listed in the menu and storethat setting for later recall via automation. In themeantime, you rearrange the mics in the menusuch that two mics end up above that formerly17th mic. Your originally chosen mic is now19th in the menu and the next time you recallthat automation setting, instead of getting themic you expect, you’ll get the mic that is now inthe 17th position.



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Unfortunately, there is no easy way aroundthis. Simply be aware of it and be preparedto update your automation settings if yourearrange the mics in your menus.



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Chapter 5: Realistic Expectations(or, Mic Mod EFX Meets the Space-Time Continuum)

Although Mic Mod EFX seems in many ways to be almost magic, it is, in fact, simplyvery clever science. And as such, it remains subject to those pesky laws of physics.

To get the maximum satisfaction out of Mic Mod EFX, it is important to have realisticexpectations of exactly what it can and can’t do. (Most of what it can’t do relates to the physicalimpossibility of recovering information that wasn’t in the original signal to begin with.) Here are themain issues to be aware of:

Choice of Input MicrophoneLuckily for all of us, the general quality of

“affordable” microphones has reached aremarkably high level. Consequently, if youstick with well-known manufacturers, most anyreasonable quality mic will provide sufficientperformance to allow Mic Mod EFX to do itsmagic. (OK, we said it wasn’t magic, but we’respeaking metaphorically here.)

On the other hand, you can’t expect to go intoa large (but unnamed) mass merchandiser oflow-cost electronics gear and pick up a $19.95mic and expect Mic Mod EFX to make it soundlike a U87. If a source mic has massive roll-off

in a particular frequency range, there is noway Mic Mod EFX can produce the signal thatwould have been captured had the source michad better response.

Microphone VariationsWhile there are obviously major differencesbetween various models of microphones,there are also often more subtle differencesbetween different samples of the same modelof microphone. Whether due to manufacturingvariances, age, or condition, there is no

guarantee that the mic we modeled will beidentical to your source mic or to a specificmic you want to model. In the case of somewell-known classics, we have even providedmultiple models of the same (but sonicallydiffering) mic from different sources.

Microphone TechniqueIn getting the best possible recorded sound,

mic technique and placement are at least asimportant as mic choice (if not more so). Agood engineer can record a great track with anSM57 while a poor one can make a U47 soundlike doo doo. If your audio is not well-recordedin the first place, Mic Mod EFX can to do verylittle to improve it. If you start with a poorlyrecorded track, all Mic Mod EFX will do is makeit sound like a track that was poorly recordedwith a great mic.

Excessive Frequency BoostAlthough Mic Mod EFX’s processing doesnot itself add noise to your signal, any noisein your original audio or noise added byintervening processes (e.g., A/D conversion,pre-Mic Mod EFX dynamics processing, etc.)will be accentuated by any large amount offrequency boost. This should only be a problemwhen your source mic has a substantial bassor treble roll-off and the modeled mic has acorresponding boost or, more likely, when youraudio was recorded with a low-cut filter onthe source mic and you do not use a low-cuton the modeled mic. In both of these cases,the models will apply substantial gain to theaffected frequency ranges, raising the level ofadded noise along with the desired signal. Ifthe resulting noise level is unacceptable, youshould choose a different combination of micsand/or turn on the modeled mic’s low-cut filter.



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Polar Pattern SelectionMic Mod EFX can’t recover information thatwas not recorded as part of the original signal.For example, if the original audio was recorded

with a highly directional pattern (hence pickingup little room tone), you can’t set the modeledmic to Omni and expect the room tone thatwould have been recorded if the originalwas set to Omni suddenly to appear. Youcan however, simulate that effect with somejudicious use of reverb or an environmentalsimulator.

Conversely, if your source was recorded withan omni mic and it picked up some unwantedaudio from the rear, you can’t realisticallyexpect to set the modeled mic to hypercardioid

and have the unwanted audio disappear.

Off-Axis ResponseThe purpose of the Pattern selection is tomodel the varying frequency characteristicsthat result from each of the available patternsettings, with the assumption that the audiowas recorded on axis (i.e., from the front of themicrophone). Since Mic Mod EFX has no wayof knowing the actual placement of the signalsource, it does not attempt to model off-axisperformance.



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Chapter 6: Get Creative

• Select a Source Mic that doesn’t matchyour physical mic. In fact, try one whosecharacteristics are as different as possiblefrom your physical mic.

• Select Bypass in the Source Mic menu tocombine the sound of your physical mic withthe sound of the modeled mic.

• Swap some model files between the Sourceand Model folders (i.e., put a source file inthe Modeled Mic folder or vice versa). This islikely to result in some strange timbres, butsometimes strange is good.

• Extreme Proximity settings can give strange,but interesting effects. Try wildly differingsettings in the Source and Model sections.

• Dynamically change Proximity settings

during a performance.

• Overdrive the Tube Saturation section forsome serious gruzz.

None of the above are likely to give you thesound of any mic that exists in nature, but theycan definitely give your recordings unique andstriking timbres.

