Universal Audio UAD User Manual Download

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UAD Powered Plug-Ins Manual

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Table of Contents

TABLE OF CONTENTS

Chapter 17. DreamVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

203

Overview

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Signal Flow

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

Resonance (Equalization) Panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Shape Panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Materials Panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Reflections Panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Reverberation Panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Positioning Panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Levels Panel

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

DreamVerb Preset Management

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Spatial Characteristics

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Preset Design Tips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Chapter 18. Empirical Labs EL7 FATSO . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

221

Introduction

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

FATSO Screenshots

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

FATSO Functional Overview

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

FATSO Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Channel Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Global Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229

FATSO Sr. Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

WebZine Article

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Chapter 19. EMT 140 Plate Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

234

Overview

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

EMT 140 Screenshot

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

EMT 140 Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Reverb Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Stereo Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

EQ Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Modulation Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Blend Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Chapter 20. EMT 250 Electronic Reverberator . . . . . . . . . . . . . . . . . . . . . . . .

241

Introduction

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

EMT 250 Screenshot

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Functional Overview

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Program Mode Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Global Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Summary of Contents for UAD

Page 1: ... Green Hills Road Scotts Valley CA 95066 4926 Voice 1 831 440 1176 Fax 1 831 461 1550 www uaudio com Customer Support USA 1 877 MY UAUDIO 877 698 2834 UAD POWERED PLUG INS USER GUIDE SOFTWARE VERSION 6 1 MANUAL VERSION 111025 ...

Page 2: ... Objects have fallen or liquid has been spilled into the unit The unit has been exposed to rain The unit does not operate normally or exhibits a marked change in performance The unit has been dropped or the enclosure damaged FCC Compliance This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed t...

Page 3: ...e or unstable and may prevent you from updating or upgrading the Software iv No reconfiguration The Software is licensed for installation and use only in the manner it was provided to you as configured by an automated installation program provided with the Software or as described in Universal Audio s documentation You may not separate the components contained in the Software or otherwise reconfig...

Page 4: ...ncluding links to Web sites run by others Universal Audio is not responsible for and does not endorse or sponsor this third party information 12 Miscellaneous This Agreement shall be governed by and construed in accordance with the laws of the United States and the State of California as applied to agreements entered into and to be performed entirely within California between California residents ...

Page 5: ...ates 27 UAD Software Installation 28 UAD Hardware Installation 30 Authorization 32 Authorize Plug Ins Procedure 33 Offline Authorization 34 Using Unlicensed Plug Ins Demo Mode 35 Verifying Installation 35 Learn More 37 Software Removal 37 Chapter 3 UAD System Overview 38 The UAD Environment 38 The UAD Hardware 38 The UAD Software 42 The DAW Environment 44 My uaudio com 46 Authorization 46 Chapter ...

Page 6: ...ew 61 Launching the UAD Meter Control Panel Application 62 Using the UAD Meter 62 UAD Meter Elements 63 UAD Control Panel 64 System Information Panel 65 Plug Ins Panel 68 Configuration Panel 71 FireWire Panel 78 Help Support Panel 84 Chapter 7 Using UAD Powered Plug Ins 85 Overview 85 Launching a UAD Powered Plug In 85 The UAD Plug In Window 86 UAD Toolbar 87 LiveTrack Mode 89 Adjusting Parameters...

Page 7: ...ssing 113 Chapter 10 UAD ExpressCard Products 114 Overview 114 UAD 2 SOLO Laptop Details 116 Important SOLO Laptop Notes 119 UAD Xtenda 120 UAD Xpander Details 121 UAD Xpander Connections 123 Xpander Operation 123 Important Xpander Notes 127 Chapter 11 UAD 2 Satellite 128 Overview 128 UAD 2 Satellite Details 129 UAD 2 Satellite Installation 130 UAD 2 Satellite Operation 133 Important UAD 2 Satelli...

Page 8: ...hapter 14 Cooper Time Cube 184 Dual Mechanical Delay Line 184 Cooper Time Cube Screenshot 184 Design Overview 185 Cooper Time Cube Controls 185 Channel Controls 188 Cooper Time Cube Hardware 189 Chapter 15 CS 1 Channel Strip 190 Overview 190 EX 1 Equalizer and Compressor 191 EX 1 Equalizer Controls 191 EX 1 Compressor Controls 192 EX 1M Overview 193 DM 1 Delay Modulator 194 DM 1 Controls 194 DM 1L...

Page 9: ...Chapter 18 Empirical Labs EL7 FATSO 221 Introduction 221 FATSO Screenshots 222 FATSO Functional Overview 222 FATSO Controls 225 Channel Controls 226 Global Controls 229 FATSO Sr Controls 230 WebZine Article 233 Chapter 19 EMT 140 Plate Reverb 234 Overview 234 EMT 140 Screenshot 234 EMT 140 Controls 235 Reverb Controls 236 Stereo Controls 237 EQ Controls 237 Modulation Controls 238 Blend Controls 2...

Page 10: ... 265 Controls 266 Chapter 23 Harrison 32C EQ 270 Overview 270 Harrison 32C EQ Screenshot 270 Harrison 32C EQ and Harrison 32C SE Controls 271 Harrison 32C SE 273 Harrison 32C Latency 274 WebZine Article 274 Chapter 24 Helios Type 69 Equalizer 275 Overview 275 Helios Type 69 Screenshot 275 Helios Type 69 Controls 276 Helios 69 Latency 279 WebZine Article 279 Chapter 25 LA 2A and 1176LN 281 Overview...

Page 11: ...bs IBP Controls 313 Little Labs IBP Latency 314 WebZine article 314 Chapter 29 Little Labs VOG 315 Bass Resonance Processor 315 Little Labs VOG Screenshot 316 Operational Overview 316 Little Labs VOG Parameters 317 Chapter 30 Manley Massive Passive EQ 319 Overview 319 Massive Passive Screenshots 320 Unusual EQ Conventions 320 Massive Passive Mastering EQ 321 Standard vs Mastering Versions 322 Mass...

Page 12: ...3 Neve 1073 Equalizer 349 Overview 349 Neve 1073 Screenshot 349 Neve 1073 and 1073SE Controls 349 Neve 1073SE 352 Neve 1073 Latency 353 Chapter 34 Neve 1081 Equalizer 354 Overview 354 Neve 1081 Screenshot 354 Neve 1081 and 1081SE Controls 355 Neve 1081SE 360 Neve 1081 Latency 360 Chapter 35 Neve 31102 Console EQ 361 Overview 361 Neve 31102 Screenshot 361 Neve 31102 and 31102SE Controls 362 Neve 31...

Page 13: ...e 391 Chapter 38 Nigel 392 Introduction 392 Preflex Plug in 394 Preflex Modules 394 Gate Comp Module 395 Amp Module 398 Amp Controls 399 Cabinet Module 402 Phasor Module 404 Mod Filter Module 407 TremModEcho plug in 411 Trem Fade Module 412 Mod Delay Module 415 Echo Module 419 Chapter 39 Precision Buss Compressor 421 Overview 421 Precision Buss Compressor Screenshot 422 Precision Buss Compressor C...

Page 14: ...440 Overview 440 Precision Equalizer Screenshot 440 Precision Equalizer Controls 441 Control Grouping 441 Modes 441 Band Controls 443 Precision Equalizer Latency 445 Chapter 44 Precision Limiter 446 Overview 446 Precision Limiter Screenshot 447 Controls Overview 447 Precision Limiter Controls 447 Precision Limiter Meters Overview 448 Precision Limiter Latency 453 Chapter 45 Precision Maximizer 454...

Page 15: ...476 Low Frequency Controls 477 High Frequency Controls 478 High Attenuation Controls 478 Pultec MEQ 5 Screenshot 479 Pultec MEQ 5 Controls 479 Low Peak Controls 480 Dip Controls 480 High Peak Controls 480 MEQ 5 Response Curves 480 Chapter 48 RealVerb Pro 484 Overview 484 RealVerb Pro Background 485 Spectral Characteristics 486 Resonance Equalization 491 Timing 492 Positioning 494 Levels 495 Morphi...

Page 16: ...ransient Designer Screenshot 512 SPL Transient Designer Controls 513 WebZine Article 514 Acknowledgement 515 Applications 515 Technology 519 Chapter 53 SSL E Channel Strip 523 Large Format Mix Module 523 SSL E Channel Strip Screenshot 524 SSL E Channel Strip Controls 524 Filters 525 Dynamics 526 Compressor Limiter 526 Gate Expander 527 EQ 530 Global 534 Usage Notes 535 WebZine Article 536 Chapter ...

Page 17: ... Overview 543 Primary Controls 546 Secondary Controls 549 Studer A800 Latency 555 Chapter 56 Trident A Range EQ 557 Overview 557 Trident A Range EQ Screenshot 557 Operational Overview 558 Trident A Range EQ Controls 559 Trident A Range Latency 561 WebZine Article 561 Chapter 57 History 563 Bill Putnam Sr 563 Classic Compressors 567 Pros Talk UA 570 Thank You 574 ...

Page 18: ...y priced UAD 2 device Up to four UAD 2 devices can be mixed and matched to conveniently scale the DSP power you want at the price you can afford Start with a Nevana 32 and instantly run a 32 channel Neve 88RS console Then simply add more devices for additional outboard FX or more mix channels as your needs grow Pro power users can now use up to four UAD 2 Quads for the most demand ing applications...

Page 19: ...pdates and im proved rollover help There s also a new streamlined web shopping experi ence via a completely re designed UA website with integrated audio and video demo s tutorials in depth webzine articles FAQ s and enhanced sup port so you can really get the most out of your UAD 2 Developing the UAD 2 as well as Universal Audio s entire line of quality au dio products designed to meet the needs o...

Page 20: ...faster than real time processing for mix bounces LiveTrack low latency mode for monitoring tracking and performance not available on UAD 2 Satellite SessionMap bi directional UAD 1 UAD 2 session compatibility L O D E Live Optimizing DSP Engine automatically balances DSP loads LoadLock ensures resource availability on loaded plug ins Redesigned plug in Toolbar includes improved preset management Re...

Page 21: ...rview Package Contents Each UAD retail package includes Printed Information Sheet UAD DSP hardware device UAD Software Installer CD ROM with PDF user documentation UAD 2 Satellite Chapter 11 UAD 2 Satellite and UAD 2 SOLO Laptop Chapter 10 UAD ExpressCard Products have additional contents Documentation Overview This section describes the various instructional and technical resources that are avail...

Page 22: ...on Mac Startup Disk Applications Powered Plug Ins Tools Documentation Manual Conventions UAD Powered Plug Ins is a cross platform solution for both Windows and Mac computers The UAD hardware device can be installed into either platform it is the exact same hardware for both platforms Operation of the plug ins is practically identical regardless of the host system platform and application However c...

Page 23: ...es for important technical information in cluding the latest release notes host application notes and more The main UAD Powered Plug Ins support website is Support Website http www uaudio com support uad Videos Our support website contains many helpful videos that explain how to install UAD hardware and software register and authorize the products obtain op tional plug ins and more http www uaudio...

Page 24: ...al 1 831 440 1176 FAX 1 831 461 1550 Online Support To request online support please visit our support page then click the Sub mit Support Ticket button to create a help ticket http www uaudio com support uad Factory Address Universal Audio Inc 1700 Green Hills Road Scotts Valley CA 95066 4926 USA Main Website http www uaudio com Feedback Your feedback on the performance and features of UAD Powere...

Page 25: ...Your host computer must meet the hardware and software requirements to operate properly and you need a supported VST RTAS or Audio Units host application to run the UAD Pow ered Plug Ins UAD 2 SOLO Laptop and UAD Xpander These ExpressCard products have their own set of hardware connection and operation instructions Refer to Chapter 10 UAD ExpressCard Products for complete details UAD 2 Satellite T...

Page 26: ...0 expansion port for UAD 2 Satellite 512 MB RAM 1 GB or higher is strongly recommended 600 MB available hard drive space for UAD 2 or UAD 1 install 800 MB available HD space for combined UAD 2 plus UAD 1 install 1024 x 768 or higher resolution monitor CD ROM drive or internet connection for software installation Internet connection required for registration and plug in authorization Compatible VST...

Page 27: ...te Please visit the UAD support pages for the latest bulletins http www uaudio com support uad Software Updates The CD ROM in the retail package may not contain the latest UAD software Check our website for software updates http www uaudio com support uad downloads html If the UAD software is already installed the UAD Meter Control Panel ap plication has a convenient button that checks for the mos...

Page 28: ... op tions during each UAD installation Partial installations are not possible Important Select all desired options each time the UAD installer is run Pre viously installed components are deleted during installation Win Mac Software installation and removal for Windows and Mac platforms have their own particular procedures each are described below Important Close all open files and applications bef...

Page 29: ... 32 You can use the UAD Meter Control Panel to verify installation see Verify ing Installation on page 35 Note If you want to install the UAD plug ins into another application run the installer again Mac Install Software Installation Procedure for Mac Systems Important Verify the computer system date and time are set correctly be fore installing the software and or launching the UAD Meter Control ...

Page 30: ...up Disk Library Application Support Digidesign Plug Ins UAD Hardware Installation The UAD software should be installed before installing the UAD DSP de vice s See the previous section for software installation instructions ExpressCard Products The UAD Xpander and UAD 2 SOLO Laptop are UAD products that are de signed for use with the ExpressCard expansion slot typically found on note book computers...

Page 31: ...Ie cards Although these cards can be installed in any x1 x4 x8 x16 PCIe slot putting a them in any PCIe slot faster than x1 will not improve performance Installing the UAD Cards After installing the UAD Powered Plug Ins software install the UAD DSP card s Hardware installation is the same for all platforms To install the UAD DSP and or UAD Xtenda card s 1 Install the UAD software first page 28 2 P...

Page 32: ...into the slot with firm even pressure The card should pop into place The top of the slot on the motherboard should be flush and parallel with the edge of the UAD card 9 Secure the card with the previously removed screw 10 Replace the computer case Hardware installation is now complete Proceed to Authorization in the next section Authorization Your UAD device must be registered at my uaudio com to ...

Page 33: ...s chapter the system must be operating properly 2 Launch the UAD Meter Control Panel application see page 62 and open the Plug Ins panel see page 64 3 Click the Authorize Plug Ins button page 68 The my uaudio com online store opens in the default web browser If you don t already have a my uaudio com account you are directed to cre ate one Follow the instructions online If you already have a my uau...

Page 34: ...t the computer is not connected to the internet 4 You must enter this URL into a web connected computer so either a Drag the URL icon to the Desktop to create a weblink shortcut then trans fer the weblink shortcut to the internet computer preferred Figure 4 on page 35 OR b Carefully write down the URL EXACTLY as it appears 5 Go to the URL using a web browser on an internet connected computer Doubl...

Page 35: ...ed UAD plug ins after authorization see Demo Mode on page 51 To redeem vouchers or coupons or purchase additional UAD plug in licenses see UA Online Store on page 52 Verifying Installation The UAD Meter Control Panel displays the current resource loads of the UAD DSP hardware device in realtime It also contains the System Information panel where UAD software and hardware installation can be verifi...

Page 36: ... logo on the black housing On UAD 2 Satellite the LED is on the rear panel Alternating red and green When the LED alternates between solid red and solid green the device is powered up properly but the UAD driver is not yet loaded or communicating with the device This is the expected state if the device is installed but the soft ware is not yet installed or when booting the system and the UAD drive...

Page 37: ...ideos that explain how to install the hardware and software register authorize and use the product obtain optional plug ins and more http www uaudio com blog cat videos Software Removal To remove all UAD software from the computer Windows 1 From the Windows Start Menu at select Start All Programs UAD Powered Plug Ins Remove UAD Powered Plug Ins Mac 1 Launch the UAD Powered Plug Ins Installer appli...

Page 38: ...y uaudio com is not required during normal system use it is essen tial for initializing the overall UAD system because authorization is required to use UAD Powered Plug Ins see Authorization Overview on page 48 The UAD Hardware The UAD DSP Digital Signal Processing hardware accelerator devices pro vide the power behind UAD Powered Plug Ins Most of the UAD plug ins use extremely complex algorithms ...

Page 39: ...rovides approximately 2 5x the processing power of the UAD 1 therefore one UAD 2 Quad offers approximately 10 times the pro cessing power of UAD 1 When comparing the processing power of UAD 2 to UAD 1 a range is given because there are many variables that affect UAD 2 DSP loads such as plug in type host system etc Therefore a single direct comparison cannot be made UAD 2 PCIe Cards UAD 2 PCI Expre...

Page 40: ... 2 Bundles Each UAD 2 device type is available in three different retail packages to best accommodate your budget and processing requirements The packages have different device types Solo Duo Quad and UA online store vouchers of varying value These flexible good as cash vouchers are used for purchas ing optional UAD plug ins UAD 1 Family The UAD 1 card family includes UAD 1 UAD 1e and UAD Xpander ...

Page 41: ...essCard to PCIe adapter card that en ables the UAD Xpander and UAD 2 SOLO Laptop to be used in desktop computers that have PCIe expansion slots The UAD Xtenda system provides a convenient way to switch the same UAD ExpressCard unit between desktop and notebook computers Note UAD Xpander and UAD Xtenda are discontinued products Mackie UAD 1 The Mackie card is a UAD 1 Mackie was the worldwide distri...

Page 42: ...ware installer always installs the complete suite of all available Powered Plug Ins All of the installed UAD plug ins may not be licensed how ever The included licenses depends on the retail package bundle see Bun dled Plug Ins on page 48 Optional Plug Ins Most UAD plug ins require optional licenses to run without restrictions Op tional plug in licenses are obtained at my uaudio com the Universal ...

Page 43: ...etween the host application and the UAD hardware The host application uses the driver to route UAD signals in the DAW Each UAD device family UAD 2 or UAD 1 has its own set of drivers One or both are specified during UAD software installation depending on which de vice type s you have installed UAD Buffers and Latency The UAD drivers use buffers to shuttle audio signals to and from the device This ...

Page 44: ...e host computer must meet min imum technical requirements and have one or more compatible expansion slots to use with UAD hardware See System Requirements on page 26 for complete details Operating System The host computer runs an operating system either Win dows or Mac OS that defines the OS platform of the sys tem UAD Powered Plug Ins is a cross platform product that is for all practical purposes...

Page 45: ... for all practical purposes functionally identical in all three plug in formats The format of the installed UAD plug in files are specified during UAD software installation VST The VST Virtual Studio Technology plug in format is de veloped by Steinberg and is supported by various Win dows and Mac host applications RTAS The RTAS Real Time AudioSuite plug in format is devel oped by Avid and is suppo...

Page 46: ...ormances but usually results in a higher host computer CPU load since the system has to work harder transferring data Latency and buffers are discussed in greater detail in Chapter 9 UAD Delay Compensation My uaudio com My uaudio com is the UA online store where UAD devices are registered to your account and authorization files can be obtained Bundled plug in vouch ers are redeemed at the store an...

Page 47: ...ontrol Panel For instructions see Authorize Plug Ins Procedure on page 33 For complete details see Authorization Overview on page 48 Optional Plug Ins Most UAD Powered Plug Ins require optional licenses to run without restric tions Optional plug in licenses are obtained at my uaudio com the Universal Audio online store Licenses can be purchased separately page 53 or they can be purchased with vouc...

Page 48: ...s are used for promotional offers only they are not included in retail packages Coupons can be used only once Tip Coupons are a great reason to subscribe to promotional announce ments Email subscription preferences are specified on your My Profile page at my uaudio com see My Profile on page 53 Plug Ins are already installed The UAD software installer always installs the complete suite of availabl...

Page 49: ...anel Clicking this button automatically registers the in stalled UAD devices generates the authorization file and downloads it to disk Just double click the downloaded authorization file to any UAD Meter Con trol Panel icon and you re ready to use UAD Powered Plug Ins When autho rizing you ll be prompted to log into your account if you aren t already and if you don t already have an account you ll...

Page 50: ...constrained to only authorize the licensed UAD plug ins running on the UAD devices in the same System The same authorization file authorizes all the devices and plug ins in the host computer If you register a UAD device that is in a second host computer using the same my uaudio account a second System is automatically created at My Systems In accordance with the Plug In License Policy on page 55 y...

Page 51: ...period When the demonstration mode is activated the plug in will run without func tional limitations for 14 days Demo mode can be activated once only After the demo trial period has expired demo mode cannot be activated again on the same UAD device If an unlicensed plug in is loaded and its demo has never been started a di alog appears with instructions to start the demo and the option to visit th...

Page 52: ...ssage instructing you to quit the host application is dis played Manipulating the computer s system date and time will result in a decreased demo period UA Online Store The UA online store at my uaudio com Figure 6 is where optional UAD plug in licenses and other UA products can be purchased Vouchers and pro motional coupons are also redeemed here All UAD device registrations and plug in authoriza...

Page 53: ...d password and set your email notification prefer ences Login When you revisit my uaudio com you are prompted to login to your account Your email address is your account login the password was specified when the account was created If you forget your password you can have the store email your password to you You have the option to stay logged in via a browser cookie if desired so you don t have to...

Page 54: ...irm Order once The transaction is processed and the order complete page appears 8 Purchased UAD plug in licenses are issued immediately to My Systems Any authorization file downloaded after this point contains the new license 9 Download a new Authorization File by clicking the Authorize Plug ins but ton in the UAD Meter Control Panel 10 Double click the downloaded authorization file The authorizat...

Page 55: ... computer system concurrently The devices can be any combi nation of UAD 2 family and or UAD 1 family devices up to four of each for a total of up to eight UAD devices in one computer See If a UAD Powered Plug In is loaded on a device then that device is sub sequently disabled an error message will be displayed This occurs because a plug in is assigned to a device when it is first instantiated It ...

Page 56: ... or UAD 2 Satellite registration if an existing UAD system s is detected in your account there will be two options avail able Option 1 Link License Registration Use this option if you want to link your UAD 2 SOLO Laptop and or UAD 2 Satellite to the UAD plug in licenses of an existing UAD system in your My Uaudio account This option allows you to use the existing UAD plug in licenses you already o...

Page 57: ...installed devices are authorized simultaneously If one de vice is authorized then another device is added without downloading a new authorization the optional plug in will only load on the previously authorized device To obtain a new authorization file for additional devices use the Au thorize Plug ins button page 68 in the UAD Meter Control Panel UAD 1 with UAD 2 When using UAD 1 and UAD 2 device...

Page 58: ...ponents in the system Don t skimp on the power supply unit When building a custom system a quality sufficiently rated PSU is critical for system stability IRQ Conflicts Under rare conditions running multiple UAD cards may cause an IRQ conflict which can cause system instability or freezes If this occurs try moving the UAD card s to different slots and or contacting UA for technical assistance Mult...

Page 59: ...ol Panel is quit disabled devices are re enabled Note For optimum results quit any applications using UAD plug ins before disabling enabling devices If a UAD Powered Plug In is loaded on a device then that device is subse quently disabled an error message will be displayed This occurs because a plug in is assigned to a device when it is first instantiated It stays assigned to the same device until...

Page 60: ...o minimize latency during tracking by using a smaller buffer size which will increase host CPU and need a bit more host CPU disabling one or more UAD devices during tracking may give the extra pinch of host CPU you need The buffer size can then be increased and the UAD device s re enabled for mixing ...

Page 61: ...are installed together in the same system When only one de vice type is installed only that device type is displayed The UAD Control Panel Window page 64 has multiple panels that display and modify various system plug in and configuration parameters Note The Quit Minimize and Menu button positions shown in Figure 4 are as they appear on Mac systems The button positions are reversed on Win dows sys...

Page 62: ... active to use UAD Powered Plug Ins It is completely independent and does not require a host application You can move the UAD Meter to a convenient location on your screen by dragging its window title bar Always On Top The UAD Meter window can be set to normal or Always on top floating view mode In normal mode the window can be covered by windows of the foreground application When in Always on top...

