TASCAM DM-24 Installation and Use Effects Manual - Page 14

3 - Antares microphone modeling-Selecting a model for output Model microphone parameters As with the source microphone, there are a number of different additional parameters available which can be set. Proximity As with the source microphone, the model can also have a proximity value set (in inches again). Use POD 2, bottom row. When used with the model, it will affect the final character of the sound, as if the source was the specified distance from the model microphone when the recording was made. Note that this setting cannot add "room tone" to a recording, even though the further away a real microphone is from a sound source, the more room tone is added to the final recording. NOTE Since omnidirectional microphones do not exhibit the proximity effect, if the model microphone is omnidirectional or has its pattern set to omnidirectional, this setting will have no effect. Low-cut filter If the modeled microphone is fitted with a low-cut filter, this is also available on the Preserve source settings These settings allow you to make a hybrid microphone, dividing the microphones (both source and model) into their treble and bass components. In this way, the two halves of the microphones can be "sandwiched" together to produce unusual creative effects. Usually, however, you will want to keep the desirable characteristics of the source microphone (for example, a bass response) and eliminate the undesirable side (say, a poor treble response). First, make all the appropriate source microphone settings. Bypassing the system is not a good idea here, as it will not have any useful effects. Tube saturation One of the more attractive aspects of older studio equipment is tube (valve) saturation. The microphone modeler provides you with a way to simulate this on the output side of the modeler. Pick a value of the GAIN which suits your ears. The maximum value which may be set here is +10dB (0.1 dB steps). The signal to be recorded must there- model (if there is no filter available on the actual microphone being modeled, the model does not have a filter available, and shows None). Note that this filter is not a straight low-cut filter-it is a representation of the actual filter incorporated on the physical microphone being modeled. NOTE Although it is not a hard and fast rule, it is a good idea to include the low-cut filter on the model if the filter has been used on the source microphone. Response pattern As with the source micro- phone, the model can also take different response patterns (if the actual physical microphone being modeled is capable of this kind of flexibility-otherwise None is displayed for this option). Pod 3, bottom row is used here. Remember that the modeler cannot spontaneously recreate missing data, so if a recording has been made with the source off-axis, this setting cannot be used to add the frequencies that were lost by the off-axis recording. Use the Preserve Source controls (PODs 1 and 2, second row) to select the portion of the source microphone that you want to keep (either the treble portion on the bass portion). Keeping the original shows PRESERVE, and sending the signal through the processor shows PROCESS. When a portion of the source microphone is preserved in this way, it overrides the corresponding portion of the model microphone. Obviously preserving the source for both the bass and treble portions of the source is not terribly useful (though the proximity settings for both the source and the model remain effective). fore be at a level which is at least greater than -10dB for this to have any effect. Use POD 4, second row to set the amount of gain. However, you should take care that the input level is not increased to the point where digital distortion occurs. 14 TASCAM DM-24 Effects