Up to this point, all of the instructions in this manual have focused on how to useMic Mod EFX for its primary purpose: making one mic sound as accurately aspossible like another. But don’t let that limit you. We’ve purposely given the controlswide ranges to allow you to move beyond what might be considered useful for strict

modeling. Try some of the following:



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Chapter 7: Mic Models Appendix

Listed below are the modeled mics (both source and model) included with Mic ModEFX, along with brief descriptions of each one.

PLEASE NOTE: All trademarks appearing below are the property of their respectiveowners. The following manufacturer names and model designations are used solely

to identify the microphones analyzed in the development of our digital models and do not in any wayimply any association with or endorsement by any of the named manufacturers

This product is not guaranteed to produce, and will not necessarily produce, audio results thatare consistent with or match audio results that could be achieved using any of the referencedmicrophone models.

AEA R44C Large Diaphragm Boundary - RibbonReplica of the classic RCA 44 ribbon mic

AKG C12A Large Diaphragm CondenserA classic multipurpose studio mic (this one dates from the late60s)

C 12 VR Large diaphragm tube micModern day reboot of the classic C12 studio mic

C414

C414 EB

C414B/ULS Limited Edition Gold

C414B/ULS Modified by Audio Upgrades (mod1)

C414B/ULS Modified by Jim Williams (mod2)Large Diaphragm CondenserMultipurpose studio mic

460B/CK61-ULS Small Diaphragm CondenserPrecise, neutral recording mic

C 535 EB Small diaphragm condenserMulitpurpose condenser suited for both stage and studio

D5 Dynamic SupercardioidLive perfomance vocal mic

D112 Large Diaphragm DynamicClassic kick drum and bass guitar mic

D 790 Large Diaphragm DynamicHand-held vocal

C1000S Small Diaphragm CondenserWith a battery power option, often used for field recording



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C 3000 Large Diaphragm CondenserGeneral purpose

C 4000 B Dual-Diaphragm CondenserSolid state version of the SolidTube, general purpose

The Tube Large Diaphragm CondenserKnown for a dark, intimate sound

Solidtube Large diaphragm tube micSolid state tube mic good for general applications

Perception 120 Large-diaphragm Cardioid CondenserGeneral purpose studio and stage mic

Perception 220 Large-diaphragm Cardioid CondenserGeneral purpose studio and stage mic

Alesis AM61 Large Diaphragm Condenser w/tube circuitryA rich warm sound ideal for vocals and instruments

Audio-Technica ATM11 Dynamic

Drums

ATM25 DynamicHigh-intensity instrument mic

ATM31 Small Diaphragm CondenserGeneral purpose

AT813a Cardoid CondenserVocals and general purpose

AT853Rx Electret CondenserHanging choir mic

AT2020 Medium-diaphragm Cardioid Condenser

Vocal and general purpose studio mic AT3525 Large Diaphragm Condenser

Vocals and general purpose

AT4047/SV Large Diaphragm CondenserRecreates the sound of vintage F.E.T. Condenser mics

AT4033a/SM Large Diaphragm CondenserGeneral purpose, drum overheads

AT4050 Large Diaphragm CondenserGeneral purpose

AT4051 Small diaphragm condenserDesigned with studio and broadcast work in mind

AT4055 Large Diaphragm CondenserLive vocal mic

AT4060 Large Diaphragm CondenserTube Circuitry Vocals and general purpose



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Audix D1 Small dynamicUsed for instruments, primarily drums

D4 DynamicKick drum, acoustic bass, piano, sax

OM2 DynamicHand held vocal

OM3-xb DynamicGeneral purpose

OM5 DynamicVocals

OM6 Small dynamicDurable stage vocal mic

CX111 Large diaphragm condenserGood for vocal and instrument recording

SCX1 Small diaphragm condenser

Small and consistent multipurpose mic

B & K 4007 Large Diaphragm Prepolarized CondenserClose-micing drums, percussion, brass

Behringer Ultravoice XM8500Small dynamicGeneral purpose stage mic

Ultravoice ECM 8000Small diaphragm condenserAn ultra-precise mic designed to measure acoustics

beyerdynamic M-500M-500 Limited Edition Classic (Silver)

Dynamic RibbonVocals, instruments

MC-834 Large Diaphragm CondenserVocals, piano, strings, brass, voice-overs

CK703 Small-diaphragm CondenserGeneral purpose

Blue Bluebird Large-diaphragm Cardioid CondenserGeneral purpose studio mic

Blueberry Large-diaphragm Cardioid Condenser

Vocals, instruments, percussion

Mouse Large-diaphragm Cardioid CondenserVocals, instruments

The Bottle w/B6 CapsuleVacuum Tube Condenser with Interchangeable CapsulesVocals



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Brauner VM1 Large Diaphragm Tube Condenser w/Class A ampReference recording