Page 63: ...le the UAD Meter Control Panel application is open When the UAD Meter Control Panel is quit Disable Current is deactivated Resource Gauges The UAD resource loads are displayed in the UAD Meter window which are constantly updated in realtime even when the UAD Meter is not the fore ground application This allows you to monitor UAD loads as needed for ex ample when deciding which UAD plug ins to load...

Page 64: ...M gauges are not displayed for UAD 1 devices Memory The Memory gauges indicate the percentage of UAD RAM that is currently in use It indicates the total available UAD memory available regardless of the number of UAD processors that are installed Memory is used for echo delay lines reverb and similar spatial processing When UAD plug ins are disabled memory requirements are not decreased In this cas...

Page 65: ... currently installed UAD Powered Plug Ins software version is displayed Important The UAD driver and plug in versions must match If they don t a driver mismatch error will occur when attempting to process audio If this occurs you must reinstall and or reauthorize the UAD software Check for Updates This button checks our web server to find out if a more recent version of the UAD software is availab...

Page 66: ... and the sample rate The window uses this information to calculate and display the re sulting latency in samples and milliseconds The buffering methods used by UAD 2 and UAD 1 drivers are different for the two device types which is why the latency differs between the devices Note Displayed latency does not reflect the actual lowered latency value when LiveTrack mode page 89 is active Figure 10 The...

Page 67: ...ce displays Status OK the hardware is operating properly The total number of UAD plug ins loaded on each device is also displayed here Device Enabled Individual UAD devices can be disabled using the Device Enabled but ton This can be useful for example if creating a session on a system with multiple devices that will be transferred to a system with fewer de vices to streamline the performance of t...

Page 68: ...ll UAD plug ins Plug Ins Panel The Plug Ins panel Figure 11 on page 70 displays the current authorization status of all UAD plug ins This is also where you can activate plug in Demo Mode UA Online Store on page 52 and configure UAD plug ins to run on a specific device Use the scrollbar to view plug ins that are not visible in the list Authorize Plug ins button This important button links directly ...

Page 69: ...started for the plug in Click the START DEMO button to begin the 14 day trial period Demo days remaining If the14 day trial period has been activated but is not yet expired the number of days remaining is displayed here in green text Important The 14 day demo period can only be activated once and can not be stopped or restarted during this period We recommend you do not ac tivate demo mode until y...

Page 70: ... On Column The Run On column indicates which device UAD 2 or UAD 1 the specified plug in will load onto When both UAD 2 and UAD 1 are installed you can select between them with the Run On menu in order to better manage your DSP resources Figure 11 The UAD Plug Ins panel ...

Page 71: ...namically it is designed to be set and forget because the value is not stored within sessions Help Column Click the Help button to open the UADManual pdf the file you are reading now Buy Column If the computer is connected to the internet clicking Buy links to the plug in product pages at the UA online store See UA Online Store on page 52 for purchasing details Configuration Panel The UAD Configur...

Page 72: ...oading the host system with na tive host based plug ins can cause dropouts and possibly system lockup Steinberg hosts for example provide a switch that allows you to trade la tency for stability when the system is overloaded Similarly the UAD DSP load cannot exceed 100 without unpredictable behavior Figure 12 The UAD Configuration panel ...

Page 73: ...et where another UAD plug in can t be added even when the UAD Meter says you should have DSP available when compared to the DSP Load Limit value Note When Limit DSP Load is enabled and the DSP load limit is exceeded when instantiating a new UAD plug in an overload message will appear and the plug in toolbar will display DISABLED Even though its interface will load the plug in will not process audi...

Page 74: ...ering Extra Buffering adds an additional 64 samples of buff ering for increased host application compatibility Ap plications that are known to require Extra Buffering include Sony Vegas Acid and Soundforge and Sonar Cakewalk In other hosts you can disable this mode to reduce latency If your application is incompatible with reduced latency when Extra Buffering is off a dialog will be displayed indi...

Page 75: ... chipset or performance may be compromised Mac G5 Systems The AMD 8131 chipset is used in most Mac G5 systems The UAD software automatically determines when it is running on a G5 with AMD 8131 and sets the mode appropriately If the UAD is in an external PCI expansion chas sis AMD 8131 mode should be unchecked Host Compatibility Windows Enable CPU Optimization When this setting is enabled host CPU ...

Page 76: ...ct until all open sessions con taining UAD plug ins are reloaded Mac Force Logic to use live mode for tracks with UAD plug ins When UAD plug ins and Logic 7 2 1 and higher are used together and this setting is checked all Logic tracks with UAD plug ins are forced into Logic s live mode and latency is reduced Reduced latency is useful for tracking when Logic s Software Monitoring feature is active ...

Page 77: ...nob while drag ging in a circular motion Linear slider In Linear mode the knob is adjusted by dragging horizontally or vertically instead of by rotating This behavior is similar to moving a physical fader Circular jump In Circular mode the software knobs behave similar to physical rotary knobs Values are changed by clicking on the knob then rotating in a circular direc tion When the edge of the kn...

Page 78: ... FireWire settings do not apply to UAD PCI PCIe devices The UAD 2 Satellite is an external UAD device that con nects via FireWire as opposed to PCI PCIe or ExpressCard see Chapter 11 UAD 2 Satellite for details Note The FireWire Panel is only displayed if UAD 2 Satellite is connected FireWire System The FireWire System parameters pertain to the configuration of the FireWire bus These settings affe...

Page 79: ...7 FireWire Bandwidth vs UAD DSP on page 143 and FireWire Bus Power on page 144 Current Link Speed The current speed of the FireWire link between the host computer and the UAD 2 Satellite is displayed here The active link speed can be changed with the Target Link Speed control if FW400 and FW800 are both supported by the host system Figure 13 The UAD FireWire panel ...

Page 80: ... ing the Target Link Speed to 400 may actually improve performance and or stability on systems not optimized for FireWire 800 operation Tip Twice as many UAD 2 Satellite plug ins can be run at 800 versus 400 so configure the FireWire system to run at 800 if supported by the computer UAD Bandwidth Allocation This parameter determines how much of the total available FireWire bus bandwidth will be re...

Page 81: ... the Bandwidth Metering section of the FireWire Panel UAD 2 Satellite page 82 when UAD plug ins are NOT running The value indicated in orange is the percentage of FireWire bandwidth that is used by all the devices except UAD 2 Satellite 5 Subtract the Used by other devices percentage from 100 and enter the difference as the UAD Bandwidth Allocation Done UAD Bandwidth Allocation Example If all the ...

Page 82: ...e rate used by the Plug In Calculator To change the value click the down arrow to display the drop menu then select the desired value When a UAD 2 Satellite plug in is loaded by the host software the session sample rate is entered automatically In this scenario the parameter cannot be modified until the host is quit Note The At the following sample rate parameter is only used by the Plug in Calcul...

Page 83: ...nel is also displayed in the UAD Meter when UAD 2 Satellite is connected see Figure 7 on page 61 The total range of the gauge is 100 reflecting the total available bandwidth of the FireWire bus The UAD Bandwidth Allocation is displayed in green UAD usage is dynamically displayed in blue and usage by all other devices is displayed in orange The sum of UAD and peripheral usage is also dis played as ...

Page 84: ... Click a button to launch the URL in your default web browser you must be connected to the internet to launch the web pages If the UAD computer isn t online much of the information is in the manual you re reading now find it in Table of Contents Index or search View User Manual is the only button that doesn t link to the internet Instead licking this button opens the UAD User Manual the file you r...

Page 85: ...T 140 Precision Multiband Nigel Roland RE 201 Neve 1073SE 1081SE 33609 and Moog Multimode Filter cannot run at 176 4 kHz and above on UAD 1 Resolution is limited only the by resolution of the host application Please note that Powered Plug Ins running at 96 kHz use twice as much UAD DSP resources than those used at 48kHz and so forth Launching a UAD Powered Plug In Each host application has its own...

Page 86: ...ically contains several control parameters for modify ing the behavior of the plug in and display elements such as meters for visual feedback The UAD Toolbar is also displayed Figure 17 Launching a UAD Powered Plug In in Apple Logic Pro Figure 18 A typical UAD plug in window Display only element not a control parameter UAD Toolbar common to all UAD plug ins Typical interactive control parameters ...

Page 87: ...view UAD Toolbar Below every UAD Powered Plug In when displayed in normal GUI view is the UAD Toolbar Figure 20 The Toolbar has several useful features that make using UAD plug ins more convenient Device Indicator The text at the left of the Toolbar indicates which UAD device the plug in is running on either UAD 1 or UAD 2 If both de vices are installed you can specify which device the plug in run...

Page 88: ...perfor mance without losing your settings Preset Families Functions in the menu are also supported between family based plug ins For example preset load save and settings copy paste are all interchange able within the UAD CS 1 family which includes CS 1 DM 1 DM 1L EX 1 and RS 1 The Nigel family can share presets and settings as well Load Save Preset When the Load Preset or Save Preset function is ...

Page 89: ...ngs between UAD plug ins select Copy Settings from the drop menu of the source plug in then select Paste Settings from the drop menu of the destination plug in Note If the menu displays Cannot Paste Settings then settings were not copied first or the paste destination is an incompatible plug in LiveTrack Mode Overview LiveTrack Mode reduces latency on an active UAD 2 plug in to the lowest possible...

Page 90: ...s red LiveTrack Mode can be activated simultaneously on multiple UAD 2 plug ins However host system CPU loads will increase with each LiveTrack Mode in stance Status Indicator The Status indicator see Figure 20 on page 87 displays information about the current state of the plug in Each state is described below Start Demo When START DEMO is displayed the 14 day trial period for the particular plug ...

Page 91: ...ortcuts for your convenience To select the shortcuts click the question icon in the Toolbar then a shortcut from the drop menu that appears Select Manual to open the UADManual pdf the file you are reading now Select Web Info to visit the product pages for the plug in on our website re quires internet connection Adjusting Parameters The parameter settings for each of the UAD Powered Plug Ins can be...

Page 92: ...sed to adjust knob and slider con trols if the host application supports this functionality Place the mouse cursor over any knob or slider control to increment or decrement the parameter value with the scroll wheel Keyboard Control Mac If you control click a control it selects that control for keyboard control This is useful for when you re in circular mode and you want to fine adjust a control No...

Page 93: ... 6 plug in can t load Multi DSP UAD 2 systems use significantly enhanced load balancing routines UAD 2 plug ins are always allocated as efficiently as possible which is not necessarily on the DSP with the lowest resource usage Table 3 Keyboard shortcuts Keyboard Action Result Control Click Parameter Mac only Select parameter for keyboard control without changing its value Shift Drag Fine Control U...

Page 94: ...h successive UAD Powered Plug In instance will slightly decrease A chart showing expected plug in counts can be found on our website http www uaudio com support uad charts html Host CPU Loads The host system memory and CPU are never used for Powered Plug Ins pro cessing However there will always be a small amount of load on the host CPU induced by data transfers and user interface operations This ...

Page 95: ...arameters can be controlled by an external MIDI con troller if this feature is supported by the host application Each host applica tion has its own particular methods for external MIDI control Consult the host application documentation for specific instructions on using external MIDI control with the application ...

Page 96: ...nc to the tempo of the host application using the displayed note value Note Not all host applications support Tempo Sync In such hosts the tempo sync features will not function Tempo Sync Plug Ins Tempo Sync is supported in the UAD plug ins listed in Table 4 Figure 21 The Tempo Sync feature within UAD DM 1L Table 4 UAD Plug Ins with Tempo Synchronization UAD Roland RE 201 UAD Nigel UAD CS 1 UAD Ph...

Page 97: ...syncing to tempo in odd time signatures as well the common 4 4 time signature LFO rate parameters have their note values listed from longest to shortest since long note values correspond to slow LFO rates A quarter note is always a quarter note independent of the time signature In different time signatures a quarter note can represent different numbers of mu sical beats e g 6 8 or different fracti...

Page 98: ...ues Arrow Keys After clicking the parameter to select it the arrow keys can be used to scroll through available note values Text Entry Direct text entry is also available see Text Entry on page 92 Any notation values can be entered fraction or decimal and the values are automatically converted to the nearest appropriate setting For example If 3 4 or 6 8 is entered using text entry 1 2D is displaye...

Page 99: ...simultaneously available for Tempo Sync However when the plug in is set to a Chorus or Flanger mode only the Rate is available for Tempo Sync This enables the more typical and musical cho rus flange effect by only syncing the modulation Rate to the tempo while the delay time remains constant In UAD Nigel and the submodules within Nigel there are several ModFilter modes that cannot be tempo synchro...

Page 100: ...e imprecise approximations but are within the available delay time range are displayed with a or symbol The leading head in the current mode is accurately synced the other values are based on the fixed tape head relationship Note that when a parameter note value is out of range of the current tempo note value the note value flashes instead of in pa rentheses on a red background as in Figure 22 ...

Page 101: ... plug in host applications automatically compensate for this latency when plug ins are used on track inserts by simply turning on the Plug in Delay Compensation PDC or similar Preferences setting Many hosts even provide Full Plug in De lay Compensation throughout the entire signal path including sends groups and buses UAD latency and plug in delay compensation is managed automatically by host appl...

Page 102: ...mation about using UAD Powered Plug Ins for live performance and during recording see Live Processing on page 113 For information about using UAD Powered Plug Ins on audio tracks while si multaneously running MIDI tracks see Live Processing on page 113 Table 6 Host Application plug in delay compensation Implementations Full PDC Platform Partial PDC Platform Steinberg Cubase SX 2 Win Mac Logic 5 6 ...

Page 103: ...tion Emagic Logic Audio PC Options Menu Preferences Audio Preferences Apple Logic Pro Preferences Audio MOTU Digital Performer 4 5 Setup menu Configure Audio System Con figure Studio Settings Cakewalk Sonar Sony applications Mackie Tracktion Automatic No preference for enabling disabling other than turning off or removing plug ins that require delay compensation Samplitude Options Menu Project Pro...

Page 104: ...ite for real world examples formatted for several popular host applications Plugs Parameter The DelayComp Plugs parameter value to be used on an unprocessed track or tracks is simply the number of UAD Powered Plug Ins that are being used in se quence on the send group or bus For example if three separate sends are used and each send has one in stance of UAD plug ins the Delay Compensator Plugs val...

Page 105: ... bass drums guitar and 2 vocal tracks You want a fantastic reverb on the vocals so you send both vocal tracks to the UAD RealVerb Pro via an effect send Result The RealVerb Pro effect return plays late in relation to the dry tracks Solution Send the output of all the tracks including the dry vocal tracks but NOT the RealVerb Pro return to a different send group bus and put one UAD DelayComp with a...

Page 106: ...ses unless full path latency compensation is im plemented in the host If the MIDI track was an audio track you would use the UAD DelayComp on it to compensate for the latency But you can t put a UAD DelayComp on a MIDI track so what to do Enter the UAD 1 Track Advance plug in TrackAdv for short It operates just like the DelayComp plug in but backwards Instead of delaying unprocessed tracks it shif...

Page 107: ...n sert would be one However if one send group bus is used that has three in stances of UAD Powered Plug Ins stacked up the TrackAdv Plugs value for the tracks inserts would be three Note The TrackAdv Plugs value on the track insert matches the total of UAD Powered Plug Ins used serially stacked one above another in series on the send group bus that the track is assigned to NOT the total number of ...

Page 108: ...e vocals on au dio tracks and a MIDI bass line You want a smoother vocal blend so you put both vocal tracks on a group bus for compression with the 1176LN Result The vocal tracks play late in relation to the instrument tracks Solution Put a TrackAdv with a plug in value of 1 on the track inserts of the vocal tracks Keep the Sample value at zero Note that the DelayComp plug in is not need at all in...

Page 109: ... For example if using both MEQ 5 and EQP 1A within a single Pultec Pro only one in stance compensation is required Since the maximum Samples value in one DelayComp instance is 128 more than one DelayComp instance will be required in series if the com pensation value from Table 7 on page 110 exceeds 128 Latency compensation techniques for upsampled plug ins apply to UAD Track Advance page 113 as we...

Page 110: ...through However the latency through the dry side of the wet dry mix and the latency when the plugin is bypassed via the EMT 250 Power switch page 252 do not have this issue and will be fully compen sated by the DAW Table 7 Upsampled UAD plug ins with additional latencies Sample Rate kHz Upsampled Plug In 44 1 48 88 2 96 176 4 192 Pultiec EQ Pultec Pro UAD 1 13 UAD 2 31 UAD 1 13 UAD 2 31 13 13 0 0 ...

Page 111: ... upsampled plug ins because of the linear reconstruction of the filter bank Because manually compensating for Precision Multiband latency in hosts that don t support full plug in delay compensation can be complicated to avoid timing errors in these hosts we generally recommend using Precision Multi band only on outputs so no manual compensation is required The PMB Formula To manually compensate fo...

Page 112: ...timing is cor rectly aligned Here s another example with the same track setup but with a session sample rate of 48kHz and an I O buffer size of 1024 samples Use the formula to ar rive 16 896 2048 8 25 When a non whole number results from the formula the Samples parameter must be used in addition to the Plugs parameter The Samples value to use is the fraction in this case 0 25 times the UAD latency...

Page 113: ...onment where some latency is unavoidable Realtime latency is displayed in the System Information panel page 65 within the UAD Meter Control Panel application UAD 1 Minimizing realtime latency is simply a matter of setting the audio I O inter face device driver buffer setting as low as possible before system overloads or diminished audio quality such as distortion occurs The manufacturer of the sou...

Page 114: ...aptop enables large pro fessional mixes on notebook DAWs without the need for external cabling or a power supply See UAD 2 SOLO Laptop Details on page 116 UAD Xpander The UAD Xpander is the world s first ExpressCard audio DSP expansion sys tem for Mac OS X and Windows Vista notebook computers The UAD Xpander has identical DSP power as the UAD 1 series of desktop prod ucts and is fully compatible w...

Page 115: ...website Please visit the UAD support pages for the latest bulletins http www uaudio com support uad ExpressCard Videos Our support website contains many helpful videos that explain how to install the hardware and software register and authorize the product obtain op tional plug ins and more http www uaudio com support uad videos html UAD 2 SOLO Laptop Instructions All instructions that apply speci...

Page 116: ... Adapter UAD DSP Family Quickstart Guide DVD UAD Powered Plug Ins software CD ROM Important Information Sheet Universal Audio Full Line Catalog SOLO Laptop System Requirements To use the UAD 2 SOLO Laptop your system must meet the minimum system requirements for UAD Powered Plug Ins see System Requirements on page 26 in addition to the UAD ExpressCard product specific requirements UAD 2 SOLO Lapto...

Page 117: ... two tabs on the bottom and one in the middle that snap into place on the SOLO Laptop de vice To install the ExpressCard 34 to ExpressCard 54 Adapter 1 Line up the bottom two tabs on the adapter with the corresponding holes on the SOLO Laptop device The wide end of the adapter aligns with the non con nector end of the ExpressCard 2 Snap in the middle tab and the adapter will click into place Done ...

Page 118: ... loss Note The UAD 2 SOLO Laptop device may be removed when the system is active as long as the steps below are followed To remove the UAD 2 SOLO Laptop device 1 Save your sessions and quit all UAD host software audio applications and the UAD Meter Control Panel 2 Remove the UAD ExpressCard from the expansion slot Done Note It is not necessary to power down the device in software using the Power O...

Page 119: ... is active could cause the system to crash Quit all UAD hosts before removing the device ExpressCard 54 adapter Windows Use the ExpressCard 34 to ExpressCard 54 adapter with ExpressCard 54 slots The UAD 2 SOLO Laptop device uses the ExpressCard 34 form factor When the device is installed in systems with the wider ExpressCard 54 slot the enclosed ExpressCard 34 to ExpressCard 54 adapter should be u...

Page 120: ... maximum The UAD drivers and plug ins are the same for the UAD 1 UAD 1e UAD 2 Solo Duo Quad UAD 2 SOLO Laptop and UAD Xpander See Chapter 5 Using Multiple UAD Devices for detailed in formation Xtenda Package Contents The UAD Xtenda package should contain the following items UAD Xtenda PCIe expansion card UAD Link Cable Xtenda Installation Installing the UAD Xtenda card uses the exact same procedur...

Page 121: ...sential plug ins plus the UAD Xpander Xpress includes a 500 voucher and the UAD Xpander Xpert a 1000 voucher which allows complete flexibility in choosing from UA s premium col lection of mixing and mastering plug ins available 24 7 at my uaudio com The UAD Xpander Xtreme includes every Powered Plug In up to and including those available in UAD software version 4 5 Package Contents The UAD Xpander...

Page 122: ... If the UAD software is already installed the UAD Meter Control Panel has a convenient button that links to the updates page Check for Updates on page 65 Xpander Install Location When selecting a location to position the UAD Xpander during installation and use consider these points The UAD Xpander should be positioned on a secure stable surface and not moved during operation This will help prevent...

Page 123: ...uitable location for the UAD Xpander chassis see Xpander In stall Location on page 122 5 Insert the UAD ExpressCard fully into the ExpressCard 34 or Express Card 54 expansion slot on the host computer until it is firmly seated 6 Connect the AC end of the power supply unit to the AC wall socket If you need a different AC connector for your country remove the attached con nector and replace it with ...

Page 124: ...onnected to the computer 2 Boot the computer The UA logo glows blue indicating an electrical con nection has been established with the computer 3 Windows The UAD drivers are installed automatically by the New Hard ware Wizard during the first boot following initial software installation Mac The UAD drivers are loaded during boot 4 You can confirm UAD driver communication is established by using th...

Page 125: ... the ability to discon nect the UAD ExpressCard while the notebook computer is active or sleeping and reconnect it at a later time without rebooting Note For proper functionality you must reboot the computer with the Xpander connected every time the UAD ExpressCard has been removed Disconnect The UAD Xpander can be disconnected when the notebook computer is active or sleeping only if these two con...

Page 126: ...27 on page 126 3 Turn off the power switch on the back of the UAD Xpander 4 Remove the UAD ExpressCard from the expansion slot UAD Xpander disconnection is complete Reconnect Once the UAD Xpander has been disconnected for any reason the computer must be rebooted with the UAD Xpander connected Follow the Startup Se quence on page 124 for reconnection instructions System Sleep Windows System Sleep h...

Page 127: ...sCard or power down the UAD Xpander while the Xpander is connected to the computer Doing so could cause the computer to crash unless the ExpressCard is prop erly powered down see Disconnect on page 125 Disable system Sleep while the UAD Xpander is connected under Windows see System Sleep on page 126 The ExpressCard slot on notebook computers is non latching so it is possi ble to accidentally pull ...

Page 128: ... FireWire versus PCIe See The UAD Hardware on page 38 and UAD 2 Family on page 39 for UAD hardware overviews Note LiveTrack Mode is unavailable when UAD 2 Satellite is connected Duo and Quad Versions UAD 2 Satellite is available in two versions Duo and Quad The only differ ence between these two models is the number of processors inside the device and therefore the available DSP horsepower The Duo...

Page 129: ...dwidth on page 141 FireWire Bandwidth vs UAD DSP on page 143 and FireWire Bus Power on page 144 UAD 2 Satellite Details Important The information in these sections apply to UAD 2 Satellite ONLY For UAD 2 Solo Laptop and UAD Xpander instructions see Chapter 10 UAD ExpressCard Products Features UAD 2 Duo or Quad in an external housing chassis 44 1 192 kHz DSP Audio Accelerator for FireWire computers...

Page 130: ...oftware Updates The CD ROM in the retail package may not contain the latest UAD software Please check our website for software updates http www uaudio com support uad downloads html If the UAD software is already installed the UAD Meter Control Panel has a convenient button that links to the updates page Check for Updates on page 65 Satellite Install Location When selecting a location to position ...

