Antares kantos 1.0
by Rick Paul, CakewalkNet.com, June 2003
Short of that direct brain-to-music hookup, I imagine the next best thing would be if the composer could just sing a part. It would be nice if he didn't have to worry too much about whether he could sing perfectly in tune. Further, the sounds that emanated from this "instrument", if you will, should sound just like whatever the composer imagined playing that part, complete with any phrasing nuances the composer sang. In particular, there should be none of the limitations that typically affect a keyboard player trying to play, say, a sampled bass part, where the slides and other nuances a real bass player might make either weren't achievable at all or required the keyboard player to jump through hoops, thereby consuming any crumbs of creativity. Does that still sound too futuristic? (Article hosted by cakewalknet.com no longer available.)
Antares kantos 1.0
by Markkus Rovito, Remix Magazine, February 2003
I defy musical hacks to misuse Antares' latest triumph, Kantos 1.0. This plug-in confuses the difference between audio processor and synthesizer by recognizing the amplitude, pitch, harmonic content and formant information of incoming audio and using that to drive its synthesizer. The results are often scary good and sometimes just plain scary. Read Remix's kantos 1.0 review. (PDF format, 224K)
Antares kantos 1.0
by Francis Preve, Keyboard Magazine, October 2002
kantos has a serious buzz surrounding it, as it's an audio-driven synthesizer that relies on the characteristics of an input signal to control and shape its output. One thing is certain, this plug-in is definitely something new under the sun. Read Keyboard's kantos 1.0 review. (PDF format, 300K)
Antares kantos 1.0
Computer Music Magazine, September 2002
It's rare for a truly unique plug-in to hit the market, but from the start, you get the feeling that Kantos is going to be just that. There really isn't anything out there that operates in the way it does, looks the way it does, or sounds the way it does. Read Computer Music's kantos1.0 review. (PDF format, 260K)
Antares Auto-Tune 3
by Michael Cooper, Mix Magazine, February 2002
Available in both software and hardware versions, Auto-Tune corrects the intonation of vocals and instruments, resulting in sweeter-sounding tracks and relieving studio engineers of the gnawing tedium of endless punch-ins to capture takes that sound in-tune. (Article hosted by mixonline.com no longer available.)
Antares Auto-Tune 3
by Greg Rule, Keyboard Magazine, December 2001
Touted as the worldwide standard in pitch correction, Auto-Tune has changed the face of modern recording. Whether being used for Cher-like pitch quantize effects or for invisible correction of notes that were played or sung off-key, Auto-Tune has indeed established itself as the heavyweight champ in its field. Read Keyboard's Auto-Tune 3 review. (PDF format, 196K)
Antares Microphone Modeler 1.1 – A virtual microphone closet for the masses.
by Eric Hawkins,Electronic Musician, October 2000
The affordable Microphone Modeler is a great tool for DAW-based personal studios with limited mic resources. It sounds great and is perfect for everything from mixing to tracking. Microphone Modeler definitely gets my vote as one of the most innovative plug-ins of the year. Read Electronic Musician's AMM review.
Antares Microphone Modeler – Microphone Simulation Plug-in
by John Krogh, Keyboard, September 2000
What it provides musicians and producers is an amazing sculpting and sweetening tool. This fact, and its sheer ease of use, earn it a Key Buy...Mic Modeler never ceased to amaze me. Read Keyboard's AMM review.
Antares ATR-1 – Real-time pitch correction that really works.
by Rob Shrock, Electronic Musician, February 1999
The ATR-1 is one of those products that can save your butt; in fact, it has saved mine twice. It is easy to use and extremely effective once you get a handle on its important parameters. It is very quiet, and it imparts few, if any, perceptible artifacts. Best of all, it can do its thing in real time without destroying the overall feel of the original performance, making it a live-performance tool as well as a studio lifesaver. Read Electronic Musician's ATR-1 review.
Antares ATR-1
by Scott Coburn, Mix Magazine, February 1999
Antares introduced the Auto-Tune pitch correcting plug-in for Pro Tools about two years ago, and the masses went mental. Because it (as well as the subsequent PC version) corrected the pitch of vocals and solo instruments without altering the expressiveness of the performance, Antares was asked to put the same processing in an outboard unit. Voila! Read Mix's ATR-1 review.