Valvet Large diaphragm tube condenserPrecise and natural studio mic

CAD Equitek E100 CondenserVocal, instrument, drum overheads

Equitek E200 CondenserVocal, orchestra, acoustic guitar, kick drum

Equitek E350 Servo CondenserVocal, piano, overhead, acoustic guitar, amps

C400S Large Diaphragm CondenserGeneral Studio

VSM1 Single Valve CondenserVocal, strings, guitar

95Ni Dynamic

Vocal, instrument amps

Coles 4038 Large Diaphragm Boundary - RibbonSax, horns, piano, guitar

Earthworks Z30x Enhanced Cardioid CondenserVocal, guitar, drums, general purpose

TC30K Omni CondenserDrums, guitar, bass

QTC1 Small condenserPrecise mic designed for acoustic sound sources

Electro-Voice PL20 Mid Diaphragm Dynamic

Early predecessor to the RE20Bass, drums, vocals, electric guitar

N/D357 Mid Diaphragm DynamicFrequency expressly contoured for female vocals

N/D767A DynamicHandheld vocal mic

N/D868 Small dynamic micDesigned for kick drum

RE15 Small dynamic micMultipurpose dynamic mic

RE16 Small dynamic

Just like the RE15, but with a blast filter

RE55 Small dynamicMultipurpose dynamic mic

Groove Tubes MD-1 Large Diaphragm Tube CondenserStudio vocal, general purpose

Langevin CR-3A Large Diaphragm Cardioid CapacitorGeneral purpose studio mic



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Lawson L47MP Large Diaphragm Tube CondenserVocals, acoustic guitar, strings, piano, choir, orchestra, sax

Manley Labs Reference Gold Large Diaphragm Tube CondenserUltra high quality recording

Marshall MXL 2001P Large diaphragm condenserUsed for instrument recording

MXL 2003 Large diaphragm condenserUsed for instrument recording

MicroTech Gefell Gefell UMT 800 Large Diaphragm CondenserClose-miced vocals, horns, ensembles

Neumann U 47 Large Diaphragm Tube CondenserA classic vocal mic. Sinatra’s first choice.

U 87

U 87 70th Anniversary Gold EditionLarge Diaphragm Condenser

Vocals, piano, acoustic bass, drums, acoustic guitar

U 89i Large diaphragm condensersMultipurpose studio mic

M 149 Large Diaphragm Tube Condenser“The best mic I have EVER used.” ~Chuck Surack(Thanks Chuck!)

TLM 103 Large Diaphragm CondenserVocals, acoustic guitar, horns, piano

TLM 193 Large Diaphragm CondenserVocals, acoustic guitar, drum overheads, strings, sax

KM 84 Small Diaphragm CondenserAcoustic guitar, drum overheads, hi hat, strings, percussion,piano

KM 184 Small Diaphragm CondenserAcoustic guitar, drum overheads, hi hat, strings, percussion,piano

Oktava MC-012 Small Diaphragm CondenserGeneral purpose instruments and live performance

MK-219 Large diaphragm condenserPrecise and sensitive mic good for vocals and acousticinstruments

MK-319 Large Diaphragm CondenserVocal, general purpose

RCA RCA 44 Large ribbon micClassic studio and broadcast mic from the ’30s

BK5A Uniaxial RibbonVocal, general purpose



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Rode NT1 Large Diaphragm CondenserVocals, instruments

NT2 Large Diaphragm CondenserVocals, acoustic guitar, winds, piano

NTV Large Diaphragm Tube CondenserVocal, general studio

Royer R-121 RibbonElectric guitar, overhead drums, orchestral, choral, room micing

Sennheiser MD421 Large Diaphragm DynamicDrums, vocals guitar, amps

MD441 Large Diaphragm DynamicDesigned to simulate the sound of a condenser mic for vocal,sax

E609 Large Diaphragm DynamicLive performance guitar amp and drum mic

E835S Large Diaphragm DynamicLive performance vocal

K6-ME64 Cardioid Condenser ShotgunFilm and video recording, sound reinforcement

Shure Beta 52 Large Diaphragm DynamicKick drum, bass amp, acoustic bass

Beta 57A Large Diaphragm DynamicDrums, guitar amplifiers, brass, woodwinds, vocals

Beta 58 Small dynamicGood for almost everything

Beta 87A Large Diaphragm CondenserVocals, live performance

Beta 98D/S Mini CondenserToms, snares, percussion

SM7A DynamicVocals, bass amp

SM57 Large Diaphragm DynamicGuitar, guitar amp, drums

SM58 Large Diaphragm DynamicVocals, general purpose

SM81 Large Diaphragm Condenser

Guitar, cymbals, strings, vocals, piano

SM98A Large Diaphragm CondenserDrums, brass, winds

KSM32 Large Diaphragm CondenserVocals, acoustic guitar, winds, ensembles, and drumoverheads

VP88 Large Diaphragm Condenser - Single Point StereoModeled in MS (mono simulation) mode



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Sony C800G Large Diaphragm Tube CondenserVocals: studio and post-production

C37P Tube CondenserGeneral purpose

C48 Large Diaphragm FET CondenserVocals, guitar

Soundelux U95S Medium diaphragm tube condenserMultipurpose microphone

Tannoy Large Vintage RibbonLarge ribbon microphoneClassic broadcast mic

Small Vintage RibbonSmall ribbon microphoneClassic broadcast mic

Telefunken U-47 Large Diaphragm Tube Condenser

An extremely rare vintage version of the U-47 from the dayswhen Telefunken distributed mics for Neumann. This samplewas still equipped with the original tube.



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MicMod EFX Manual

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