Page 131: ...s an external international DC power supply with changeable AC connectors to match the AC socket in various countries Figure 28 To change the AC connector 1 Press and hold the button on the AC connector marked PUSH 2 Rotate the AC prongs counter clockwise to remove the connector 3 Insert the desired connector and rotate clockwise until it snaps into place Note The removable connectors are keyed so...

Page 132: ... DC input on the rear panel of the UAD 2 Satellite chassis 6 Connect one end of the FireWire cable to the FireWire port on the host computer 7 Connect the other end of the FireWire cable to the UAD 2 Satellite chassis 8 Turn on UAD 2 Satellite using the power switch on the rear panel The unit may be powered on before connecting without consequence UAD 2 Satellite connections are complete You are n...

Page 133: ...t is important to note that available FireWire bandwidth is unrelated to UAD DSP loads See FireWire Bandwidth vs UAD DSP on page 143 for details Power Indicator When power is applied to UAD 2 Satellite via the rear switch the UA logo on the front panel glows This power indicator does not represent the state of the UAD drivers or their link to UAD 2 Satellite the Rear Panel LED indicates the operat...

Page 134: ...g ins are loaded could cause session data loss and or unpredictable behavior Quit all UAD hosts and the UAD Meter Control Panel before disconnecting the device Disconnect UAD 2 Satellite can be disconnected when it and or the host computer is ac tive or sleeping as long as no UAD host applications including UAD Meter Control Panel are running Important Do not disconnect UAD 2 Satellite while UAD p...

Page 135: ... 2 Satellite is connected and the UAD 2 Satellite drivers dynamically adjust to allow for the lower buffer setting while still maintain ing UAD 2 Satellite s minimum buffer requirement of 256 samples Note For the lowest latency while tracking disable any plug ins currently running on UAD 2 Satellite from the input tracks and the monitoring and or master output paths All devices on the FireWire bus...

Page 136: ...for the unit See Satellite Install Location on page 130 UAD 2 Satellite units may be safely stacked Do not bend sharp angles into or otherwise kink the FireWire cable The ca ble can be damaged by improper handling UAD 2 Satellite contains no user serviceable parts Opening the unit will void the warranty Power Supply UAD 2 Satellite requires external DC power It ships with an external power supply ...

Page 137: ...re specification supports up to 63 peripherals per FireWire bus Many FireWire devices and host computers have more than one FireWire connector but these connectors almost always attach to the same FireWire bus most computers do not have more than one FireWire bus It is possible to add another FireWire bus to a computer typically by adding a PCIe to FireWire or ExpressCard to FireWire adapter card ...

Page 138: ...ireWire bus UAD 2 Satellite has one 6 pin FireWire 400 port FireWire 800 connector FireWire 800 devices use a 9 pin connector 9 pin to 6 pin FireWire adapter cables are available to connect FireWire 800 devices to a FireWire 400 bus with reduced bandwidth See Mixing FireWire Speeds on page 140 for more information UAD 2 Satellite has two FireWire 800 ports to facilitate easy daisy chaining with ot...

Page 139: ...on page 144 for details Figure 33 FireWire bus connections via a hub Figure 34 FireWire bus connection via daisy chain Figure 35 FireWire bus connections via hub and daisy chain Figure 36 FireWire bus connections using UAD 2 Satellite as a hub Computer FW Audio Interface External HD UAD 2 Satellite FW Hub Computer FW Audio Interface External HD UAD 2 Satellite Computer FW Audio Interface External ...

Page 140: ... or adapter How ever in this scenario Figure 37 any 800 megabit capable device on the bus including UAD 2 Satellite will operate at a maximum of 400 megabits be cause FireWire bandwidth cannot exceed the maximum bus speed of the host computer FireWire 400 devices on a FireWire 800 bus FireWire 400 devices can be connected to a FireWire 800 bus using a 6 pin to 9 pin FireWire cable or adapter In Fi...

Page 141: ...g a FireWire 800 bus with FireWire 400 devices FireWire Bandwidth All devices on a FireWire bus must share the available data bandwidth of the bus including hard drives and audio interfaces as well as UAD 2 Satellite If there is not enough FireWire bandwidth to handle all the data traffic on the bus performance issues such as audio clicks pops dropouts or UAD over loads could occur Bandwidth Guage...

Page 142: ...ntrolled using the UAD Bandwidth Allocation on page 80 By using the FireWire Gauge on page 83 it s easy to determine how much bandwidth is being used by the non UAD devices so appropriate choices can be made when setting the UAD Bandwidth Allocation These settings and all other UAD 2 Satellite FireWire parameters Figure 42 on page 143 are made in the UAD Meter Control Panel See FireWire Panel on p...

Page 143: ... amount of digital signal processing occurring on the UAD de vice itself is unrelated to the FireWire traffic in and out of the device Therefore with UAD 2 Satellite it is possible to run out of available FireWire bandwidth before running out of available UAD DSP For example running ten lightweight plug ins such as UAD EX 1 on UAD 2 Satellite will use the same FireWire bandwidth as running ten DSP...

Page 144: ... signed to supply it for a variety of reasons For example a device may re quire more current than can be supplied by bus power or a device may be unable to provide enough current to its FireWire ports UAD 2 Satellite cannot be bus powered nor does it supply bus power from its FireWire ports to other devices Therefore when using a FireWire device that requires bus power it is important to connect t...

Page 145: ... FireWire 400 device all devices connected to it operate at FireWire 400 speeds See Mixing FireWire Speeds on page 140 for more about connecting devices of various speeds on the same FireWire bus Caveats The quality and compatibility of powered FireWire repeaters and hubs can vary widely Just because a FireWire repeater or hub is externally powered doesn t necessarily mean it provides bus power or...

Page 146: ...n characteristics of the original hardware Scrutinized and fully authenticated by the Ampex Corporation the sound of the Ampex ATR 102 plug in for UAD 2 is virtually indistinguishable from its analog cousin History Introduced in 1976 the Ampex ATR 102 2 Track Tape Recorder was a near instant hit thanks to its revolutionary servo controlled reel motors and capstan which provided smooth continuous t...

Page 147: ...UAD Powered Plug Ins Manual 147 Chapter 12 Ampex ATR 102 Ampex ATR 102 Screenshots Figure 44 The UAD Ampex ATR 102 plug in window Figure 45 Ampex ATR 102 secondary controls in open mode ...

Page 148: ...e signal coloration options Multiple Tape Heads The original hardware machine was manufactured with an interchangeable head block system which enabled the system to be quickly converted to use ei ther 1 4 or 1 2 tape stock by simply swapping out the heads and recali brating the electronics As track width increases subtle improvements to sta bility fidelity and noise become apparent A popular custo...

Page 149: ... optionally disabled in the plug in providing both sonic options Tape Delay A popular application of multi head tape recorders is to employ them for slap back tape echo effects If the machine is running in record mode but the re corded signal is monitored from the repro head as opposed to the sync head the physical space between these two heads results in a short delay be tween the signal sent to ...

Page 150: ...can then be adjusted indepen dently When used in a mono in mono out configuration adjusting any left or right control will change both the left and right controls the left right controls are always linked in mono mode Quick Setup Set up the plug in by first adjusting Tape Speed Tape Type tape formulation and Emphasis EQ or simply select a factory preset Note that as you lower the tape speed the ta...

Page 151: ...hough there are separate left right Meter controls for VU Peak and Input Output these controls are permanently linked and cannot be switched individually for the left and right channels Input Output These switches change the Meter to display levels at the input or output of the plug in Input metering is a UAD only feature which is unavailable in the orig inal hardware Input When in Input mode the ...

Page 152: ...Reproduce to 0 dB The Meters accurately reflect the output level when set to Output mode even if Reproduce is not in its calibrated position However if Reproduce is moved from the cal position the Meters will no longer correspond to a particular level being recorded onto the virtual tape In this case the Meters will not re flect the actual operating level of the tape because Reproduce changes the ...

Page 153: ...s Figure 47 on page 159 are ac cessed by clicking the OPEN button beneath the AMPEX la bel Conversely the panel is closed by clicking the CLOSE button Link Unlink Link mode is a software only addition that enables controls that are identical for the left and right channels to be linked for ease of operation when both channels require the same values or unlinked when independent left right control ...

Page 154: ...itionally the United States standard the Hum Noise frequency is 60 Hz When set to CCIR traditionally the standard in Europe and other regions the Hum Noise frequency is 50 Hz See Noise Enable on page 161 and Hum on page 161 for more information about Hum Tape Speed and Emphasis EQ were originally practical controls for recording duration versus noise and local standards Historically the origin of ...

Page 155: ...he knob then use the mouse scroll wheel 15 IPS is considered the favorite for rock and acoustic music due to its low fre quency head bump low frequency rise and warmer sound while 30 IPS is the norm for classical and jazz due to its lower noise floor greater fidelity and flatter response 7 5 and 3 75 IPS are also available for an even more col ored experience with even greater frequency shift and ...

Page 156: ...ot lowering the Cal Level will reduce the signal level without changing Record which can affect the tape saturation characteristics Note The noise floor is affected by the Cal Level when Noise Enable page 161 is active As tape formulas advanced their output level increased thus lowering rela tive noise floor Under normal use the machine would be calibrated to the tape s output level However someti...

Page 157: ...eds of 3 75 and 7 5 only the 1 4 head can be used At these speeds the 1 2 and 1 heads cannot be selected Path Select The Path Select buttons specify which of the four possi ble signal paths is active in the Ampex ATR 102 The active mode is indicated by an illuminated LED above its associated button The default value is Repro Sync Sync mode models the sound of direct tape recording and playback via...

Page 158: ...154 except that the Meters are still active in Thru mode In this state the Meters indicate signal levels at the input of the plug in prior to processing Note DSP usage is reduced only when DSP LoadLock page 74 is disabled If DSP LoadLock is enabled the default setting activating Thru will not reduce DSP usage Tape Reels Animation When the secondary controls panel is closed Figure 44 on page 147 by...

Page 159: ...ged When the Auto Cal Automatic Calibration ON button is clicked the calibra tion EQ and bias controls are automatically adjusted to their flat calibrated position for the currently active Tape Type Tape Speed Emphasis EQ and Head Type The Auto Cal ON LED illuminates green when the calibration pa rameters Shelf EQ HF EQ Repro HF Repro LF and Bias are in their cali brated position Auto Cal is enabl...

Page 160: ...ion manually Record EQ The Record EQ controls HF EQ and Shelf EQ are applied in the tape recording circuit and affect tape saturation character istics They compensate for common residual HF loss due to bias optimization and system filtering and affect HF content in the signal prior to the tape non linearity HF EQ HF EQ provides high frequency emphasis in the signal recorded to tape Shelf EQ Shelf ...

Page 161: ...dio to drop out entirely Bias voltage HF Shelf EQ and Emphasis EQ CCIR NAB AES all work to gether to provide a linear response to the recorded signal The flat cali brated position is determined by tape speed tape type emphasis EQ and head width Noise Enable This is a global enable control for the Hum and Hiss effect When Noise is ON the level of Hum and Hiss can be indepen dently adjusted using th...

Page 162: ... Output Level Hiss Level is not affected by automatic calibration so its level does not change with Tape Speed When Hiss Level is at its default position 0 dB the amount of hiss present in the signal is as if the Tape Speed is 15 IPS To emulate the amount of hiss at the other tape speeds enter the offsets from Table 9 Note Because hiss noise is an element of tape playback Hiss is disabled when Pat...

Page 163: ...nt of signal bleed between the left and right channels Crosstalk sonics can vary based upon the Tape Speed and Head Width pa rameters however the amount of crosstalk does not vary with these settings Crosstalk Level This control determines the amount of signal crosstalk Crosstalk En able must be ON for the Crosstalk Level control to function The default value of 45 dB is the actual modeled level i...

Page 164: ...lick the or buttons to change the delay times in incre ments of 10 milliseconds The available range is 0 1000 milliseconds Tip Hold the buttons down to rapidly change the delay times For fine control in increments decrements of 1ms hold down Shift while changing values The default Delay Time values depend on the current Tape Speed and represent the actual delay time that would occur in the physica...

Page 165: ...stem calibration see the Manual Calibration Procedure on page 167 About MRL Alignment Tapes Alignment tapes are carefully recorded with accurate and consistent flux lev els and test tone frequencies They are constant companions to all well main tained professional tape machines Different alignment tapes are required for each tape speed head width equalization standard CCIR IEC or NAB and fluxivity...

Page 166: ...other tape parameter values Tones The Tones buttons set the frequency of the external test tone generator and the MRL tape test tones Tone fre quencies of 50 Hz 100 Hz 1 kHz 2 5 kHz 5 kHz 10 kHz 15 kHz and 20 kHz are available Click a button to specify that frequency the active frequency s button is shad owed gray as if in the down position Distortion Meter The red numerical display between the Ma...

Page 167: ...he con trols that force automatic calibration Tape Type Tape Speed Emphasis EQ and Head Width are inadvertently modified Preparation Reduce monitoring system volume to avoid loud sine wave Tones Insert UAD Ampex ATR 102 on the DAW output bus see note below Set Path Select to Repro mode Sync mode is not supported for manual cal Set left and right Meter Input Output switches to the OUTPUT position S...

Page 168: ...om MRL mode to the external tones then readjust Repro LF for flat response 0 dB using the external tones instead of the MRL tones Note If Repro HF and or Repro LF EQs are adjusted by a large amount it may be necessary to recalibrate the output level steps 1 3 Record Bias Calibration 8 Set the Manual Cal Knob to the tone level position in Table 10 below the tone level depends on tape speed 9 Set th...

Page 169: ...ibration 14 Set the Tones frequency to the value in Table 12 below the frequency de pends on tape speed 15 Adjust Record HF EQ not to be confused with Repro HF so the Meters display the level in Table 11 above the level depends on tape speed Note If HF EQ is adjusted by a large amount it may be necessary to reca librate the record level steps 12 13 The manual calibration procedure is complete For ...

Page 170: ...nt the Reproduce control performs the same function We chose to calibrate our reference machine using MRL fringing compen sated calibration tapes without later adjusting the Repro LF EQ for unity gain using external test tones Therefore the calibrated values in the plug in reflect this alignment method In depth discussions about fringing compen sation and system alignment are beyond the scope of t...

Page 171: ...ensating Upsampled Plug Ins on page 108 for more information Table 13 Ampex ATR 102 parameter dependencies Tape Speed Head Width Tape 1 Tape 2 Tape 3 Tape 4 Emphasis EQ 30 IPS 1 250 456 468 ATR AES 30 IPS 1 2 250 456 900 ATR AES 30 IPS 1 4 250 456 900 ATR AES 15 IPS 1 250 456 468 ATR NAB 15 IPS 1 250 456 468 ATR CCIR 15 IPS 1 2 250 456 900 ATR NAB 15 IPS 1 2 250 456 900 ATR CCIR 15 IPS 1 4 250 456...

Page 172: ...UAD Powered Plug Ins Manual 172 Chapter 12 Ampex ATR 102 Original Ampex ATR 102 Mastering Recorder Brochure ...

Page 173: ...on for timbral manipulation Special attention was given to the han dling of higher frequencies resulting in a much smoother and more satisfying high end response than is found in most digital filters Cambridge EQ is highly flexible offering a broad spectrum of options facili tating surgical precision and delivering superior aural results in every appli cation This may be the most satisfying full f...

Page 174: ...udio spectrum from 20 Hz to 20 kHz is displayed along the hor izontal axis Gain and attenuation of frequencies up to 40 dB are dis played along the vertical axis The vertical resolution of this display can be modified with the Zoom buttons Response Curve Color The color of the response curve depends on the value of the A B Selector con trol When A is active the curve is yellow When B is active the...

Page 175: ...frequency and gain of its corresponding band even if the band is disabled The gain and frequency of an EQ band can be modified simultaneously by dragging its bat with the mouse If a band is disabled when its bat is touched for the first time the band is enabled Note To modify the Q of a band with its bat hold down the Control key while dragging vertically When a band is enabled the EQ curve usuall...

Page 176: ...rves reside within a single Cambridge EQ preset Click the A B Selector button to switch between the two curves When A is displayed the button and the EQ response curve is yellow When B is dis played the button and the curve is green Note To reset the A or B curve to a null flat response control click the A B Selector button The active curve will be nulled Note To copy one curve to another shift cl...

Page 177: ...ifferent sound To select a new cut response drag to the desired response and release The responses are more gentle on filters with lower numbers and get steeper and more aggressive as the numbers increase The coincident pole filters are first order filters cascaded in series and offer gentle slopes Bessel filters are popular because of their smooth phase characteristic with decent rejection Butter...

Page 178: ...page 179 and Shelf EQ on page 182 Enable Button Each band can be individually engaged with the Enable button The button is green when the band is enabled All bands default to disabled To enable any band click the Enable button You can use these buttons to compare the band settings to that of the original signal or to bypass the individual band UAD DSP usage is slightly de creased when a band is di...

Page 179: ...arametric Type selector changes the response of the band controls to reflect the behavior of various analog equalizers It is a global control for all 5 bands and has no effect on the low and high cut filters Click the Parametric Type display to rotate between Types I II and III The filter algorithm is the same in all three parametric types The difference is in the dependency between the gain and Q...

Page 180: ... band there is no Q Gain interdependency In addition there is a finer resolution of the Q knob in the middle of its range This makes it eas ier to achieve subtle bandwidth changes Note that the Q value and knob po sitions do not change as the gain is modified See Figure 53 Type II When set to Type II there is a Q Gain dependency on boost The bandwidth increases continuously as the gain is boosted ...

Page 181: ...eases continuously as the gain is boosted and atten uated The Q knob position determines the maximum Q at full gain Filter bandwidth is broader at lower gain settings and narrower at higher gain settings This can produce a smoother more natural response when ad justing filter gain Note that the Q value increases as gain is increased but the knob position does not change The Q value is approached a...

Page 182: ... to emulate the response curves of classic high end analog mixing consoles It s yet another tool to help you find the exact sound you are looking for The Shelf Type button places the resonant peak at A the edge of the stop band Figure 56 on page 183 B the edge of the passband Figure 57 or C at the edge of the stopband and the passband Figure 58 Shelf Q When a band is in shelf mode the Q knob sets ...

Page 183: ...UAD Powered Plug Ins Manual 183 Chapter 13 Cambridge EQ Figure 56 Shelf Type A Figure 57 Shelf Type B Figure 58 Shelf Type C Shelf Mode Indicator Line ...

Page 184: ...h as Blackbird and Sunset Sound Top producers and engineers such as Richard Dodd Vance Powell and Joe Chicarelli still swear by the Coo per Time Cube for its unique character The Cooper Time Cube MkII has all the sound of the original delay system de sign and offers all the necessary features expected from a modern delay de vice The distinct sound of the single or double hose Coil is preserved reg...

Page 185: ...le fidelity for its era which accord ing to the original product brochure brings complete respectability to the heretofore marginally feasible acoustical delay line The UAD Cooper Time Cube plug in has all the vibe of the original with mod ern feature enhancements It is a true stereo plug in with two independent de lay processors Each channel has its own set of controls and there are global contro...

Page 186: ... value is displayed in parentheses This occurs in Sync mode when the time of the note value exceeds 2500ms as defined by the current tempo of the host application Sync This switch engages Sync mode for both channels of the plug in In Sync mode delay times are synchronized to and therefore dependent upon the master tempo of the host application When Sync is toggled parameter units are converted bet...

Page 187: ...g nals It does not affect the dry signal Bass is a cut boost control it has no ef fect when in the 12 o clock position Wet Solo The Wet Solo switch puts the Cooper Time Cube into 100 Wet mode When Wet Solo is on in the up position it mutes the dry un processed signal Wet Solo is optimal when the plug in is used on an effect group bus that is configured for use with channel sends When the plug in i...

Page 188: ...note value exceeds 2500ms as defined by the current tempo of the host application See Chapter 8 Tempo Sync for detailed information about tempo synchronization Tip Click the knob then use the computer keyboard arrow keys to incre ment decrement beat values in Sync mode Decay A B Decay sets the amount of processed signal fed back into its input feedback At the minimum value one delayed repeat is he...

Page 189: ...ckwise for louder echo Up to 10 dB of gain is available at the maximum setting Reducing the control to its minimum value will mute the delay Tip Click the ECHO VOL label text to mute unmute the delayed output Cooper Time Cube Hardware Figure 62 The original Cooper Time Cube hardware front panel Figure 63 The opened acoustic module and the complete system ...

Page 190: ...lug in In dividual effects in the CS 1 Channel Strip can be bypassed when not in use to preserve UAD DSP use The CS 1 effects can also be accessed individually by using the individual plug ins This is useful if you want to use the plug ins in a different order or if you want to use multiple instances of the same plug in such as a flange routed to a ping pong delay with the DM 1 plug in Figure 64 T...

Page 191: ...function as low shelf or high pass filter Similarly the last two bands can be enabled to function as either a high shelf or low pass filter Band Disable Button Each band can be individually deactivated with the Band Disable button All bands default to enabled brighter blue To disable any band click the Dis able button The button is darker blue when the band is disabled You can use these buttons to...

Page 192: ... all bands of the Equalizer You can use this switch to compare the EQ settings to the original signal or bypass the entire EQ section to reduce UAD DSP load unless UAD 2 DSP LoadLock on page 74 is enabled Output Knob Adjusts the signal output level of the plug in This may be necessary if the sig nal is dramatically boosted or reduced by the EQ and or compressor set tings EX 1 Compressor Controls A...

Page 193: ...t the Output level control if more gain is desired Meter Pop up Menu Determines whether the VU Meter monitors the Input Level Output Level Gain Reduction or Meter Off Click the menu above the meter display to select a different metering function Enable Bypass Switch Enables or disables the Compressor You can use this switch to compare the compressor settings to that of the original signal or bypas...

Page 194: ...y is 125 msec R Delay Knob Sets the delay time between the original signal and the delayed signal for the right channel When the Mode is set to one of the delay settings the maxi mum delay is 300 msec When the Mode is set to one of the chorus or flange settings the maximum delay is 125 msec In the flanger modes the L and R delay controls have slightly different func tions than when in the chorus m...

Page 195: ...tion depth for the delayed signal expressed as a percentage In Dual Delay and Ping Pong Delay modes adjusting the Depth and Rate con trols can offer some very otherworldly sounds LFO Type Pop up Menu Determines the LFO low frequency oscillator waveshape and phase used to modulate the delayed signal The waveshape can be set to triangle or sine each with a phase value of 0 90 or 180 degrees Recircul...

Page 196: ... is displayed then all the delays will be in phase with the source With a neg ative value the delayed signal is flipped 180 degrees out of phase with the source L Pan Knob Sets the stereo position for the left channel allowing you to adjust the width or balance of the stereo signal For a mono signal L Pan behaves as the level control for the left delay tap R Pan Knob Sets the stereo position for t...

Page 197: ...er the same breadth of features such as room hybrids room materials morphing and equalization How ever if you do not need the advanced capabilities that RealVerb Pro offers you can use the RS 1 to achieve excellent room simulations while also pre serving DSP resources on the UAD device The Delay control sets the time between the direct signal and the first reflec tion The Size parameter controls t...

Page 198: ...o its maximum value 99 the Delay value is decreased to 16 85 This occurs because the maximum delay time available to the plug in has been reached The available delay time is limited and it needs to be di vided among the Delay and Size values Therefore if the value of the Delay or Size setting is increased towards maximum when the other control is al ready high its complementary setting may be redu...

Page 199: ...s less than 50 emphasize the dry signal Wet Dry Mix allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If a positive value is displayed then all the delays will be in phase with the source With a neg ative value the delayed signal is flipped 180 degrees out of phase with the source L Pan Knob Sets the stereo position for the l...

Page 200: ...e famous for its simple control set and firm distinct compression characteristics Unlike later monolithic IC units the VU uses a series of discrete components for gain reduction resulting in unique nonlinearities not found in other VCA compressors a sonic distinc tion from later models The UAD Powered Plug In version of the dbx 160 cap tures all of the sonic nuances from our golden modeling unit p...

Page 201: ... increase the out put to compensate if desired Below When the input signal is below the compression threshold value the Below LED illuminates No compression is occurring when Below is lit Above The Above LED illuminates when the input signal has exceeded the Threshold value indicating that compression is occurring The higher the signal is above the Threshold the brighter the LED glows Compression ...

Page 202: ...nput level in dB When set to Output the VU Meter indicates the plug in output level in dB When set to Gain Change the VU Meter indicates the amount of Gain Reduction in dB Power The Power switch determines whether the plug in is active Click the button to toggle the state When the Power switch is in the Off lighter position plug in processing is disabled and UAD DSP us age is reduced load is not r...

Page 203: ...or zipper noise DreamVerb provides two graphic menus for selecting preset room shapes The shapes can be blended according to the demands of your mix Room ma terials are selected with two graphic menus containing preset Materials A third menu specifies the air density for further spectral control As with the room shapes the materials and air can be blended as desired DreamVerb also includes intuiti...

Page 204: ...applied to the early reflection and late field gener ators The resulting direct path early reflection and late field reverberation are then independently positioned in the soundfield Figure 70 The DreamVerb plug in window Figure 71 DreamVerb signal flow Late Field Reverb EQ Source Input Early Reflections Direct Path Pan Pans Distance Gain Output Delay Delay Wet Dry Mix Gain Mute ...

Page 205: ...f the source early reflections and late field reverberation Resonance Equalization Panel The Resonance panel Figure 72 on page 206 is a five band equalizer that can control the overall frequency response of the reverb effecting its per ceived brilliance and warmth By adjusting its Amplitude and band Edge con trols the equalizer can be configured as shelving or parametric EQs as well as hybrids bet...

Page 206: ...ds 1 and 5 drag the horizontal line these do not have a control bat Band Edge Bands 2 3 and 4 have an Edge control This parameter effects the band width of the band To adjust the band edge grab its control bat and drag hor izontally or use the direct text entry method The effect of the band edge on the filter sound can depend upon the settings of the adjacent bands For example the sonic effect of ...

Page 207: ...s in a reverb is determined by the room shape s and the ER start and end points Two shapes can be blended from 0 100 All parameters can be adjusted dynamically in real time without causing dis tortion or other artifacts in the audio 21 shapes are available including var ious plates springs rooms and other acoustic spaces Note The Shape parameters effect only the early reflections They have no effe...

Page 208: ...Figure 74 on page 207 is used to blend the two shapes together at any ratio The two shapes are not just mixed together with this parameter the early reflections algorithm itself is modified by blending Blend the early reflection patterns of the two rooms by dragging the Blending Bar Drag the bar to the bottom to emphasize the first shape drag to the top to emphasize the second shape The relative p...

Page 209: ...ld reverberation is controlled from the Reverberation panel see Figure 77 on page 213 24 real world materials are provided including such diverse materials as brick marble hardwood water surface and audience Also included are 24 artificial materials with predefined decay rates and seven air densities Note The parameters in the Materials panel always effect the late field re verberations However th...

Page 210: ... materials see About the Materials on page 489 In addition to the perfect materials marked with a K DreamVerb provides J materials that are not found in RealVerb Pro These perform the inverse of the K mate rials The materials marked with a J preferentially absorb low frequencies they give the selected decay time at high frequencies and a much shorter decay time at low frequencies Air Density Menu ...

Page 211: ...entage of air used appears next to the Air Density menu To use only solid materials drag the horizontal Blending Bar to the top so air is set to 0 To use only air drag the horizontal Blending Bar to the bottom so air is set to 100 Reflections Panel The Reflections panel Figure 76 on page 212 offers control over the timing and relative energies of the reverb early reflections ER These parameters ef...

Page 212: ...d This bat controls two ER end point parameters Dragging the bat horizontally controls the ER end time the time at which the ER is no longer heard Drag ging it vertically controls the amplitude of the reflections energy at the end point Filtering This parameter determines the amount of filtering from the Materials panel to be applied to the early reflections The Materials effect upon the ER is mos...

Page 213: ...stics of the late field reverberation are deter mined by the parameters in the Materials panel page 209 in conjunction with the Reverberation panel settings Note The values for the late field controls are displayed in the text fields at the bottom of the Reverberations panel These values can also be entered di rectly using the text entry method Bypass The late field reverberations can be disabled ...

Page 214: ...rly reflections and late field reverberation components the shape and timing of the early reflec tions is represented as an outline in the Reverberation panel The shape of this outline is modified by parameters in the Reflections panel not the Reverbera tion panel Positioning Panel DreamVerb has the ability to separately position the direct path early reflec tions and late field reverberation The ...

Page 215: ... effect Early This slider which contains two control handles adjusts the stereo width of the early reflections Late This slider which contains two control handles adjusts the stereo width of the late field reverberations Early Late Adjustment The left and right slider handles are dragged to adjust the stereo width For a full stereo spread drag the left handle all the way to left and right handle a...

Page 216: ... further from the listener Larger percentages yield a source that is farther away from the listener A value of 0 places the source as close as possible to the listener Levels Panel This panel is where DreamVerb input output levels wet dry mix and reverb mute controls can be modified Input Modifies the signal level at the input to DreamVerb A value of zero is unity gain Output Modifies the signal l...

Page 217: ...he button is black DreamVerb Preset Management Factory Presets In the preset menu there is a bank of 32 factory presets Presets modified in the bank are saved when another preset within the bank is selected Edits to any and all presets in the list are maintained separately within each instance of a plug in within a session To return to the default factory bank settings reload the factory bank Save...

Page 218: ...the session file for each instance of the plug in Editing the name modifies the current preset s name The new name will ap pear in all preset selection lists and will be saved with the session bank or effect Spatial Characteristics Size The apparent size of a reverberant space is dependent on many factors Most reverbs on the market have a size parameter which usually modifies sev eral facets of th...

Page 219: ...ls This tends to add nice dimension to the LF tail Start with one use ful material and experiment with blending Materials can have an extreme filtering effect if no air density is used Most presets sound better with an air blending If you don t want the additional coloration of air blend with Ideal Gas which performs no filtering The room shapes define the ER pattern they do not effect the LF Solo...

Page 220: ...ou ve got a really great preset designed all it takes are a few subtle changes to make a number of other great presets Tips for designing a natural environment sound Make timing proportional As the size of the simulated environment in creases the length of the pre delay for the EF LF and LF tail should increase proportionally Typically ER and LF pre delay should be not too far apart with LF starti...

Page 221: ... in har monic generation distortion while Tranny and Warmth allow the user to dial in just the right amount of tape and tube tone The FATSO also operates as a highly versatile compressor useful for mixing and stereo buss compres sion From tame to trashed the FATSO offers a wide palette of possibilities for adding character and cohesiveness to your DAW tracks FATSO Sr Dubbed the FATSO Sr UA has als...

Page 222: ...antly clip peaks and tran sients allowing a higher average level Aggressive distortion can also be achieved through the same controls It is well known that the triode distortion in tube circuits produces lots of 2nd order and 3rd order harmonics in somewhat varying ratios Analog tape also saturates in this manner The 3rd order harmonic is induced in the FATSO by increasing the level through two di...

Page 223: ...era sure of certain frequencies The nature of the filter allows the corner fre quency to move as attenuation occurs There is only one control for Warmth but there are other ways to control the overall action of this circuit If you do decide to use the compressor set it up first because it affects the operation of Warmth There is heavy interaction be tween the compressor and Warmth settings Perhaps...

Page 224: ...t of the psycho acoustically pleas ing distortion the Tranny adds Compression Processor Classic Knee Compression Empirical Labs Style These are your typical automatic leveling devices that you find used on just about every instrument and vocal track as well as on the overall buss Only it s Empirical Labs compression smooth and sweet but in your face There are essentially four discrete compressors ...

Page 225: ...running in stereo or dual mono modes Controls for both channels can be linked for ease of stereo operation when both channels require the same values see Link Controls on page 229 or unlinked when dual mono operation is desired Each of the channel functions has its own separate group of controls one set each for channels 1 and 2 Since the controls for each of the two channels are identical they ar...

Page 226: ...ndicates 5 THD or more These LED s are an excellent guide to where the user is in the Grunge Department You will find that the harmonic distortion is generally more obvious on overall mixes and complex programs On individual instruments sometimes 10 dis tortion sounds fat and analog and isn t heard as distortion at all Compressor Mode The COMP button defines which compressor mode is active See Com...

Page 227: ...he Warmth as indicated by the Warmth Meter Values of 1 to 7 are available The current value is indicated by the arc of Warmth LED s Warmth is off when all LED s are unlit Warmth Meter The Warmth Meter is a very accurate display of the amount of high frequency attenuation as defined by the Warmth button The meter shows the amount of HF gain reduction occurring at 20 kHz Note At extreme settings the...

Page 228: ...3 Note Disabling Tranny will yield a significant reduction in UAD DSP usage when DSP LoadLock page 74 is disabled If DSP LoadLock is enabled the default setting disabling Tranny will not reduce DSP usage Tranny Off red and green LED s off In this mode the Tranny processor is inactive but the other processors are ac tive This mode requires less UAD DSP than when Tranny is active Bypass red LED All ...

Page 229: ... Link COMPRESS function is on the left side only not to be confused with Link CONTROLS which is on the right side only Link Controls The parameter controls for channels 1 and 2 can be linked using the Link Controls function To activate Link Controls click on the LINK CONTROLS text or LED on Ch2 on the right The feature is active when the LED is illuminated Note Although the left right Warmth and T...

Page 230: ...n position plug in processing is dis abled UAD DSP usage is reduced and all LED s are unlit Note UAD 2 DSP usage is reduced only when DSP LoadLock page 74 is disabled If DSP LoadLock is enabled the default setting disabling Power will not reduce DSP usage Click the lower portion of the switch to disable the plug in click the upper por tion to activate or click drag up down on the switch FATSO Sr C...

Page 231: ...ld level before compression is applied The faster the attack the more rapidly compression is applied to signals above the threshold The available attack time values are 0 9ms 10ms 30ms 60ms and Default unlit The unlit behavior is depends upon whether or not the com pressor is active These behaviors are described below Note Attack values are approximations Actual attack and release times may vary d...

Page 232: ...s ac tive These behaviors are described below Note Release values are approximations Actual attack and release times may vary depending on the compressor mode selected Release LED s Unlit Compressor Active When the compressor is enabled and all Release LED s are unlit the release characteristic of the active compressor mode in FATSO Jr is used This de fault FATSO Jr behavior can then be manually o...

Page 233: ...he Tranny processor Higher Tranny Level values increase the LF satu ration FATSO Jr Presets When loading presets created on the FATSO Jr into the FATSO Sr the pa rameters that are unique to FATSO Sr are set to their default control values The default values of the unique FATSO Sr parameters are Thresh old Tranny knobs at 5 and Filter Attack Release buttons off WebZine Article An in depth article w...

Page 234: ...be found in the EMT 140 plug in Measured and analyzed by UA s DSP circuit modeling experts and then tuned by ear over a four month period the EMT 140 replicates the sonic signature of three uniquely different EMT 140s for merly installed at the Plant Studios in Sausalito CA That s nearly two thou sand pounds of sound in one plug in Impractical or impossible for most be fore Universal Audio brings ...

Page 235: ... types of filters original EMT elec tronics and Martech electronics which was is a common plate system retrofit In the modeled source units at The Plant plates A and B use the EMT electronics while Plate C utilizes the Martech elec tronics In EMT 140 you can use either filter type with any of the three available plates The original EMT filter indicated by black text is a cut filter centered at 80 ...

Page 236: ...tely inde pendent from all other plug in controls Plate Select Three plate models algorithms are available for reverb process ing This switch specifies which plate will be active Each setting is a model of a completely separate and unique plate system Three 140 s for the price of one Note You can also switch the active plate by clicking the A B or C letters above the Plate Select switch and the Re...

Page 237: ...igh shelving EQ that uses analog sounding algorithms for great tonal shaping options The EQ section is independent from the reverb algorithms and the Input Filter on the modeled plate systems See In put Filter on page 235 The frequency parameters specify the center of the transi tion band which is defined as the frequency at which the level in dB is the midpoint between DC and the band edge level ...

Page 238: ... EQ all frequencies above this setting will be af fected by the high band Gain value High Gain This parameter determines the amount by which the frequency setting for the high band is boosted or attenuated The available range is 12 dB in incre ments of 0 5 dB fine control or 1 0 dB coarse control Modulation Controls The EMT 140 reverb time can be modulated by a low frequency oscillator using rate ...

Page 239: ...en the original and the processed signal The range is from Dry 0 unprocessed to Wet 100 processed signal only This control uses a logarithmic scale to provide increased resolu tion when selecting lower values When the knob is in the 12 o clock position the value is 15 Note If Wet Solo is active adjusting this knob will have no affect Wet Solo The Wet Solo button puts EMT 140 into 100 Wet mode When...

Page 240: ... processed settings to the original signal or to by pass the plug in which reduces but not eliminates the UAD DSP load unless UAD 2 DSP LoadLock on page 74 is enabled The red EMT power indicator glows brighter when the plug in is en abled Note The EMT 140 distills 1800 pounds of classic vintage reverb into a sin gle plug in Exercise caution when lifting ...

Page 241: ...ing endorsed by EMT Studiotechnik GmbH in Germany and re engi neered for plug in use by EMT 250 creator Dr Barry Blesser from his original documentation the UAD version of the EMT 250 goes beyond emulation and is the very same algorithm found in the original units for a fraction of its orig inal 25 000 price Besides the coveted reverb program the EMT 250 for UAD provides the five additional effect...

Page 242: ... switch The function of these con trols varies per program mode see below Additionally there are several global controls that have the same function in all modes Variable Control Functions The function of control levers 1 2 3 and the Front Rear switch depends upon which program mode is active This is a primary consideration to re member when operating the EMT 250 Table 17 on page 245 details the v...

Page 243: ...MT 250 hardware unit has one mono input For accurate emulation when the plug in is used in a stereo in stereo out configuration stereo signals at the plug in input are summed to mono before processing the dry signal is passed in stereo Four channels of processed audio selectable with the Front Rear Outputs switch are generated from this mono input in all modes with the exception of Echo which has ...

Page 244: ... the EMT 250 are fully emulated in the plug in This includes all of its idiosyncrasies such as the A D and D A anti aliasing filters which are not linear phase system latency input clip ping and limited frequency response All these quirks embellish the unique sonic signature EMT 250 Latency The EMT 250 s anti aliasing filters for its A D and D A conversion are not lin ear phase filters therefore o...

Page 245: ...luminated for the currently active mode only one mode can be active at a time Each program mode and its associated parameters are described in detail below Tip See Table 17 on page 245 for a matrix of controls that are available in each program mode Table 17 The variable control functions of the EMT 250 Program Mode Lever 1 Lever 2 Lever 3 Lever 4 Front Rear Reverb Reverb Decay LF Decay HF Decay d...

Page 246: ...ain decay time lever 1 Higher values upper lever positions generally result in more low frequency content in the reverb tail HF Decay Lever 3 Lever 3 controls the high frequency decay time The red LEDs on the left side of lever 3 display the current value the green LEDs on the right side of lever 3 are inactive Four multipliers at 6 kHz are available x 0 25 x 0 33 x 0 5 and max At the max position...

Page 247: ... or right The currently selected channel is defined by lever 3 Fine delay times of 0ms 5ms 10ms and 15ms are available The green LEDs on the right side of lever 2 display the current value the red LEDs on the left side of lever 2 are inactive Note Levers 1 and 2 both control the delay time but these parameters are not individually exposed for external control surfaces and automation In stead a sin...

Page 248: ...s with a small time shift between them The comb filter changes the amplitude of the source signal s harmonic overtones result ing in interesting tonal variations Tip Phasing is most apparent when the plug in is set to 100 wet or when Wet Solo page 253 is active In the EMT 250 the input is fed to two delay processors one with a fixed de lay time of 15ms and the other which is variable from 0 15ms c...

Page 249: ...only out put on one side right only at minimum left only at maximum This behavior is identical to the original hardware See Front Rear Outputs on page 243 for more information For more information about phasing see the Flangers and Phasors article in our December 2008 Webzine http www uaudio com webzine 2008 december doctors html Chorus Chorus program mode creates an ensemble effect by simulating ...

Page 250: ...plug in output is summed to mono See Front Rear Outputs on page 243 for more information Echo Echo program mode produces a single monophonic delay effect with feed back and adjustable delay time Up to 375ms of delay is available The feedback recirculation circuit is always active in Echo mode The feed back signal path is attenuated by approximately 10 per loop circulation and includes an adjustabl...

Page 251: ...n Echo mode the same monophonic signal is generated at the front and rear outputs However the Front Rear Outputs switch has a special function in Echo mode In the Front position the program behaves normally In the Rear position the input to the echo processor is muted while still allowing the echo output to be passed This feature is useful for adding echo to specific passages only by flipping the ...

Page 252: ...d signal to the original signal Click the button to disable the plug in click it again to enable it When Power is in the Off unlit position plug in processing is disabled and UAD DSP usage is reduced Note UAD 2 DSP usage is reduced only when DSP LoadLock page 74 is disabled If DSP LoadLock is enabled the default setting disabling Power will not reduce DSP usage Input Meter The Input Meter indicate...

Page 253: ... the EMT 250 is used on a channel in sert this control should be deactivated Note Wet Solo is a global per EMT 250 plug in instance control Noise When Noise is active the noise characteristics of the original hardware unit are fully intact Disabling Noise eliminates the modeled noise characteristics for quieter operation Noise is active when the yellow LED is illuminated it is enabled by default C...

Page 254: ...tronic Reverberator Original EMT 250 advertisement A dream becomes reality The EMT 250 Electronic Reverberator hardware unit Special thanks to EMT Studiotechnik GmbH Dr Barry Blesser Allen Sides and Ocean Way Recording for their assistance with this project ...

Page 255: ...ay but an instrument that can be played by manipulating the controls while in chaotic oscillation Just like the hardware faster than tape path speeds can also be achieved leading to sonic boom tape squeal effects again adding to chaotic but musical at tributes of the original hardware The EP 34 also has other warts and all arti facts of tape such as self chorusing due to speed variations caused by...

Page 256: ...cho Delay controls the delay time of the unit The selected value is shown in the Echo display page 257 The parameter can be adjusted by using the metallic slider handle or the slider nose both sliders control the same parameter see Figure 85 Figure 84 The UAD EP 34 Tape Echo plug in window Figure 85 The Echo Delay sliders ...

Page 257: ...n delay times are expressed as a frac tional bar value When the beat value is out of range the value is displayed in parentheses This occurs in Sync mode when the time of the note value exceeds 700ms as defined by the current tempo of the host application Echo Repeats This knob controls the repeat level feedback of the echo sig nal At the minimum fully counter clockwise position only one repeat is...

Page 258: ...yed tape signal Increasing this control will increase the tape distortion and grit that is an important ele ment of the famous hardware sound The Recording Volume is indicated by the Input Meter Input Meter The Input Meter in the EP 34 is a three segment horizontal LED array two green one red that indicates the recording level at the input of the tape recorder The yellow LED indicates that the plu...

Page 259: ...d gain structuring switch ing between LO and HI may cause a significant jump in output levels Tension The original hardware provides a tension adjustment screw on the bottom of the Echo Delay slider Adjusting this tension screw varies the pitch shifting effects technically the slew rate that are obtained when the Echo Delay parameter is manipulated in realtime The Tension switch emulates two diffe...

Page 260: ...ts value is saved within the host project session file but not within individual preset files Important Depending on the source material and gain structuring engag ing Wet may cause a significant jump in output levels Power Power determines whether the plug in is active This is useful for comparing the processed settings to the original signal or to by pass the plug in to reduce the UAD DSP load l...

Page 261: ...al and the tape playback causing the dry source signal sustain to be cut off prematurely Most modded their units to re move the noise compressor and Maestro quickly removed the compressor de sign from the design WebZine Article An article about the Echoplex can be found in the Analog Obsession ar ticle of the Universal Audio May 2009 Webzine at http www uaudio com webzine 2009 may analog html EP 3...

Page 262: ...ontrol voltage The Fair child 670 is a variable mu tube limiter Variable mu limiters are unique in that they use tubes for gain reduction and not just as amplifiers The audio path is quite simple and compression happens directly in the audio path rather than sending out to a separate compression circuit The unit can be used as a limiter or compressor depending upon personal taste and program mater...

Page 263: ...They can be used as dual L R dual mono stereo or they can be linked together and used on ei ther the L R or mono stereo signals The mode in which the compressors operate is determined by the combina tion of the AGC switch and the Sidechain Link switch See Fairchild Modes on page 265 for detailed mode information Figure 86 The Fairchild plug in window ...

Page 264: ...input output or gain reduction levels For the plug in the zero screw slot control has been disabled since the meter cannot become uncalibrated on the plug in Controls on the lower auxiliary panel are original controls modifications or additions as follows The DC Bias controls are original controls but were on the back of the hard ware units The sidechain link control is a common modification which...

Page 265: ...ion for psychoacoustic processing since the stereo panning will change dynamically in this mode Lat Vert processing provides maximum usable level and efficient use of avail able groove space in phonograph mastering This results in higher volume re cordings with longer playing times Note The terms lateral side to side and vertical up and down refer to the mechanical modulations in a vinyl record gr...

Page 266: ... to link the two sidechains together and still have the settings for the two channels different Yes Linking the sidechains simply prevents left right image shifting Threshold and input gains can be set independently to cause the compressor to be more sensitive to instruments which are panned to one side or the other Output con trols can be set separately in order to correct an overall image shift ...

Page 267: ...ube wear Because the meter in the plug in cannot go out of calibration this control is permanently disabled AGC Mode This control determines whether the two compression channels will receive L R or mono stereo as the inputs When used in conjunction with the Sidechain Link switch the operating mode of the compressor can be modi fied See the Fairchild Modes on page 265 and Table 18 on page 266 for d...

Page 268: ...ame Balance Balance controls the bias current balance and always goes with one channel of the compressor regardless of what the nearby metering switch is set to The point of perfectly calibrated bias currents is achieved when the dot in the screw slot is at 12 o clock At this setting the amount of additive signal de flection thud which happens due to an attack is minimized Setting this control cou...

Page 269: ...o speak of the ratio changing because for reason able 25 dB amounts of compression this is the case Channel Input Gain This is a stepped attenuation control which always applies to left or right in put regardless of the AGC control setting The steps are approximately 1 dB apart with approximate unity gain coming at a value of 18 where the gain is 0 33 dB Output Gain These controls always apply to ...

Page 270: ...mpart the same warm and rich sound from his Harrison and will impart the same impact sonic clarity and creativity as he experienced mak ing some of the best loved records of our time The Harrison 32C contains four overlapping parametric peaking bands Each band has fully sweepable Frequency and Gain controls Instead of traditional Q controls the 32C has special circuitry that according to the origi...

Page 271: ... LED The Power LED is illuminated when the plug in is active Phase The Phase Ø button inverts the polarity of the signal The signal is inverted when the button is engaged darker Leave the button in active lighter for normal phase Cut Filters In addition to the four band EQ the Harrison 32C offers two cut filters one each for low and high frequencies The slope of the cut filters is 12 dB per oc tav...

Page 272: ...available range is 40 Hz to 600 Hz Low Gain This control determines the amount by which the frequency setting for the low band is boosted or attenuated The available range is 10 dB Low Mid Frequency This control determines the low midrange band center frequency to be boosted or attenuated by the band Gain setting The available range is 200 Hz to 3 1kHz Low Mid Gain This control determines the amou...

Page 273: ...DSP usage It is provided to allow Harrison like sound when DSP resources are limited Nobody with golden ears will say it sounds exactly like the full version but it still sounds great and is very usable in most situations The Harrison 32C SE interface can be differentiated from the Harrison 32C by knob color and the module name The Harrison 32C SE blue knobs instead of the Harrison 32C s ivory kno...

Page 274: ...y compensation be cause it is not upsampled Note Compensating for Harrison 32C is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 101 WebZine Article An article about the Harrison 32C can be found in the Plug In Power article of the Universal Audio January 2009 Webzin...

Page 275: ...hese amazing wrap around consoles Moreover many great musicians of the era purchased Helios consoles for their personal use Of all the Helios consoles produced between 1969 and 1979 the original Type 69 is considered the most musical Universal Audio modeled the EQ section of the very first Type 69 This console was originally found at Island s Basing Street Studio in London it now resides with Jaso...

Page 276: ... a frequency selectable Peak or Trough Notch EQ with eight frequencies 7 1 1 4 2 2 8 3 5 4 5 6 kHz Other features include Level Adjust EQ Cut bypassing the EQ circuit while retain ing the native sound of the unit and Phase Reverse Band Layout The Helios Type 69 design works in such a way that depending on the set tings entire EQ circuits are switched in and out In the hardware that often meant aud...

Page 277: ...ss Gain The Bass Gain knob determines the amount of low band gain to be applied when the Bass knob is in one of the frequency positions Up to 15 dB of boost is available Note Bass Gain has no effect when the Bass knob is in shelv ing mode when Bass set to one of the dB positions Mid Freq This control determines the frequency of the midrange band The following frequencies can be specified 700 Hz 1 ...

Page 278: ...ssed when in the out down position EqCut does not re duce UAD DSP load In the original Helios hardware the audio is still slightly colored even when the EQ switch is in the Cut position This is due to the fact that the signal is still passing through its circuitry Because the plug in emulates the hardware in every regard the signal will be slightly processed when this switch is in the Cut position...

Page 279: ...an other UAD plug ins See Compensating Upsampled Plug Ins on page 108 for more information Note Compensating for Helios 69 is not required if the host application sup ports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 101 WebZine Article An interesting anecdotal article about the Helios console and Type 69 EQ ...

Page 280: ...UAD Powered Plug Ins Manual 280 Chapter 24 Helios Type 69 Equalizer Basing Street Home of the original Type 69 Helios desk The same desk now in Berkeley s Morningwood nearly 40 years later ...

Page 281: ...r rides gain like a recording engineer does by hand with the fader of a console it keeps the volume up during softer sections and brings it down when the signal gets louder The dynamic processing that occurs at ratios be low 10 or 12 to one is generally referred to as compression above that it s known as limiting Modern day compressors offer a great degree of programmability and flexi bility older...

Page 282: ... compressing the dynamic range of the signal In Figure 91 a compressed signal with an input level of 30 dB results in an output level of 20 dB indicating a gain of 10 dB How ever with input levels of 20 dB and 10 dB the compressor exhibits gains of 5 dB and 0 dB respectively thereby illustrating that the gain decreases as the input signal increases This increase in output level by 5 dB for every 1...

Page 283: ...take place When the level of an audio signal is below this threshold there is no gain reduction As the level of the signal increases above the threshold level gain reduction and compression occurs The point at which a signal transitions into compression is commonly referred to as the knee In practical compressors this transition is more gentle than what is depicted in Figure 92 Most modern compres...

Page 284: ...eveling Amplifier is provided in Figure 93 The input transformer provides isolation and impedance matching After this the signal is fed into both the side chain circuit and the gain reduc tion circuit The side chain is comprised of a voltage amplifier a pre emphasis filter and a driver stage that provides the voltage necessary to drive the elec troluminescent panel This signal controls the gain of...

Page 285: ...ields no compression Rotate this control clockwise until the desired amount of compression is achieved to monitor the Peak Reduc tion set the VU Meter to Gain Reduction The Peak Reduction should be ad justed independently of the Gain control Meter This knob in the upper right sets the mode of the VU Meter When set to Gain Reduction the VU Meter indicates the Gain Reduction level in dB When set to ...

Page 286: ...e au dio signal is attenuated by the Input stage The amount of attenuation is con trolled by the input control potentiometer The amount of gain reduction as well as the compressor Attack and Release times are controlled by the Gain Reduction Control circuit After Gain Reduction a pre amp is use to increase the signal level The Output Control potentiometer is then used to control the amount of driv...

Page 287: ... by rotating the Attack control clockwise The faster the Attack the more rapidly compression is applied to signals above the threshold Release Sets the amount of time from 50 1100 msec it takes for compression to cease once the input signal drops below the threshold level Faster release times are achieved by rotating the Release control clockwise Slower release times can smooth the transition that...

Page 288: ... in dB When set to 8 or 4 the VU Meter indicates the output level in dB when set to 4 a meter reading of 0 corresponds to an output level of 4 dB In gain reduction mode with all buttons depressed the VU meter will appear to behave strangely This is normal behavior in the hardware 1176LN and is faithfully recreated in the plug in When the Meter Off switch is selected the 1176LN plug in is disabled ...

Page 289: ...are limited The 1176SE behavior is practically identical to the 1176LN Its sound is nearly identical too but certain compromises had to be made in order to squeeze the extra DSP performance that the 1176SE provides At nominal set tings the sonic difference is negligible At extreme cranked settings nobody with golden ears will say it sounds exactly like the 1176LN but it still sounds great and is v...

Page 290: ...duction with faster attack and release characteristics that were noticeably dif ferent from its predecessor Immediately embraced as a studio workhorse the LA 3A is still widely used today Engineers and producers the world over fa vor the LA 3A for its unique compression characteristics and sonic signature Modeled from a unit in UA s vintage collection our digital emulation of the LA 3A faithfully ...

Page 291: ...threshold A Peak Reduction value of 0 yields no compression Rotate this con trol clockwise until the desired amount of compression is achieved to monitor the Peak Reduction set the VU Meter to Gain Reduction The Peak Reduction should be adjusted independently of the Gain control Meter This switch sets the mode of the VU Meter and also disables the plug in When set to Gain Reduction the VU Meter in...

Page 292: ... program based on the Lexicon 224 s final and hard to find firmware version 4 4 In UA s exhaustive modeling tradition the Lexicon 224 plug in also incorporates the original unit s input transformers and early AD DA 12 bit gain stepping converters nailing the entire analog and digital circuit paths right down to the last detail Additionally the Lexicon 224 emulation for UAD 2 features direct input ...

Page 293: ...erent dynamic system noise of the original Lexicon 224 hard ware Specifically disabling System Noise enables a more modern i e cleaner sound removing the modeled gain stepping parameter zippering and quiescent noise The unique Lexicon 224 Mode Enhancement and Decay Optimization controls improve reverb clarity For insert use the UAD 2 only Dry Wet and Solo parameters control the effect mix within t...

Page 294: ...UAD Powered Plug Ins Manual 294 Chapter 27 Lexicon 224 Lexicon 224 Screenshot Figure 99 The Lexicon 224 plug in window ...

Page 295: ...parameter values voiced by Lexicon In modern terminology these ini tial values would be called a preset In Lexicon 224 hardware speak a program is called loaded which selects the DSP algorithm and sets the default recommended factory parameter val ues These settings can then be modified with the various controls and saved in a user register for later recall The plug in behaves the same way except ...

Page 296: ...A on page 310 for descriptions of the sliders in this program Tip Clicking a slider cap will show its value in the Numerical Display Clicking the text label of any slider will return that slider to the default value for the active program Inputs Outputs The Lexicon 224 hardware has two inputs see Mono Stereo below and four discrete outputs labeled as A B C and D Outputs A and C were de signed to b...

Page 297: ...ges Default Values The parameter value ranges default values and availability of particular pa rameters within a given program may vary depending on which program is active Parameter ranges are listed in the individual control descriptions De fault parameter values for each program are listed in Table 22 on page 311 Note Extreme parameter settings can cause Lexicon 224 to self oscillate or cause o...

Page 298: ...g Dry Wet Mix the value LED does not illuminate LED Meters The six segment LED meters display the left and right signal input levels at the Lexicon 224 analog to digital converters which are fully modeled The Meter LEDs indicate levels at 24 dB 18 dB 12 dB 6 dB and 0 dB When the 0 dB LED illuminates input clipping has occurred Overflow LED The Overflow LED illuminates when an arithmetic processor ...

Page 299: ...ry settings for that algorithm are also loaded at the same time overwriting previous settings except when Immediate mode is active see page 302 for details Program settings can then be adjusted to taste using any available controls Program Descriptions on page 309 contains details about each program Important If the program is changed when Immediate mode is disabled settings from the previously se...

Page 300: ...of high frequencies affected by the Mid control Therefore adjusting Mid may have little audible effect if Crossover is set to a very high value Mid is a slightly misleading label because this control actually affects the re verb decay for all frequencies above the Crossover value not just the midrange However because the highs in the reverb can be rolled off with the Treble Decay control and usual...

Page 301: ...h is not available in P9 Chorus A In this program the display is not updated when the Depth slider is moved Diffusion In most programs Diffusion affects how quickly the echo density in the reverb builds up over time In the original hardware this parameter was usually referred to as Shift Depth changing the diffusion value re quired holding down the shift button while adjusting the depth amount Cli...

Page 302: ...program dependent Immediate When Immediate IMMED is enabled current parameter values are retained when a new program is selected When Immediate is inactive and a program is selected the Lexicon default factory pre set parameter values for the program are loaded and the control sliders move to the preset values Enabling Immediate mode is convenient for quickly auditioning the various program algori...

Page 303: ...eated by dis abling System Noise However zipper stepping noise in delay modulation i e Mode Enhancement can only be reduced but not completely defeated by disabling System Noise Note System Noise is a global per instance parameter its state does not change when different programs are selected Rear Outs The Rear Outs control is available to select the alternate pair when the algorithm has alternate...

Page 304: ... Shift controls have no effect un less the Mode Enhance Enable control is active Mode Enhance Enable This button enables or disables Mode Enhancement for the active program Mode Enhancement is active when the button LED is lit The default state is ON for all programs Tip This control just as with the original hardware resets the algo rithm Therefore Mode Enhance Enable can be used to quickly kill ...

Page 305: ... access in the plug in Decay Optimize Enable This button enables Decay Optimization for the active program De cay Optimization is active when the button LED is lit The default state is ON Note Decay Optimization is unavailable for P8 Constant Density Plate A and P9 Chorus Decay Optimize Amount These two adjacent buttons control the amount of Decay Optimization Click the left button to decrement th...

Page 306: ...Numerical Display as a percentage A value of 50 produces an equal blend of the wet and dry signals Values greater than 50 emphasize the wet signal and values less than 50 empha size the dry signal Clicking the DRY button once will decrement the value by one percent click ing WET once will increment the value by one percent To increase the fine resolution when adjusting these controls hold SHIFT on...

Page 307: ...signals are too high the Lexicon 224 A D inputs and or processor can overload lighting the Overflow LED and causing sonic artifacts See Overflow LED on page 298 for more information Tip Click the text label Input Gain to return the value of both channels to zero Output Level The independent left L and right R Output Level parameters control the signal levels at the output of the plug in The defaul...

Page 308: ...e authenticity The UA logo is actually a switch When the UA logo is illuminated the source code bugs are fixed The default state is ON Click the UA logo to disable the UA bug fixes and revert to the original hardware behavior Display Hold The Display Hold switch alters the behavior of the Numerical Display page 297 In the original hardware the values of parameters that are being modified are displ...

Page 309: ...t same algorithm as P1 Small Concert Hall B P4 Acoustic Chamber This program sounds like a chamber but with less initial density It tends to sound best with shorter reverb times 2 to 5 seconds The most chamber like sound is obtained with Depth at a value of zero Diffusion is preset in this pro gram and cannot be modified Unlike all other Lexicon 224 programs this al gorithm has monophonic input P5...

Page 310: ... log faders so the de fault positions of all four sliders about 1 2 way up correspond to gains 6 dB below maximum The first two voice pairs have overlapping delay ranges Phasing flanging ef fects can be achieved by setting their gains to similar levels Phasing flanging can also be achieved with a mono or centered input when the left and right channels are mixed together such as when used in a mono...

Page 311: ...7 Room A A 3 Large Concert Hall B A 8 Constant Density Plate A A 4 Acoustic Chamber A C 9 Chorus A A C 5 Percussion Plate A A C Table 22 Lexicon 224 Default Parameter Values Program Bass Mid Crossover Treble Decay Depth Diffusion Pre delay Enhance Pitch Shift Decay Opt 1 Small Concert Hall B 3 0 2 0 540Hz 4 40 23 21 024 02 01 05 2 Vocal Plate 2 2 2 2 1kHz 10 9 00 04 000 02 01 05 3 Large Concert Ha...

Page 312: ...award winning Little Labs IBP In Between Phase has established itself with audio engineers as not only a fix it tool but as a device for manipulating audio phase as a creative tonal color tool as well Whether combining direct and microphone signals acoustic guitar and vocal mics drum kit mics or multiple split guitar amps the recorded audio signal phase can be quickly and easily controlled with th...

Page 313: ...riable control that shifts the phase of the input signal The range of Phase Adjust is either 90 or 180 dependent on the Phase Adjust 90 180 switch The Little Labs IBP hardware is an all analog device that uses analog allpass filters to produce phase shifting Allpass filters displace signals in time as a function of frequency they are frequency dependent The modeled UAD ver sion accurately models t...

Page 314: ...is switch disables the plug in When the switch is disengaged the plug in is bypassed When the switch is engaged darker the plug in is active and the green LED is illuminated Little Labs IBP Latency The Little Labs IBP uses an internal upsampling technique This upsampling re sults in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 108 for more informati...

Page 315: ... that they don t conflict No matter what style of music you make from rock to reggae to hip hop to hardcore few tools are as easy to use and effective as the popular Little Labs VOG History Little Labs has a knack for creating problem solving tools for the studio that perform equally well as creative coloration effects and tone boxes The origi nal collaboration between UA and Little Labs saw the r...

Page 316: ...center of the sweepable frequency range is selected via two push buttons of 40 Hz and 100 Hz or you can set the center to 200 Hz by pressing both buttons simultaneously Everything below the targeted fre quency peak is rolled off in a smooth curve up to 24 dB per octave en suring that the low end is always tight and out of the mud while the frequen Figure 104 The UAD Little Labs VOG plug in window ...

Page 317: ...red ible detail and punch Stereo Functionality The original hardware is monophonic When the plug in is used in mono in stereo out and stereo in stereo out configurations the controls affect both the left and right signals Little Labs VOG Parameters Amplitude Amplitude adjusts the amount of the effect Increasing the control boosts the gain of the frequencies determined by the Frequency and Center c...

Page 318: ...uitry is bypassed when Flat is enabled red LED the circuit is active when Flat is disabled green LED When Flat is on the dry signal path of the hardware is still being modeled and DSP is used For true bypass use the Power switch Power Power is the plug in bypass control When set to OFF emulation processing is disabled the LEDs are dimmed and DSP usage is reduced if UAD 2 DSP LoadLock on page 74 is...

Page 319: ...led over a six month period and rigorously scrutinized for authenticity by Manley s engineering team Universal Audio s standard and mastering versions of the Massive Passive EQ plug in are included Both cap ture the behavior of the original hardware from the unusual filter curves to the multiple band interdependencies right down to the tube amplifier distor tion and all important transformer induc...

Page 320: ...sfactory results See Notes from Manley Laboratories on page 329 for more tips Passive EQ No active components are used in the EQ circuits just like revered vintage EQs This can make some adjustments respond in more subtle ways Parallel Topology The EQ bands are routed in parallel instead of serially so gain values for the bands don t add up like most EQs For example if two bands in the same channe...

Page 321: ...ns of what a visual in terpretation of what control settings should do Massive Passive Mastering EQ Manley Labs developed the Massive Passive Mastering EQ to better address the specific needs of mastering engineers Your UAD Massive Passive license includes both the standard and mastering versions available as two individ ual plug ins The Massive Passive Mastering has nearly the same features and c...

Page 322: ...nces between the Massive Passive parameters Boost Cut Out This three position toggle switch determines whether the frequency band will be boosted cut or disabled altogether The amount of boost or cut to be applied to the band is determined by the Band Gain control When Boost or Cut is selected its label illuminates green for Boost red for Cut When the switch is in the OUT position the band is disa...

Page 323: ...quency the Frequency on page 326 and the further away the signal is from that frequency the less boost or cut is applied Band Gain This control determines the amount of EQ gain to be applied to the band The range is from zero gain flat at the fully counter clock wise position to the maximum value at the fully clockwise posi tion Whether the gain is applied as a boost or cut is defined by the Boost...

Page 324: ... Bell and Shelf modes Bandwidth does not have a lot of range and it also affects the maximum boost and cut like a Pultec The widest Q which is obtained at maximum boost or cut is approximately 1 for the 22 1K leftmost band and 1 5 for the other three bands The nar rowest Q is approximately 2 5 to 3 for all of the bands Bell Mode In Bell mode rotating the control counter clockwise increases the ban...

Page 325: ...n i e overshoot For example if the Shelf is boosted a dip is created at higher Bandwidth values At maximum Band width this overshoot curve is pronounced The effect of the Bandwidth control in Shelf mode is shown in Figure 108 below Figure 107 Effect of Bandwidth control on response curve in Bell mode Figure 108 Effect of Bandwidth control on response curve in Shelf mode ...

Page 326: ...ct differences between the Massive Passive parameters EQ In The EQ In pushbutton switch enables the channel When the button illu minates in a brighter blue the channel is active and the other channel controls will affect the signal When this control is disabled all the de sirable low level system filtering and coloration is retained in the channel just like the original hardware Channel Gain This ...

Page 327: ...ow Pass The Low Pass filter allows the channel s lower frequencies to pass while attenuating higher frequencies The slope of the Low Pass filter depends on the value set for the filter At 6K 7K5 and 9K values the filter slope is 18 dB octave At these values a small 1 5 to 2 dB bump occurs in the response before the curve drops off At 12K the slope is 30 dB octave At 18K a modified elliptical fil t...

Page 328: ...knob is in the Off counter clockwise position all LED elements are unlit plug in processing is disabled and UAD DSP us age is reduced unless UAD 2 DSP LoadLock on page 74 is en abled Link The Link switch is a software only addition that allows the two sets of controls for each channel to be linked for ease of operation when both channels re quire the same values or unlinked when dual mono operatio...

Page 329: ... channel will override the right channel when Link is activated Massive Passive Latency The Massive Passive and Massive Passive Mastering EQs use an internal up sampling technique to facilitate their amazing sonic accuracy This upsam pling results in a slightly larger latency than other UAD plug ins See Com pensating Upsampled Plug Ins on page 108 for more information Note Compensating for Massive...

Page 330: ... a passive EQ and probably a good thing To get drastic sound ing EQ you should try boosting a few bands and cutting a few bands In fact it is usually best to start with cutting rather than boosting A reasonable starting point for the Bandwidth for shelves is straight up or between 11 00 and 1 00 It was designed this way and is roughly where the maximum flatness around the knee is combined with a w...

Page 331: ...Massive Passive EQ It is highly recom mended reading for those interested in technical details The manual can be found on their website along with info about their other great products http www manleylabs com techpage manuals html The Massive Passive EQ hardware interior All visual and aural references to the Massive Passive EQ and all use of MANLEY s trademarks are being made with written permiss...

Page 332: ... and extreme resonance in any of the three modes bringing a new level of sophistication to Moog filter designs of the past The UAD Moog Filter algorithm uses a special filter structure that was created especially to eliminate digital artifacts for time varying filters An expensive DSP technique was used to calculate the response of the nonlinear feedback loop surrounding the saturation and filter ...

Page 333: ...al from clean to slightly overdriven to extremely distorted particularly when used in conjunction with the Boost switch see Boost on page 338 Gain SE only The non linear modeling of Drive characteristics is extremely DSP intensive For this reason Drive is not available on the SE version of UAD Moog Filter In UAD Moog Filter SE the parameter is named Gain instead of Drive and is a straight non mode...

Page 334: ...can be ad justed The envelope knob determines how much the filter cutoff frequency is affected by the signal input level Positive and negative values are possible Positive values increase the filter cutoff as the input amplitude increases the filter opens as the signal gets louder Negative values decrease the filter cutoff as input amplitude increases the filter closes as the signal gets louder Th...

Page 335: ...ance determines the amount of filter feedback which accentuates the harmonic content at the cutoff frequency Higher values can produce a whis tling quality to the filter and at very high values the filter may self oscillate Resonance works the same way in all three filter modes Pole Slope The filter slope is determined by this switch The slope defines how steep the frequencies above the cutoff in ...

Page 336: ...ica tion to Moog filter designs of the past The knob switches between the avail able filter types Lowpass Frequencies above the cutoff value are filtered Bandpass Frequencies above and below the cutoff value are filtered Highpass Frequencies below the cutoff value are filtered Spacing Spacing inversely offsets the filter cutoff values for the left and right channels In other words positive Spacing...

Page 337: ...ample if you are using LFO filter modulation you may want playback to always sound exactly the same when bouncing or mixing To accomplish this the LFO must be started at the same place zero crossing of the LFO waveform Reset enables this sonic consistency when using the LFO Free Sync This switch defines whether the LFO is synchronized to the tempo of the host application if this feature is support...

Page 338: ...s retained Output The Output control changes the gain at the output of the plug in The available range is 20 dB Output LED This LED gives a visual indication of the plug in output level The Out put LED is active when Bypass is enabled but not when Power is off When the LED is red the output is 0 dBfs Effect Bypass When Bypass is enabled filter processing is inactive Drive Gain and Output still ope...

Page 339: ...na back ground and maple sides borrowed from the Voyager Select Series The full version uses the Voyager s electric blue backlighting and mahogany sides Moog Filter SE Controls The Moog Filter SE controls are nearly the same as the Moog Filter The exceptions are the Drive related controls Drive and Boost are unavail able on the SE model and the Drive control is replaced with a straight non modeled...

Page 340: ...not upsampled Note Compensating for Moog Filter is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 101 WebZine Articles Several interesting articles related to the Moog Multimode Filter are available in the UA WebZine http www uaudio com webzine 2008 september power h...

Page 341: ...for the first time in plug in form From guitars and basses to drum breaks the MXR Flanger Doubler plug in will get your tracks moving History Flanging originated as a tape effect where two tape machines are playing two identical and synchronized signals and one is gradually delayed to cre ate unique comb filtering effects In the late 70 s MXR introduced the famed Flanger Doubler unit which unlike ...

Page 342: ...er is generated by using very short delay times whereby the delayed wet signal is not heard as separate from the original dry signal When this delayed signal is combined with the dry signal the comb filtering that is the essence of the flanging effect is gener ated By modulating sweeping the delay time the response of the comb fil tering is modified and the characteristic swoosh is produced Additi...

Page 343: ...e material and more An other common use for the MXR Flanger Doubler is as a group effect where effecting more than one signal is desired Try applying the MXR Flanger Dou bler to drum busses or even the entire mix most often for a brief period in the song such as a break or bridge In addition to Flanging the Flanger Doubler excels as a short range delay doubler MXR Flanger Doubler Controls Buttons ...

Page 344: ...applied Note This function is only available when the plug in is used in a mono in stereo out or stereo in stereo out configuration When used in a mono in mono out configuration the switch has no effect Single When in the up white position Single mode is active This is the default setting In Single mode the left and right signals are processed identically and the Sweep LFO for both channels are in...

Page 345: ...s the amount of modu lation applied to the delay time LFO The available range is 0 100 At 0 no modulation occurs and delay time is determined by the Manual set ting As Width is increased the amount of modulation becomes wider a broader sweep At 100 the delay time sweeps throughout its entire range automatically creating the same sound as moving the Manual control repeat edly back and forth from mi...

Page 346: ...value of 100 Mono This switch sums the stereo output of the dry and wet signals to mono when the plug in used in a stereo output configuration This function is useful for creative purposes or checking phase relationships The output is stereo when the switch is in the up white position and mono when the switch in the down gray position Mono is only available when the plug in is used in a mono in st...

Page 347: ...uminate in tandem with the current Sweep Speed provid ing a visual indication of the LFO rate The Width amount must be higher than 0 for the LEDs to blink As Width increases the blinking is more obvious The manner in which the LED response manifests depends on the state of the Manual Width and Speed controls their quirky behavior is the same as the original hardware Reset The LEDs provide a mechan...

Page 348: ...than most other UAD plug ins See Compensating Upsampled Plug Ins on page 108 for more information Note Compensating for additional latency is not required if the host appli cation supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 101 for more information The MXR Model 126 Flanger Doubler hardware unit ...

Page 349: ...sterpieces The 1073 is famous for adding an unmistakable sheen and clarity of pres ence to elements in the mix that is deemed unattainable with any other unit Modeling the 3 band EQ and high pass filter in painstaking detail and thor oughness Universal Audio s Neve 1073 EQ will deliver the same sonic ex perience expected from its analog cousin with exacting detail Bundled to gether come two versio...

Page 350: ... Band The midrange band is controlled by dual concentric knobs delivering smooth semi parametric midrange equalization The response for this band has a dependence on the bandwidth as the gain is adjusted At higher center fre quencies the Q goes up for a more focused peak The inner knob controls the band gain and the outer ring selects the fre quency or band disable These two controls are detailed ...

Page 351: ...he bass response Low Frequency The Low frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click directly on the silkscreen text to specify a frequency or disable the Low band Note You can also click the low shelf symbol above the knob to cycle through the available values or shift click to step back one frequency The ava...

Page 352: ...ut position UAD DSP usage is reduced when the EQ is by passed with this control unless UAD 2 DSP LoadLock on page 74 is en abled If a true bypass is desired use the OFF position of the Input Gain on page 350 control Neve 1073SE Overview The UAD Neve 1073SE is derived from the UAD Neve 1073 Its algorithm has been revised in order to provide sonic characteristics very similar to the 1073 but with si...

Page 353: ... UAD plug ins The latency and its compensation is identical to that of the UAD Precision Equalizer See Compensating Upsam pled Plug Ins on page 108 for more information The Neve 1073SE does not require additional latency compensation because it is not upsampled Note Compensating for Neve 1073 is not required if the host application supports full plug in delay compensation throughout the signal pat...

Page 354: ...tage 8048 consoles with 1081 modules are still in wide use today at classic facilities such as The Village in Los Angeles and have been chosen by artists ranging from The Rolling Stones to The Red Hot Chili Peppers Universal Audio s Neve 1081 EQ delivers the same sonic experience as its analog cousin with exacting detail The 1081 EQ also includes a DSP opti mized 1081SE EQ for higher instance coun...

Page 355: ...the inner knob controls the gain while the outer ring controls the frequency The low and high cut filters are grouped as one knob ring set but they are actually two inde pendent filters Band Layout Input Gain The Input Gain control sets the level at the input of the plug in The range is from 20 dB to 10 dB When the Input Gain knob snaps to the OFF position plug in processing is disabled and UAD DS...

Page 356: ... a frequency or disable the band Note You can also click the shelving symbol above the knob to cycle through the available values or shift click to step back one frequency The available high band center frequencies are 3 3 kHz 4 7 kHz 6 8 kHz 10 kHz 15 kHz and OFF When OFF is specified the band is disabled UAD DSP usage is not reduced when the band is OFF High Peak Select The High Peak button swit...

Page 357: ...se of the high mid band from normal to a narrower bandwidth for a sharper EQ curve The band is in normal mode by default it s in high Q mode when the button is down darker Low Mid Band The low midrange band delivers smooth low mid fre quency peak equalization with a choice of two band widths The inner knob controls the band gain and the outer ring selects the frequency or band disable Low Mid Gain...

Page 358: ... Low Gain The equalization gain for the low band is selected with the inner knob of the dual concentric control The available range is approx imately 18 dB Low Frequency The low band frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click di rectly on the silkscreen text to specify a frequency or disable the band The av...

Page 359: ...ic ring controls the low cut filter The available frequencies for the low cut filter are 27 Hz 47 Hz 82 Hz 150 Hz 270 Hz and OFF When OFF is specified the low cut filter is disabled UAD CPU us age is not reduced when OFF Phase The Phase PH button inverts the polarity of the signal When the switch is in the In lit position the phase is reversed Leave the switch in the Out unlit position for normal ...

Page 360: ...me as the Neve 1081 Please re fer to the Neve 1081 section for Neve 1081SE control descriptions see Neve 1081 and 1081SE Controls on page 355 Neve 1081 Latency The Neve 1081 but not the 1081SE uses an internal upsampling technique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 108 for ...

Page 361: ...and unmistakable sheen and bite the 31102 provides another step in the evolution of classic Neve EQs 3 band active EQ and High Low filters offer enhanced tone shaping possibilities and a feature complexity that sits squarely between its cousins the 1073 and the 1081 The Neve 31102 SE EQ is a three band 10 12 and 16 kHz high shelving EQ a six frequency 7 2 4 8 3 2 1 6 0 7 and 0 35 kHz peaking EQ wi...

Page 362: ...ncy shelving equalization controlled by dual concentric knobs The in ner knob controls the band gain and the outer ring selects the frequency or band disable High Shelving Gain The gain for the high band is selected with the inner knob of the dual concentric control Rotate the control clockwise to add the famous high end Neve sheen or counter clockwise to reduce the treble response The available r...

Page 363: ...ol above the knob to cycle through the available frequen cies shift click to step back one frequency The available midrange center frequencies are 7 2 kHz 4 8 kHz 3 2 kHz 1 6 kHz 0 7 kHz 0 35 kHz and off When off is specified the band is dis abled UAD DSP usage is not reduced when the band is off High Q Select The High Q button switches the response of the midrange band from normal to a narrower b...

Page 364: ...t filter The knob pointers can be dragged with the mouse or click the respective cut symbols above the knob left sym bol for low cut right symbol for high cut to cycle through the available frequencies shift click to step back one fre quency High Cut The inner blue dual concentric knob controls the high cut filter The available frequencies for the high cut filter are 18 kHz 14 kHz 10 kHz 8 kHz 6 k...

Page 365: ...ntrol In put Gain on page 362 Neve 31102SE Overview The UAD Neve 33102SE is derived from the UAD Neve 31102 Its algorithm has been revised in order to provide sonic characteristics very similar to the 31102 but with significantly less DSP usage It is provided to allow 31102 like sound when DSP resources are limited Nobody with golden ears will say it sounds exactly like the 31102 but it still soun...

Page 366: ...e 108 for more information The Neve 31102SE does not require additional latency compensation be cause it is not upsampled Note Compensating for Neve 31102 is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 101 One Neve 31102 EQ hardware module and 31102s installed in ...

Page 367: ...llows for higher instance counts The completely step controlled 33609 is made up of separate compression and limiter sections each with their own threshold recovery and bypass con trols Two of the recovery selections for each section are dedicated to a pro gram dependent auto release The compressor section also offers five ratio se lections and 20 dB make up gain while the limiter offers a fast or...

Page 368: ... 281 Signal Flow In the 33609 the output of the compressor is fed to the input of the limiter Like the original hardware the signal does not flow from the left to the right of the interface Understanding this signal flow will help you obtain a more predictable result see Figure 121 below Modeling The UAD Neve 33609 models all aspects of the original 33609 hardware including the desirable harmonic ...

Page 369: ...mpressor is enabled the Gain control in the compressor section Compressor Gain on page 370 will affect the input level into the limiter In this case the compressor gain can affect the limiter threshold response Limiter Recovery Recovery release is the time it takes for the limiter to stop processing after the signal drops below the threshold value The available values in milliseconds are 50 100 20...

Page 370: ...gram dependant The value for a1 can be as fast as 40ms but after a sustained period of high signal level the period is 800ms The value for a2 can be as fast as 150ms but after a sus tained period of high signal level the period is 1500ms Compressor Gain This makeup gain control increases the signal level out of the compressor to compensate for reduced levels as a result of compression The availabl...

Page 371: ...tal reduction of the limiter plus the compressor Note The meter indicator moves farther to the right as more gain reduction is occurring This meter behavior is opposite that of many compressors Link This switch is a software only addition that allows the two sets of controls for each channel to be linked for ease of operation when both channels require the same values or unlinked when dual mono op...

Page 372: ...must be disabled Stereo In stereo mode the left channel is fed to the channel one compressor and the right channel is fed to the channel two compressor The two compressors are constrained so that they both compress the same amount at any instant This prevents transients which appear only on one channel from shifting the image of the output Any big transient on either channel will cause both channe...

Page 373: ... to cause the compressor to be more sensitive to instruments which are panned to one side or the other Out put controls can be set separately in order to correct an overall image shift at the output Headroom Background The hardware Neve 33609 can accept an analog signal level of approxi mately 26 dBu before undesirable signal clipping occurs As the signal in creases up to this point however desira...

Page 374: ... plug in to behave as though it were a hardware 33609 connected to a nominal 4 dBu inter face with the selected amount of headroom Industry standards for most DAW interfaces are 14 dB and 18 dB headroom The 22 dB setting approxi mates some analog mixing environments and allows the entire useful dy namic range of the 33609 to be exercised The following settings are application guidelines for the He...

Page 375: ...as a drum group or vocal group This type of application often has lower levels than full mixes but higher levels than a track insert Track TRAK presets are optimized for track inserts where signal levels typi cally aren t as hot as groups or outputs The preset names are guidelines and not rules In many cases you can use any preset on any source with good results You will probably need to adjust th...

Page 376: ...as the Neve 33609 Please refer to the Neve 33609 section for Neve 33609SE control descriptions see Neve 33609 and 33609SE Controls on page 369 Neve 33609 Latency The Neve 33609 but not the 33609SE uses an internal upsampling tech nique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsam pled Plug Ins on page 10...

Page 377: ... EQ and dynamics section from Neve s flagship console The controls comprise 12 dB per octave high and low cut filters a four band EQ plus limiting compression gate and expansion The middle EQ bands are fully parametric while the flexible high and low bands provide the user with two fixed Q types and the ability to switch to shelving EQ The VCA type Limit Comp provides a 0 01 to 3s release Auto Rel...

Page 378: ...UAD Powered Plug Ins Manual 378 Chapter 37 Neve 88RS Channel Strip Neve 88RS Screenshot Figure 123 The Neve 88RS plug in window ...

Page 379: ... and a lim iter compressor The controls for each of these two dynamics pro cessors are arranged in vertical columns with the gate expander controls in the left column and the limiter compressor controls in the right column Both processors can be individually activated or disabled The settings of the gate do not affect operation of the compressor and vice versa The same sidechain signal EQ d or not...

Page 380: ...de the gate ap plies downwards expansion at a fixed 1 2 ratio with the amount of gain re duction determined by the range control Two attack speeds and a continu ously variable release time are available in both modes Gate Exp Enable G E This button activates the gate expander module The module is active when the button is gray and the green indicator illumi nates You can use this button to compare...

Page 381: ...urning the gate on while allowing a lower threshold for falling levels This prevents reverb tails from being pre maturely gated For example if the threshold is set at 50 and the hysteresis is set at 10 the level would have to rise above 40 dB before the signals pass and the gate would remain open until the level falls below 50 dB This control also activates expander mode Rotating Hysteresis fully ...

Page 382: ...cator just below the Threshold control 40 dB mode is active when the red indica tor illuminates Gate ExpRange RGE Range RGE controls the difference in gain between the gated expanded and non gated expanded signal Higher val ues increase the attenuation of signals below the threshold When set to zero no gating or expansion occurs The avail able range is 0 dB to 60 dB Gate Exp Fast The Fast mode swi...

Page 383: ...e along with a pleasing automatic triple time constant program dependent release mode auto mode has a three stage release A makeup gain control and a hard soft knee setting are also available in the module From the AMS Neve 88RS User Manual Anti pumping and breathing cir cuitry allows the unit to operate on the source musically whilst retaining abso lute control over the dynamic range The 88RS com...

Page 384: ...d when this module is inactive unless UAD 2 DSP LoadLock on page 74 is enabled L C Gain The Gain control adjusts the output level of the limiter com pressor module The available range is 0 dB to 30 dB Generally speaking adjust this makeup gain control after the desired amount of processing is achieved with the Threshold control The Gain control does not affect the amount of pro cessing L C Hard Kn...

Page 385: ...signal of 20 dB being reduced to 10 dB A value of 1 yields no gain reduction When the control is at maximum lim the ratio is effectively infinity to one yielding the limiting ef fect The available range is 1 to infinity L C Fast The Fast mode switch defines the attack time the duration between the input signal reaching the threshold and processing being ap plied of the limiter and compressor Attac...

Page 386: ...into four frequency bands see Figure 127 on page 387 High Fre quency HF High Midrange Frequency HMF Low Midrange Frequency LMF and Low Frequency LF The high and low bands can be switched into shelving and or High Q modes The two midrange bands are fully paramet ric The EQ module can be disabled altogether When the high frequency HF and or low frequency LF band is in shelf mode the band gain affect...

Page 387: ...ates You can use this button to compare the equalized signal to the original signal or bypass the EQ altogether UAD DSP load is reduced when this module is inactive unless UAD 2 DSP LoadLock on page 74 is enabled Figure 127 Neve 88RS EQ Controls Layout High Frequency HF band controls Low Midrange Frequency LMF band controls Low Frequency LF band controls High Midrange Frequency HMF band controls E...

Page 388: ...is off by default Note Hi Q has no effect when the band is in shelf mode HF Shelf Enable The HF band can be switched from bell mode to shelving mode by clicking the shelf enable button Shelf mode is active when the but ton is gray and the yellow indicator illuminates Shelf is off by de fault HMF Freq This control determines the HMF band center frequency to be boosted or attenuated by the HMF Gain ...

Page 389: ...nes the amount by which the frequency setting for the LF band is boosted or attenuated The available range is 20 dB LF Shelf Enable The LF band can be switched from bell mode to shelving mode by clicking the shelf enable button Shelf mode is active when the button is gray and the yel low indicator illuminates Shelf is off by default LF Hi Q Enable The filter slope of the LF band can be switched wi...

Page 390: ...sten to the sidechain key simply disengage SC EQ to hear the EQ d signal The sidechain dynamics EQ implementations are true stereo when used in a stereo in stereo out configuration Note The EQ module must be active in conjunction with SC EQ for the sidechain to function see EQ Enable EQ on page 387 Pre Dynamics P DYN This button re routes the UAD Neve 88RS signal Normally the au dio signal is rout...

Page 391: ...en the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disabled state WebZine Article An article about the Neve 88RS console can be found in the Analog Obses sion article of the Universal Audio May 2007 Webzine Volume 5 Number 4 published on the internet at http www uaudio com webzine 2007 may index4 html All visual and aural ref...

Page 392: ...livering a wide range of highly playable classic amp tones from the Clean Warm California tube sound to more metal soaked British tones a bevy of original timbres simply not possible on any other guitar system can be realized Pre flex also offers variable component level morphing between any two amp pre sets truly bringing creative guitar voicing to the next level As with the UAD Powered Plug Ins ...

Page 393: ... resources when all of the modules are not required simultaneously some of the Nigel components are also supplied as separate plug ins The following UAD Powered Plug Ins are part of the complete Nigel package Nigel all of the modules in one plug in Preflex Gate Compressor Amp Cabinet GateComp Gate Compressor Phasor Mod Filter TremFade Tremolo Fade TremModEcho Tremolo Fade Mod Delay Echo Figure 128...

Page 394: ...s use sophisticated algorithms to provide analog sound quality never before available in a digital environment The Color and Bent controls modify frequency and gain characteristics in in teresting and musically useful ways and realtime component level morphing between any two amp types is possible Preflex Modules The Preflex plug in consists of three sub modules gate compressor amplifier and cabin...

Page 395: ...The Compressor reduces the dynamic range of the signal based on the thresh old and ratio settings Guitarists often use compressors to increase perceived sustain on long notes and for special effects Refer to Chapter 5 for more de tails on compressor theory and operation Note that Nigel s compressor sounds different than the CS 1 EX 1 compressor it sounds more vintage Gate Level Display This LED st...

Page 396: ...94 increases the overall signal level within Preflex by 20 dB It is completely independent of the Gate and Com pressor On Off controls and will provide a signal boost even with the Gate and Compressor are off Note The Boost button is only available within Nigel and Preflex The individ ual Gate Comp plug in does not contain the Boost button because Boost only affects the Amp within Preflex Compress...

Page 397: ...ld level Slower release times can smooth the transi tion that occurs when the signal dips below the threshold especially useful for material with frequent peaks However if you set too large of a Release time compression for sections of audio with loud signals may extend to lengthy sec tions of audio with lower signals Three Release values are available Slow 500ms Medium 120ms and Fast 40ms Compres...

Page 398: ...gh the amp types are essentially factory programmed presets they are not simply a set of knob values As different amp types are selected the actual function and range of the amp knobs assume new characteristics Color and Bent Supercontrol The Color and Bent knobs have especially powerful functionality Each mod ifies several amplifier characteristics simultaneously so they behave as super controls ...

Page 399: ...e slider is moved Morph is NOT a blend or crossfade control Morph allows you to continuously shift between two completely different amp sounds in realtime with full automation And because the Color and Bent knobs also control multiple parameters simultaneously which is essentially a morph amazing new dynamically shifting timbres can be realized Amp Controls Amp EQ Groups Preflex has two groups of ...

Page 400: ...b Modifies the low frequency response of the signal after the Amp This control is a set to a fixed frequency but the frequency changes with the amp type Post EQ Mid Knob Modifies the middle frequencies response of the signal after the Amp The fre quency that this knob controls is determined by the Color knob see Color knob description for more details Post EQ Hi Knob Modifies the high frequency re...

Page 401: ...acturer model name de scription and designations are all trademarks of their respective owners which are in no way associated or affiliated with Universal Audio These trademarks and names are used solely for the purpose of describing certain timbres produced using Universal Audio s exclusive modeling technology Amp Type List and Descriptions Table 26 Amp Type List and Descriptions AMP TYPE DESCRIP...

Page 402: ...obs also control multiple parameters simultaneously which is essentially a morph amazing new dynamically shifting timbres can be realized Cabinet Module The Cabinet module reproduces the sonic character of a guitar speaker and its enclosure as captured by a microphone The Cabinet receives its input sig nal from the Preflex Amp output The Cabinet output is the final Preflex signal output The Prefle...

Page 403: ...ch speaker s OB Open Back cabinet SC Sealed Cabinet closed back cabinet On Axis Mic close and perpendicular at 90 degrees off center Off Axis Mic close and angled off center Edge Mic close and angled at edge of speaker Far Mic approximately 2 feet from speaker 1 12 OB 90 watt Celestion early 1990 s 2 12 OB Left speaker Oxford Blue Right Utah both 60 watt early 1960 s 2 12 SC 90 watt Celestions ear...

Page 404: ...or is a frequency variable comb filter with low frequency oscillator modulation It is capable of producing dramatic sweeping and swooshing ef fects including modern and classic sounds such as those produced by the Mutron Bi Phase Small Stone and MXR series of phasors Sync Button This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync for more information Rate Knob Sets the LFO m...

Page 405: ...n allows both positive and negative values The polarity refers to the phase of the feedback as compared to the original signal If Recirculation displays a positive value the feedback will be in phase with the source If it displays a negative value then the feedback will be out of phase Mix Knob This control determines the balance between the processed and the original signal Values greater than 50...

Page 406: ... filters Ten filter Order values are available 3 through 12 Phasor On Off Button Enables or disables the Phasor module You can use this switch to compare the Phasor settings to that of the original signal or bypass the Phasor to reduce UAD DSP load Table 29 Phasor LFO Types and Descriptions Sin Pure sine wave Sin 2 Modified sine wave that stays high longer Sin 3 Modified sine wave that stays low l...

Page 407: ...n III and other popular filters The filter cutoff frequency can be controlled by the signal level at the input to the module or a low frequency oscillator LFO This realtime dynamic response is what gives the Mod Filter its unique sound Sync Button This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync for more information Figure 134 The Mod Filter plug in window The label and f...

Page 408: ...l wah pedal the wah filter is alternately enabled and disabled by rocking the pedal to the maximum forward position Similarly when the Wah knob is moved to the maximum position the wah effect is alternately en abled disabled until the knob or an external controller mapped to the knob is moved to maximum again This emulates real wah pedal behavior when an external MIDI control pedal is used in real...

Page 409: ...Envelope and Wah Pedal Each Mod Type is described below LFO Mode Three LFO modes are available Sine Square and Random The only differ ence between the three LFO modes is the waveshape of the Low Frequency Oscillator Random LFO is chromatically tuned for maximum musicality When LFO mode is engaged the filter cutoff frequency does not respond dy namically to changes in input signal level Instead the...

Page 410: ...ettings to that of the original signal or bypass the Mod Filter to re duce the UAD DSP load Table 30 Mod Filter Mod Types and Descriptions Sin LFO mode with Sine waveshape Square LFO mode with Square waveshape Random LFO mode with Random waveshape Env Up Normal Envelope mode Filter cutoff frequency is dynamically increased as signal level increases Env Down Inverted Envelope mode Filter cutoff fre...

Page 411: ...remModEcho plug in The TremModEcho is loaded as one plug in but consists of three modules Trem Fade Mod Delay and Echo Figure 135 Each of the module controls is described in the following pages Figure 135 The TremModEcho plug in contains three modules ...

Page 412: ...ds the threshold the Trem Fade effect is triggered The range is 0 dB to 80 dB Note When Trem Fade is used within the complete Nigel plug in the thresh old detector is connected to the output of the Gate module This allows for op timal level tracking independent of the amplifier and other effect settings Once a Trem Fade effect is instigated by crossing the threshold level the ef fect will continue...

Page 413: ...ode menu reconfigures the behavior of the Trem Fade algorithms and or the preset parameter settings Each of the Modes is described below Fade Mode In Fade mode when the input signal level crosses the threshold value the au dio will fade in ramp up according to the time set with the Fade In knob The Onset Rate and Depth controls are also active in Fade mode Two Fade modes are available Each has a d...

Page 414: ... to the value of the Onset control For example if VariTrem Up is selected and Onset has a value of 2 seconds the Tremolo rate will gradually increase for 2 seconds Two VariTrem modes are available Vari T Up gradually increases the Trem olo rate and Vari T Dn gradually decreases the Tremolo rate Note If the Depth value is zero and or the Threshold value is set too high in VariTrem mode you will not...

Page 415: ...ssor can be used to control the Mod Delay sophisticated envelope controlled flange chorus and vibrato modula tions can be achieved Sync Button This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync for more information Rate Knob Sets the LFO modulation rate of the delayed signal The available range is 0 01Hz to 25 Hz Figure 137 The Mod Delay module The label and function of the...

Page 416: ... This flexible arrangement allows the Mod Delay to affect a narrow or broad frequency range and also enables you to tune the frequency response characteristic to match the signal if desired Note The Sweep knobs are only visible in Flanger mode Sweep Lo Knob Sets the lowest frequency to be affected by the Mod Delay The available range is from 100 Hz to 6000 Hz Because the Sweep Lo frequency cannot ...

Page 417: ...the delays flips back and forth be tween in phase and out of phase In the flanger mode Recirculation has the potential to make some very inter esting sounds Try turning RECIR fully clockwise or counter clockwise and set the delay to very short values Damping Knob This low pass filter reduces the amount of high frequencies in the signal Turn down this control to reduce the brightness of the sound H...

Page 418: ...ce UAD DSP load Table 32 Mod Delay LFO Types and Descriptions Sin 0 In phase sine wave Sin 90 Sine wave 90 degrees out of phase Sin 180 Sine wave 180 degrees out of phase Tri 0 In phase triangle wave Tri 90 Sine wave 90 degrees out of phase Tri 180 Sine wave 180 degrees out of phase Trem Up The Trem Fade module is used as the LFO source On a stereo signal both channels ascend in pitch in synchroni...

Page 419: ...ho to continue to process its signal even when no new signal is being input Therefore volume swells with Echo can be au tomated and high Recirculation effects such as sampling and infinite repeat techniques can be realized Time Knob Sets the delay time between the original signal and the delayed signal The maximum available delay time is 1200 milliseconds Recirculation Recir Knob Sets the amount o...

Page 420: ...A value of 50 delivers equal signals Mix allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If a positive value is dis played then all the delays will be in phase with the source With a negative value the delayed signal is flipped 180 degrees out of phase with the source Mode Menu The Mode menu determines how the Echoes are pr...

Page 421: ...vidual track inserts The Precision Buss Compressor s control set features Threshold Ratio Attack and Release with all parameters specifically tailored to buss compressor usage The Release control includes a multi stage Auto Release also designed for a wide variety of program material Input and Output Gain control is offered with metering for input output and gain reduction A high pass Filter is of...

Page 422: ... the audio signal itself The filter is an 18 dB per octave coincident pole high pass filter The avail able range is 20 Hz 500 Hz and Off Note The Filter parameter affects the control signal sidechain of the com pressor only It does not filter the audio signal Threshold This parameter determines the threshold level for the onset of compression Incoming signals that exceed this level are com pressed...

Page 423: ... signal of 20 dB being reduced to 10 dB The available Ratio values are 2 1 default 4 1 and 10 1 Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before compression is ap plied The faster the Attack the more rapidly compression is applied to signals above the threshold The Attack range is from 0 10 milliseconds to 32 milliseconds The availabil...

Page 424: ...reduced to minimum or being raised to 0 dB in the case of a fade in The available range is from 1 0 second to 60 sec onds Fade times immediately reflect the current Fade Set value Therefore a fade out that has already been initiated can be accelerated by changing Fade Set during the fade out Conversely a fade in can be accelerated by changing Fade Set during the fade in Note that although the Fade...

Page 425: ...io parameters The default value is 0 dB The available range is 20 dB Mix The Mix control determines the balance between the original and the processed signal The range is from 0 dry unproc essed signal only to 100 wet processed signal only The default value is 100 Output Level Output controls the signal level that is output from the plug in The default value is 0 dB The available range is 20 dB Ou...

Page 426: ...DSP usage is reduced unless UAD 2 DSP LoadLock on page 74 is enabled When the plug in is bypassed with this switch but not by the host bypass the I O meters and the Input Level knob remain active Extra Presets Extra presets for the UAD Precision Buss Compressor that are not in the factory bank can be downloaded from our website These presets replicate all the fixed attack and release setting combi...

Page 427: ...owing repairs on a large range of voices or even overheads and hi hats while the Solo button allows the user to isolate and monitor the target sibilant frequencies The Width control offers a variable 1 6 to 1 2 3 octave bandpass filter that is perfect for complex program ma terial adapting technology from the TEC nominated Precision Multiband The Width control also switches into a more traditional...

Page 428: ...re subtle but can produce a more natural sounding result The actual times of the two modes are as follows Fast Attack 0 5ms Release 30ms Slow Attack 2 0ms Release 120ms Click the Speed button to change the mode Alternately you can click hold the LED area and drag like a slider to change the value Frequency This control defines the center frequency of the de esser when in bandpass mode or the cutof...

Page 429: ...The available range is 0 15 about 1 6 octave to 1 61 about 1 2 3 oc taves plus High Pass mode Note UAD DSP usage is slightly decreased when Precision De Esser is in High Pass mode versus bandpass mode unless UAD 2 DSP LoadLock on page 74 is enabled Split Split determines if attenuation compression is applied to the sidechain signal only or to the entire audio signal In normal use Split should be e...

Page 430: ... in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 74 is enabled Toggle the switch to change the Power state the UA logo is illuminated in blue when the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disabled state Operating Tips For taming sibilance for a full mix mastering best results will usuall...

Page 431: ...cting results with minimal adjustment and allows the widest range of tonality available in its class from subtle to decidedly audible The Hz Frequency control sets the corner frequency of the bass isolation low pass filter while Effect blends the generated signal into the original signal Four effect slopes are available for variations in harmonic density while five modes present various internal c...

Page 432: ...ring More illuminated blue segments indicate more signal enhancement Effect Solo Effect Solo isolates the generated signal and is affected by Effect level Effect Solo is active when the button is red The Effect Solo signal is pure and contains no added original or fil tered bass signal Therefore the soloed signal may not sound pleasant when heard by itself When Effect Solo is used in conjunction w...

Page 433: ...ed to the harmonics signal increasing the amplitude of the harmonics and altering their timbre All Mode All mode offers a more exaggerated and audible effect for creative purposes or when less subtle results are desired Compression is applied to the harmonics signal increasing the amplitude of the harmonics and altering their timbre The frequency range is similar to Mode A Tip All mode can be sele...

Page 434: ...t and Hz Fre quency controls Output does not affect the amount of enhancement process ing nor does it have any effect when the plug in is disabled Output Meter The stereo Output Meter displays the signal level at the output of the plug in When the plug in is disabled with the plug in Power switch but not the host plug in enable switch the output meters still function Power The Power switch determi...

Page 435: ... careful not to overdo it With the frequency control set to mid to higher frequencies the effect is designed to add bass tone that would ordinarily disappear on smaller speakers For the most predictable results it is recommended to audition your mix on both full range systems with a subwoofer as well as small consumer systems such as a boombox or computer speakers A different effect response will ...

Page 436: ...effect The five Modes A B C D and the shift clickable All present various con trol configurations to support the widest array of source material With Modes A and B the filtered audio is mixed in with the dry signal according to the Ef fect control For Modes C D and All audio is passed through a unique up wards expander where the expanded audio is then filtered before being mixed with the dry signa...

Page 437: ...ffect increases the overall enhancement effect Note The signal level at the plug in input will interact with the Effect control Effect Meter The Effect Meter indicates the amount of signal processing that is occurring More illuminated blue segments indicate more signal enhancement Mode The Mode control determines the type of enhancement that will be applied to the signal The active Mode can be sel...

Page 438: ... increases The kHz Frequency parameter is disabled in this mode Speed The Speed parameter defines the attack and release char acteristic of the enhancement process Fast In Fast mode the enhancement processor has a quick response time of 30ms which yields a more percussive bite and or a more aggressive sound Slow Slow mode has a slower response time of 180ms which can deliver a smoother sound overa...

Page 439: ... plug in is disabled with the plug in Power switch but not the host plug in enable switch the output meters still function Power The Power switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or bypassing the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 74 is enabled Toggle the switch or c...

Page 440: ...he utmost in EQ quality is required The Precision Equalizer is based on industry standard analog mastering filters and uses the classic parametric controls ar rangement The Precision Equalizer utilizes the best from those designs while incorporating features convenient to digital mastering To preserve the great est sonic detail and ensure a minimum of artifacts in the upper frequency range the Pre...

Page 441: ...ry In addition parameter values can be easily transferred between param eter groups using the Copy buttons Control Grouping The L and R equalizer sections are independent groups of parameters each controlling one side left or right of the stereo source signal The L and R controls are linked except when in Dual mode In Dual mode control groups L and R can be independently adjusted Modes The Mode sw...

Page 442: ...ior of the buttons is determined by the current operating mode of Precision Equalizer Note The values that existed at the destination before copying are lost Stereo Mode When in Stereo mode see Stereo Mode on page 441 clicking A B cop ies the left AND right parameter values from parameter set A to parameter set B and clicking the A B button copies all the values from parameter set B to parameter s...

Page 443: ...elf mode The controls are exactly the same for each band only the available frequency val ues differ Bandwidth Knob The Bandwidth Q knob defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control The numbers represent the filter slope in dB per octave The available selec tions are 4 6 9 14 20 and Shelf When set to Shelf on the L1 and L2 band...

Page 444: ...d are listed in Table 35 below Note Not all host applications support automation and or controls mode Gain Knob The Gain knob determines the amount by which the frequency setting for the band is boosted or attenuated The available Gain values are listed in Table 36 below High Pass Filter The high pass filter is useful for reducing low frequency content It is a global filter it always affects both ...

Page 445: ...ic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 108 for more information Note Compensating for Precision Equalizer is not required if the host appli cation supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 101 ...

Page 446: ...tering needs to be su perb The Precision Limiter features comprehensive high resolution metering and conforms to the Bob Katz K System metering specifications This meter ing allows the user to see what is happening to audio with a great deal of ac curacy with simultaneous RMS and Peak metering and adjustable Peak Hold And since we know how valuable good metering is the plug in can also be bypassed...

Page 447: ...ignal exceeds 0 dB The default value is 0 dB The available range is 6 dB to 24 dB Output The Output knob determines the maximum level at the output of the plug in This control does not affect the actual limiting The Precision Limiter always limits the signal to 0 dB internally and the actual output is set by attenuating this internal level Likewise the input control can drive the signal over 0 dB ...

Page 448: ...active When the Power switch is in the Off position plug in processing is disabled and UAD DSP us age is reduced unless UAD 2 DSP LoadLock on page 74 is enabled When the plug in is bypassed with this switch but not by the host bypass the VU meter displays the unprocessed input signal level Precision Limiter Meters Overview K System The Precision Limiter has precise calibrated stereo metering It of...

Page 449: ...s tied to the same calibrated mon itor SPL The Precision Limiter provides several meter ranges for various types of program material see Type on page 449 Long Live Dynamic Range The K System can help combat the bane of the loudness wars which is all too common in today s music whereby material is made to appear louder when compared to other material at the same playback volume at the ex pense of d...

Page 450: ...nge such as symphonic music and mixing for film for theatre K 14 K 14 mode displays 0 dB at 14 dB below full scale K 14 is intended for the vast majority of moderately compressed material destined for home listening such as rock pop and folk music K 12 K 12 mode displays 0 dB at 12 dB below full scale K 12 is recommended for material intended for broadcast Peak RMS This is what is often considered...

Page 451: ...wer switch Metering is disabled when the plug in is bypassed by the host application Gain Reduction Meter The Gain Reduction meter displays the amount of limiter gain reduction More green bars moving to the left indicate more gain reduction is occurring Gain reduction only occurs when the input signal level exceeds 0 dB There fore increasing the Input knob usually results in more gain reduction Me...

Page 452: ...near responses 0 2 dB per segment from 18 to 6 dB and 0 1 dB per segment from 6 to 0 dB K 20 In Normal mode the meter range is 40 dB to 20 dB with a linear response of 0 5 dB per segment In Zoom mode the range is 8 dB to 20 dB with two different linear responses 0 2 dB per segment from 8 to 15 dB and 0 1 dB per segment from 15 dB to 20 dB K 14 In Normal mode the meter range is 46 dB to 14 dB with ...

Page 453: ...ch clears the meter peak value display It affects both the peak LED s and the peak text display Precision Limiter Latency The Precision Limiter has a 1 5ms look ahead window to ensure clipping does not occur This look ahead function results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 108 for more information Note Compensating for Precision Limit...

Page 454: ...ss at lower settings to dramatically improved clarity punch and musical tube like distortion at higher values The nature of the source material as well as the input levels to the processor also greatly affect the sonic character at the output The Limit function and 3 band mode enable further manipulation of signal levels for additional cre ative options Note See Operating Tips on page 459 for prac...

Page 455: ...e input before input clip ping occurs The displayed range is from 40 dB to 6 dB Input The Input Level knob controls the signal level that is input to the plug in Increasing the input will generally result in more processing depending on the settings of the other parameters By increasing the Input knob input levels higher than 0 dBFS up to 6 dBFS within the plug in can be pro cessed This can increa...

Page 456: ...ighly musical and without the dynamic squashing of typical limiters The most natural warmth and tube like distortion is obtained with Shape at 50 This setting generates the lowest amount of higher order harmonics and most closely emulates characteristic tube qualities Bands Precision Maximizer can operate in one band or three band mode In one band mode all frequencies are processed equally In thre...

Page 457: ... especially useful for three band mode where out put peaks over 0 dB and clipping can occur However great results can also be obtained in one band mode when Limit is engaged If Limit is used to reduce levels by a significant amount it is usually best to have Mix set to 100 in order to minimize audio artifacts aliasing Click the Limit button to engage Limit Alternately you can click hold the LED ar...

Page 458: ... dB The very top segment of the Output Meter is a clip LED one each for the left and right channels which illuminates when the signal exceeds 0 dB The clip segments are held for three seconds be fore resetting Note The Limit function prevents the output signal from exceeding 0 dB Therefore the clip LED s will only illuminate if Limit is off Power The Power switch determines whether the plug in is ...

Page 459: ...ing at the output so reduce the Input and or Output control to compensate if necessary Input clipping can dramatically change the distortion characteristic and may yield significantly different results in one band versus three band mode Generally speaking the input should be set as high as possible before un desirable sound quality is obtained For optimum results especially when Limit is off ensur...

Page 460: ...n delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 101 WebZine Article An interesting article about sonic enhancers can be found in the Ask The Doctors article of the Universal Audio May 2007 Webzine Volume 5 Num ber 4 published on the internet at http www uaudio com webzine 2007 may index2 html ...

Page 461: ...ultiband make it the ideal tool for the novice as well as the seasoned mastering engineer The Precision Multiband can be used for anything from complex dynamic con trol to simple de essing Two filter bank modes offer precise linear phase or minimum phase gain control use the linear phase option for perfectly phase coherent results or minimum phase for a more analog sound Both filter bank modes ach...

Page 462: ...is divided into four primary areas of control The Band Controls section contains the dynamic response parameters for each of the five bands One set of band controls is displayed at a time See Band Controls on page 463 The EQ Display contains the band frequency parameters and shows a graphic representation of the band frequency response The overall equal ization response is also displayed if enable...

Page 463: ...is displayed at a time The control set for any particular band is displayed by selecting the band see Band Se lect on page 463 Band Select Selecting a band causes the controls for that band to be displayed in the Band Controls area Bands can be selected by using the Band Select buttons or by clicking in the EQ display Band Select Buttons The Band Select buttons at the top of the EQ Display specify...

Page 464: ...button can perform three functions Relative Link Absolute Link and Copy Value Note that the ALL button cannot be automated Relative Link In Relative mode changes to a band control will change the same con trol in the other bands by a relative amount i e the same amount until any single band reaches its minimum or maximum value Single click the ALL button to enter Relative mode the button backgroun...

Page 465: ...ck the ALL button when it is NOT in Relative or Absolute modes not blue or red to copy the current value of the active band control to the same control value in the other bands Note Careful with the control Copy function It will delete the existing values in the other bands and no undo is available Type Switch The Type button defines the dynamic nature of the band allow ing each band to function a...

Page 466: ...hreshold This parameter determines the threshold level for compression expan sion gating Any signals that exceed this level are processed Signals below the level are unaffected A Threshold of 0 dB yields no processing The avail able range is 60 dB to 0 dB As the Threshold control is decreased and more processing occurs output level is typically reduced compression or increased expansion Adjust the...

Page 467: ...ith frequent peaks However if you set too large of a Release time processing for sections of audio with loud signals may extend to lengthy sections of audio with lower signals The available range is 20 milliseconds to 2 seconds Gain The Gain control adjusts the output level of the band Generally speaking ad just the Gain control after the desired amount of processing is achieved with the Threshold...

Page 468: ...d with a thicker bold line Dis abled bands see Band Enable Solo on page 467 are displayed with a thinner line EQ Response The EQ Display also shows the processed EQ response dynamically as a light blue line across all bands if the Dynamic EQ display option is enabled see EQ Display Switch on page 473 Curve Control Points Band gain center frequencies cF crossover frequencies xF and band width can b...

Page 469: ... the direction available for dragging Adjusting Gain and Bandwidth If the cursor is moved to the upper left region of the three center bands LMF MF HMF the gain and bandwidth can be adjusted simultaneously without changing the center frequency In this case the cursor changes to a diagonal arrow when hovered over the hot spot to indicate the direction available for drag ging Adjusting xF If the cur...

Page 470: ...d maximum allowable value the entry field will not accept the change and the value for the entry field will remain unchanged For the center frequencies if a value is entered that is still within the accept able min max range but the center frequency can not reach the input value because it would require a change to the width then the nearest allowable value is set If a lower or greater center freq...

Page 471: ...In Gate mode there is simultaneous inward metering from the top and bottom to the center which provides a visual gate that opens and closes along with the gate processing Dynamics Meters signal peaks are held for 3 seconds before resetting Meter Labels The labels above the Dynamics Meters reflect the mode that each band is in GR Gain Re duction for compression EXP for expansion and GT for Gate Ban...

Page 472: ...input of the plug in Signal peaks are held for 3 seconds before resetting Input Level Knob The Input Level knob controls the signal level that is input to the plug in In creasing the input may result in more processing depending on the values of the band parameters The default value is 0 dB The available range is 20 dB Mix The Mix control determines the balance between the original and the process...

Page 473: ... a light blue line in the EQ Display indicates the actual frequency response of the processor in realtime Phase Mode Switch The filter bank mode of Precision Multiband can be specified with the Phase Mode switch Click the switch to toggle the mode The default mode is Linear Both filter bank modes achieve the magnitude response of a Linkwitz Riley fil ter and provide perfect magnitude reconstructio...

Page 474: ...d the Input Level knob remain active Precision Multiband Latency The Precision Multiband requires a large processing buffer to perform its sonic wonders This buffer results in a significantly larger latency than other UAD plug ins including all other upsampled plug ins You may use Delay Comp or TrackAdv to compensate See Compensating Upsampled Plug Ins on page 108 for more information Important Co...

Page 475: ...ng model reproduces the measured equal ization and signal path characteristics to within a fraction of a dB mean error for all knob settings All of the unique features of the original Pultec EQ s are included in the plug ins including the separate boost and attenuation controls the smooth sweet top end and the ability to dial in seemingly dangerous amounts of boost with out getting into trouble Al...

Page 476: ... in delay compensation throughout the signal path or when it is used on outputs See Host PDC Implementation on page 101 Pultec EQP 1A Screenshot Pultec EQP 1A Controls The EQP 1A can control three frequency ranges simultaneously using three groups of interacting parameters The first group controls the low frequencies and has three controls boost at tenuation and frequency select The second group c...

Page 477: ...ch On Off Rotary Switch This switch enables or disables the EQP 1A altogether You can use this switch to compare the processed settings to that of the original signal or to bypass the plug in to reduce UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 74 is enabled Low Frequency Controls CPS Selector Switch This switch determines the frequency of the low shelf portion of the equalizer...

Page 478: ...f the high boost portion of the equal izer KCS is an acronym for KiloCycles per Second kiloHertz Seven fre quencies are available all in kiloHertz 3 4 5 8 10 12 and 16 Bandwidth Knob This knob sets the proportion of frequencies surrounding the center frequency determined by the KCS switch to be affected by the high boost This is a Q control Lower values yield a narrower band and effect fewer frequ...

Page 479: ...frequency select and attenuation The third group controls high mids and has two controls frequency select and boost The placement and grouping of the sections and their related controls are shown in Figure 153 On Off Toggle Switch This switch disables the MEQ 5 portion of Pultec Pro It allows you to compare the processed and unprocessed signal of the MEQ 5 When in the out posi tion the UAD DSP loa...

Page 480: ... midrange Peak gain to be applied to the frequency set by the low midrange frequency selector Dip Controls Frequency Selector Switch This switch determines the frequency of the midrange portion of the equalizer Eleven frequencies are available 200 Hz 300 Hz 500 Hz 700 Hz 1 kHz 1 5 kHz 2 kHz 3 kHz 4 kHz 5 kHz and 7 kHz Attenuation Knob This knob determines the amount of midrange Dip cut to be appli...

Page 481: ...UAD Powered Plug Ins Manual 481 Chapter 47 Pultec and Pultec Pro Low Peak Response Figure 154 Pultec MEQ 5 Low Peak Response ...

Page 482: ...UAD Powered Plug Ins Manual 482 Chapter 47 Pultec and Pultec Pro Dip Response Figure 155 Pultec MEQ 5 Dip Response ...

Page 483: ...UAD Powered Plug Ins Manual 483 Chapter 47 Pultec and Pultec Pro High Peak Response Figure 156 Pultec MEQ 5 High Peak Response ...

Page 484: ... distortion pops clicks or zip per noise Once you ve created your custom room presets you can even morph between two presets in real time with no distortion Resonance Timing and Diffusion RealVerb Pro also includes intuitive graphic control over equalization timing and diffusion patterns To maximize the impact of your recording we put in dependent control over the direct path early reflections and...

Page 485: ... reflection generator and the late field re verberation unit The resulting direct path early reflection and late field re verberation are then independently positioned in the soundfield Figure 157 RealVerb Pro signal flow Figure 158 The RealVerb Pro plug in window Late Field Reverb EQ Source Input Early Reflections Direct Path Pan Pans Distance Gain Output Delay Delay Wet Dry Mix Gain Mute ...

Page 486: ...rly reflec tions and late field reverberation Spectral Characteristics The Shape and Material panels specify the room shape room size room ma terial and thickness These room properties affect the spectral characteristics of the room s reflections Shape and Size The pattern of early reflections in a reverb is determined by the room shape and size RealVerb Pro lets you specify two room shapes and si...

Page 487: ...where each reflection is represented by a yellow vertical line with a height indicating its arrival energy and a location indicating its arrival time Material and Thickness The material composition of an acoustical space affects how different fre quency components decay over time Materials are characterized by their ab sorption rates as a function of frequency the more the material absorbs a certa...

Page 488: ...are absorbed and reflected Negative thicknesses invert the response of the material If the material nor mally absorbs high frequencies causing them to decay quickly and reflects low frequencies causing them to decay slowly a negative thickness will in stead absorb low frequencies causing them to decay quickly and reflect high frequencies causing them to decay slowly A thickness of 0 yields decay r...

Page 489: ... producing a very heavy re verberant tail At 200 a very sizzly late field is created Some materials such as plywood naturally absorb low frequencies while re flecting high frequencies Since plywood is usually very flat with little surface texture to capture high frequencies high frequencies tend to be reflected At 100 the reverberation produced is very sizzly and increasingly bright At 100 it is v...

Page 490: ...rial If you do not choose to use Air as one of the materials you can effectively compensate for the high frequency absorption properties of air with the Resonance filters Set the right hand Transition Frequency slider to 4 794 kHz and bring the level down about 10 dB to 15 dB for large to huge rooms and down about 4 dB to 9 dB for small to medium rooms To help you out the following lists classify ...

Page 491: ...6 Hz The frequencies for all three bands are indicated in the text fields at the bottom of the Res onance panel 2 Adjust the amplitude of the bands from 60 dB to 0 dB by dragging their Amplitude controls either up or down The amplitude values for all three bands are indicated in the text fields at the bottom of the Resonance panel The shape of the EQ curve is displayed in the Resonance graph To co...

Page 492: ...rd bands so they are adjacent to each other To raise the frequency for the low shelf drag to the right with the Band edge control for the second band To lower the fre quency for the low shelf drag to the left with the Band edge control for the third band 4 To attenuate the frequencies below the shelf frequency drag the Amplitude controls for the first and second bands up or down For a true shelf E...

Page 493: ... the Timing panel and instead is determined by the reverb s shape and size see Figure 159 To adjust the timing of the late field reverberations 1 Drag the Amplitude control for the late field reverberations up or down from 80 dB to 0 dB to affect the energy of the reverberations The Am plitude value is indicated in the text field at the bottom of the Timing panel 2 Drag the Predelay control for th...

Page 494: ...y to separately position the direct path early reflections and late field reverberation The Position panel see Figure 163 provides panning controls for each of these reverb components In addition a proprietary Distance control adjusts perceived source distance These controls allow realistic synthesis of acoustic spaces for instance listening at the entrance of an alley way where all response com p...

Page 495: ...ol in the Positioning panel see Figure 163 In reverberant environments sounds originating close to the listener have a different mix of direct and reflected energy than those originating further from the listener To adjust the distance of the source 1 Drag the Distance slider to the desired percentage value Larger percent ages yield a source that is further away from the listener A value of 0 plac...

Page 496: ...orphing Panel Click the Morphing Mode button to enable Morphing mode When RealVerb Pro is in morphing mode the other RealVerb Pro spectral controls are grayed out and cannot be edited In mor phing mode two presets are selected using the pull down menus Once the desired presets are selected in the pull down menus the morphing slider is used to morph from one preset to the other When in Morphing mod...

Page 497: ...UAD Powered Plug Ins Manual 497 Chapter 48 RealVerb Pro Figure 166 RealVerb Pro in Morphing mode ...

Page 498: ...hen Save Effect is used Morphing parameters and the solo mute buttons wet dry input are not saved All presets and programs are saved in Cubase Nuendo when Save Bank is used They are also saved in the session file for each instance of the plug in Editing the name in Cubase Nuendo modifies the current preset s name The new name will appear in all preset select lists and will be saved with the ses si...

Page 499: ... mix engineer stomp boxes can provide secret weapon effects not found any other way In 1976 BOSS originated the chorus effect pedal and nobody has come close to matching the CE 1 s captivating chorus sound since then Its unmistakable warm analog stereo chorus and vibrato have been heard on countless tracks particularly on guitars bass and electric keys Universal Audio has been commissioned by Rola...

Page 500: ...ight affect on the sound even when the effect is bypassed in normal mode We have mod eled the plug in faithfully and like the hardware unit when the effect is by passed with this switch audio is still processed to sound like the CE 1 in nor mal mode To disable audio processing use the CE 1 Power Switch Rate LED The yellow Rate LED blinks according to the current low frequency os cillator LFO rate ...

Page 501: ... as two in dependent CE 1 s each running in mono mode on one side of the stereo sig nal The left output contains a mix of the dry left input signal and the processed left channel signal while the right output contains a mix of the dry right input sig nal and the processed right channel signal Additionally the LFO s of the dual CE 1 channels are 90 degrees out of phase quadrature for maximum effect...

Page 502: ...ate knob controls the rate of the vibrato LFO The rate is indicated by the the Rate LED indicator Note When in chorus mode the vibrato controls have no affect Power Switch This switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on pag...

Page 503: ...oes not create a dramatically new sound but en hances the characteristics of any voice or instrument and gives a new di mension without the apparent movement of sound produced by other chorus devices The strength of the Dimension D is in its subtlety This classic 1979 Roland device has been heard on countless records from luminaries such as Peter Gabriel Talking Heads and INXS Entrusted by the Rol...

Page 504: ...his function and moved the switch to the front for your processing convenience When in Mono mode the input to Dimension D is monophonic even when used in a stereo input configuration stereo inputs are summed to mono This can be useful for sonic variation such as when the plug in is used in an aux iliary effect send configuration The default position in is stereo mode Click the pushbutton switch ou...

Page 505: ...h truly captures the physical behavior of this complex device warts and all down to the distortion wow and flutter pitch shifting and warmth that tape based delays are famous for but our plug in goes even fur ther capturing the complex self oscillation that makes the Space Echo more than an effect but a unique instrument unto itself UA s RE 201 Space Echo faithfully retains all the controls and fe...

Page 506: ...witch allows the user to trigger the tape splice at will Tempo synchronization controls round out the modernization of this classic analog processor The fabulous sound of the original is untouched Roland RE 201 Controls Each feature of the Roland RE 201interface is detailed below Peak Level The Peak lamp indicates when transient signal peaks and clipping are detected just after the input volume co...

Page 507: ... is used in a mono in mono out configuration this control is dis abled Input Volume This control determines the signal level that is input to the plug in Unity gain is at the 12 o clock position Like the original hardware clipping distortion at the input to the plug in affects the tone of the echo and reverb Clipping is often used as part of the desired effect At unity gain clipping can be easily ...

Page 508: ...f the spring reverb effect Rotate the control clockwise for more reverb Reducing the con trol to its minimum value will disable the reverb On the original hardware the reverb output is quite low and with some sources unusable due to a high noise floor Our model of the spring reverb has no noise and has an increased available output level to im prove usability Note Reverb Volume has no affect when ...

Page 509: ...umber of echoes Higher values will cause self oscillation the exact position is program and Mode dependent The self oscillation of the RE 201 is one of the magic features that really makes it more than a mixing tool it s also an instrument to be played The effect may be used subtly sending the unit into gentle oscillation on held notes or can be put into over the top oscillation with extreme inten...

Page 510: ...l sync info spe cific to the RE 201 page 100 Delay Time Display These LCD style readouts display the current de lay time s of the RE 201 The three displays correspond to the three virtual heads in the plug in and always maintain their proportional relationship to each other The delay time values are displayed in milliseconds unless tempo sync is ac tive in which case beat values are displayed When...

Page 511: ...ill be a dropout and then the tape capstan where it will create some wow and flut ter Wet Solo When this switch is OFF the dry unprocessed signal is mixed with the wet processed signal When set to ON only the pro cessed signal is heard Wet Solo is useful when the plug in is placed on an effect group bus that is configured for use with channel sends When the plug in is used on a channel insert this...

Page 512: ... the first company to design an analog solution for level independent shaping of envelopes allowing transients to be accelerated or slowed down and sustain prolonged or shortened You can shorten or lengthen the attack and sustain of percussive signals such as kick drum snare or toms easily take the bleed from open mics or expand the room sound of overheads The Transient Designer s magic can be app...

Page 513: ...f both en velopes the VCA control voltage is derived Positive Attack values emphasize attack events negative values smooth out the attack envelopes of sound events For more information see The ATTACK Control Circuitry on page 519 Sustain Sustain enables amplification or attenuation of the sustain of a signal by up to 24 dB The Sustain control circuitry also uses two envelope generators One follows...

Page 514: ...es when stereo operation is active It illuminates when used in a stereo in stereo out or mono in stereo out configuration It does not illuminate when used in a mono in mono out configu ration Note Link is an indicator only it does not control any plug in parameter On Power The On and Power switches determine whether the plug in is ac tive Click the On or Power switches to change the state On and P...

Page 515: ... of the signal is considered but not the temporal aspect The Transient Designer opens this further dimension in signal processing By manipulating the attack and sustain curves of a sound event the mix can be made to sound more transparent Instruments can be mixed at lower levels while still maintaining their positions in the mix but occupying less space During a remix or in general after micing yo...

Page 516: ...wo channels of the Transient De signer and pan fully left and right in the mix Process the left channel with increased ATTACK and reduced SUSTAIN while you adjust the right chan nel the opposite way and you get very special stereo loop sounds You have to try this to appreciate what it sounds like but expect to hear a lot of un usual stereo movement Enjoy an amazingly simple integration of drum sou...

Page 517: ...t Reduce the SUSTAIN until you can hear clear gaps be tween the downbeats the legato will turn into a nice staccato driving the rhythm section forward The Re Invention Of Reverb Always and everywhere the same reverb presets boring aren t they Try sending the output of your reverb through the Transient Designer Now crank the ATTACK control to the max and reduce SUSTAIN to a bare minimum The intensi...

Page 518: ...bience and finding a reverb that matches takes time so simply emphasize the original ambience by turning up the Transient Designer s SUSTAIN control And the opposite problem too much ambience is similarly simply solved with the opposite processing just reduce SUSTAIN Keyboards Sampler Sounds in keyboards and samples are usually highly compressed and main tain only little of natural dynamics Increa...

Page 519: ... volt age is derived The DET ensures that both low and loud signals pianissimo to fortissimo are treated the same way Both ATTACK and SUSTAIN control circuitries operate simultaneously and don t affect each other The ATTACK Control Circuitry The ATTACK control circuitry uses two envelope generators The first one gen erates a voltage Env 1 that follows the original waveform The second enve lope gen...

Page 520: ... 2 that controls the control voltage of the VCA The am plitude of the attack is increased if positive ATTACK values are set Negative ATTACK values reduce the level of the attack transient Figure 173 on page 520 displays the processed waveforms with maximum and minimal ATTACK to compare against the original waveform in diagram 1 Figure 172 SPL Transient Designer Attack Control Voltage Figure 173 SP...

Page 521: ...derived from the difference between the two voltages Sustain amplitude is increased for positive SUSTAIN settings and reduced for negative settings Figure 174 on page 521 illustrates the original waveform and the envelope creation to control the SUSTAIN processing Envelope generator Env 1 fol lows the original waveform Env 2 is generated with prolonged sustain Figure 175 on page 521 shows the diff...

Page 522: ...the original waveform in diagram 4 SPL Sound Performance Lab and Transient Designer are registered trademarks of SPL Elec tronics GmbH Germany and are used under license Portions of this SPL Transient Designer man ual section is copyright SPL Electronics GmbH Germany and are used under license with kind permission from SPL Figure 176 SPL Transient Designer Processed Sustain ...

Page 523: ... Expander Gate and bespoke Compres sor Limiter The E Series middle EQ bands are fully parametric while the high and low bands provide the user with switchable bell or shelving filters The Comp Lim iter provides Threshold fast or slow Attack time a 0 1 to 4 second Release and a continuously variable Ratio control The Exp Gate offers Threshold fast or slow Attack time a 0 1 to 4 second Release time ...

Page 524: ...ginal hardware which we modeled exactly When the plug in is viewed in parameter list mode see Controls View on page 87 the actual parameter values are displayed Note SSL consoles adopt a different pan law than what the host application may be set to by default Most DAW s allow configuring the panning spread preference to match various consoles In the event you want to capture SSL style stereo resp...

Page 525: ... filter Rotate clockwise to reduce high frequencies In Black mode the slope of the low pass filter is 12 dB per octave and the available range is 22 kHz to 3 kHz In Brown mode the slope of the low pass filter is 12 dB per octave and the available range is 16 kHz to 3 kHz Filters to Sidechain DYN SC This button enables the Filters sidechain function When the Filters sidechain is active signal outpu...

Page 526: ...ig transient on either channel will cause both channels to compress Link is active when its amber LED is illuminated When the plug in is used in a mono input configuration Link has no affect Compress Ratio Ratio defines the amount of gain reduction to be processed by the compressor For example a value of 2 expressed as a 2 1 ratio reduces the signal above the threshold by half with an input signal...

Page 527: ...se times are continuously variable between 0 1 seconds and 4 seconds Compress Attack Attack defines the duration between the input signal reaching the thresh old and processing being applied by the compressor Attack time is nor mally 30 milliseconds slow mode in Controls View When Fast Attack is enabled attack time is 3 milliseconds Fast Attack is active when the F ATT LED is illuminated To toggle...

Page 528: ...n t pass when the de sired signal is not present but below the desired signal level so the signal passes when present Expand Range Range depth controls the difference in gain between the gated expanded and non gated expanded signal Higher values increase the attenuation of signals below the threshold When set to zero no gating or expansion occurs Range is continuously variable from 0 dB to 40 dB E...

Page 529: ...DYN IN is useful for quickly comparing the original signal dynamics to the dy namically processed signal Important DYN IN must be engaged to enable compressor limiter and or expander gate processing Expander In EXP IN The EXP IN button enables the expander gate module The module is enabled when the amber LED is illuminated This button has no effect when DYN IN is disabled Compressor In CMP IN The ...

Page 530: ...ualiser section was the Brown Knob circuit This was standard on all early production E Series consoles The two parametric mid band sections feature a classic logarithmically symmetric design that en sures that the 3 dB up down points retain the same musical interval from the centre frequency regardless of frequency and amplitude settings The two shelving sections are traditional 6 dB octave design...

Page 531: ...om shelf mode to peak dip mode In normal shelf mode only frequencies above the frequency value are boosted or attenuated In Bell peak dip mode frequencies above and below the fre quency value are boosted or attenuated In Black mode the HF Bell Q is 1 3 and in Brown mode the HF Bell Q is 0 8 High Mid Frequency HMF Band HMF Gain This control determines the amount by which the frequency value for the...

Page 532: ... control knob to its center position LMF Frequency This control determines the LMF band center fre quency to be boosted or attenuated by the band Gain setting The available range is 0 2 kHz to 2 5 kHz in both Black and Brown modes LMF Q The Q bandwidth control defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control The filter slopes get s...

Page 533: ...Q module The module is enabled when the green LED below the button is illuminated EQ to Sidechain DYN SC This control enables the EQ sidechain function When the EQ sidechain is ac tive signal output from the EQ module is removed from the audio path and is instead routed to control key the dynamics module The EQ sidechain is enabled when the amber LED below the button is illuminated Sidechaining is...

Page 534: ...put meter is the right LED column Note Each meter column represents the sum of the left and right channels it is not a stereo meter Input Input controls the signal level at the input to the plug in The de fault value is 0 dB The available range is 20 dB Increasing the input may result in more compression depending on the values of the Threshold and Ratio parameters Tip Click the 0 to return the co...

Page 535: ...e that while only the LF bass knobs change color when switching EQ s ALL bands are affected Brown is the original SSL design with gentler Q and smaller gain and fre quency ranges It is the easier of the two to easily get a good musical sound LC and HC filtering is a gentle 12 dB Brown is the recommended starting place for those unfamiliar with SSL The black EQ is a later design with the option for...

Page 536: ... is the original E series gate response with G2 has a minimal chatter response borrowed from the later G series gate The DYN SC Dy namic Sidechain button allows the user to create frequency dependent gain reduction arrangements with either the Compressor or Gate expander WebZine Article An interesting article about the SSL E Series Channel Strip can be found in the Ask The Doctors section of the U...

Page 537: ...ineers have come to rely on this master com pressor to glue together mixes like nothing else as well as patching into it for wonderful results on drums pianos and more With simple intuitive controls and transparent compression characteristics the G Series Bus Compressor plug in for UAD 2 captures the iconic SSL sound with stunning accuracy Plug in controls comprise fixed Compression Ratios 2 1 4 1...

Page 538: ...ression Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before compression is applied The faster the Attack the more rapidly compression is applied to signals above the threshold Avail able Attack times are discrete values of 0 1ms 0 3ms 1ms 3ms 10ms and 30ms The availability of relatively slow attack times as compared to other compres sors ...

Page 539: ...tive Click the Power button to toggle the processor state Power is useful for comparing the pro cessed sound to that of the original signal Gain Reduction Meter The Gain Reduction VU style meter displays the amount of gain reduction occurring in the compressor Higher values indicate more gain reduction Increase the signal level into the plug in and or lower the Threshold control to in crease gain ...

Page 540: ... a fade in is in progress and is no longer illuminated when the fade in is complete when the Fade Rate time has elapsed Toggling the Fade button causes an already active fade to reverse direction without a jump in output level The Fade Rate is constant even if an active fade is interrupted For example If the Fade Rate value is 30 seconds and a fade out is initiated then Fade is clicked again after...

Page 541: ...t to dial in especially if your ear is already used to the sound without its compression properties The SSL G is also useful of groups such as drum busses in this case a more aggressive approach may be appropriate with a greater range of gain re duction 10 1 will give a harder sound often desired for drum groups Fast at tacks releases will give the most audible sound of the compressor working Fina...

Page 542: ...able on Mac and PC As the first microprocessor controlled tape machine the Studer A800 marked a new generation of professional multitrack recorders when it was introduced in 1978 Years ahead of its time the A800 remains a sonic benchmark and can still be found in studios all over the planet However with their massive steel frame and meter bridge twin half horsepower motors and cast alloy deck plat...

Page 543: ... Output controls The reel deck IPS control steps through the three tape speed choices available on the original hardware 7 5 15 or 30 IPS each with distinct frequency shift head bump and distortion characteristics The Tape Type control lets users choose from four of the most popular magnetic tape formulas of the last three decades each with their own subtle sonic variation and tape compression cha...

Page 544: ...rtion This can also be used creatively as an effect from warm overbiased sounds to voltage starved distortion and chatter HF Record is a calibration filter that allows for HF makeup when the ideal Bias leaves a high frequency deficiency both HF Bias and HF record are fed into the tape nonlinearity Sync and Repro HF and LF calibration EQs allow for adjusting for a flat playback response or can also...

Page 545: ...e interface Additional typically less used controls are available on the secondary panel The secondary panel see Figure 180 is ac cessed by clicking the Studer A800 label or the OPEN text label above it For detailed descriptions of the parameters see Primary Controls on page 546 and Secondary Controls on page 549 Figure 180 The Studer A800 plug in window with exposed secondary controls ...

Page 546: ...ereo signal identically Primary Controls Path Select The Path Select buttons specify which of the four possible signal paths is active in the A800 The active mode is indi cated by an illuminated button Thru Thru is a bypass control When enabled emulation processing is disabled and DSP usage is reduced Thru is useful for comparing the processed settings to the original signal Thru is identical to t...

Page 547: ...al on page 551 is enabled these controls are amalgamated into this single Cal Level gain control As tape formulas advanced their output level increased thus lowering rela tive noise floor 3 6 and 9dB output formulas were available in the 2 format Under normal use the machine would be calibrated to the tape s out put level However users would sometimes under calibrate to leave more headroom for a b...

Page 548: ...y head bump low frequency rise and warmer sound while 30 IPS is the norm for classical and jazz due to its lower noise floor greater fidelity and flatter response 7 5 IPS is also available for an even more colored experi ence with even greater frequency shift Tip Click on the IPS text label to stop start the spinning reels animation The OFF position is a bypass control When set to OFF emulation pr...

Page 549: ...al representation of the signal levels after the virtual tape The Input control affects how hot the signal is Higher VU levels typically indicate more harmonic saturation coloration and or distortion However this will depend on the other control values The plug in operates at an internal level of 12 dBFS Therefore a digital sig nal with a level of 12 dB below full scale digital 0 dBFS at the plug ...

Page 550: ...ocal standards It is important to note that historically the origin of the tape machine US or European dictated the built in EQ em phasis but later machines like the A800 had both circuits available While the hardware A800 has discrete controls for tape speed and emphasis EQ the user has to recalibrate the machine for various speeds and re jumper the whole machine for 30 15 or 15 7 5 IPS usage The...

Page 551: ...e if desired When Auto Cal is OFF the calibration parameters do not change values when Tape Type Tape Speed and Emphasis EQ are modified Note Auto Cal is enabled by default Tip When making manual calibration settings consider disabling Auto Cal so the manually calibrated settings are not accidentally lost if another control is modified Gang Controls Gang Controls enables global control adjustments...

Page 552: ...a control is actually changed When Gang Controls is enabled and a Studer A800 settings preset is loaded via the UAD Toolbar see Settings Menu on page 88 the loaded parameter settings are pushed to all Studer A800 instances Calibration Controls Refer to Figure 181 on page 553 for the HF Record EQ Bias Sync EQ and Repro EQ controls These controls are automatically adjusted when Auto Cal is active or...

Page 553: ...ecord head allowing for adjustment of the record behavior Ideal bias voltage settings provide maximum record sensitivity and low distortion Inten tionally overbiasing is a common technique especially for tape compres sion of drums giving a warmer gently saturated sound Underbiasing can also be used to add distortion and other nonlinear responses similar to gate chatter or cold solder joints extrem...

Page 554: ...46 is set to Sync When Path Select is not set to Sync the control has no effect Repro HF EQ Adjusts the high frequency content when Path Select page 546 is set to Re pro When Path Select is not set to Repro the control has no effect Repro LF EQ Adjusts the low frequency content when Path Select page 546 is set to Re pro When Path Select is not set to Repro the control has no effect Noise The Noise...

Page 555: ...quency of Hum Noise Hiss Noise Just like the hardware the amount of hiss is dependent on settings of the var ious controls Overall Hiss Noise is set with this control but may change based on the Path Select Tape Speed Tape Type Emphasis EQ Cal Level Bias Playback EQs and Output Level controls Because hiss noise is an element of t ape playback Hiss is disabled when Path Select is to INPUT Note Hiss...

Page 556: ...ll visual and aural references to Studer products and all use of Studer trademarks are being made with written permission from Harman International Industries Inc Any references to third party tape formulations are used solely for identification and do not imply any endorsement by or affiliation with any tape manufacturer ...

Page 557: ...eat records David Bowie s The Rise and Fall of Ziggy Stardust Lou Reed s Transformer and Queen s Sheer Heart Attack to name a few helping to solidify this console s reputation forever And now this sound comes to the UAD Powered Plug Ins platform courtesy of the Trident A Range Classic Console EQ plug in Working in partnership with Trident Audio Developments UA scrupulously analyzed and faithfully ...

Page 558: ...lf see Figure 183 Each band has four selectable fixed frequencies and 15 dB of gain These were the good old days before sweepable frequencies and bandwidth controls but the results are wonder fully warm and musical The controls complement is rounded out with phase output level and bypass There is band interaction between the high and low shelving filters and also between the low mid and high mid b...

Page 559: ...ee Figure 183 on page 558 and Figure 184 on page 560 when re ferring to the band parameters below High Shelf The high shelf offers Trident A s famous high frequency shelving EQ High Shelving Frequency The edge frequency of the high shelf filter is specified by this knob Four shelf edge frequencies are available 15 kHz 12 kHz 10 kHz and 8 kHz High Shelving Gain The gain for the high shelf filter is...

Page 560: ...equalization Low Shelving Frequency The edge frequency of the low shelf filter is specified by this knob Four shelf edge frequencies are available 150 Hz 100 Hz 80 Hz and 50 Hz Low Shelving Gain The gain for the low shelf filter is specified by the horizontal slider control The available range is 15 dB The gain value is zero when the slider is in the cen ter position Gain slider shortcuts The band...

Page 561: ... plug in is active When the switch is in the Off lighter position plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 DSP LoadLock on page 74 is enabled Note the Phase setting Phase on page 559 remains in effect even if EQ In is in the off position Trident A Range Latency The Trident A Range EQ uses an internal upsampling technique to facilitate its amazing sonic qualities Thi...

Page 562: ... Range EQ All visual and aural references to the TRIDENT A RANGE EQ are trademarks being made with written permission from PMI AUDIO The Trident A Range Console featuring the Trident A Range EQ The Trident A Range Console featuring the Trident A Range EQ ...

Page 563: ...es on today Early Interests Born in 1920 in Danville Illinois he was influenced by his father a businessman who also put on radio programs including a number one country music show Young Putnam s interests surfaced early in Boy Scouts he earned a merit badge in wireless building a crystal set and a one tube radio By 15 he was taking the ham radio operator s exam and constructing his own equipment ...

Page 564: ... of the way the echo or reverb sound is sent from the recording desk and the way it s returned to the mix so that it can be used in a variable amount I was a youngster in Minneapolis in the early 50s when I first heard Peg O My Heart Swed ien continues And I can remember it like it was yesterday It had an extraordinary effect on me I didn t understand how the techniques were done but I knew it had...

Page 565: ...n He did it all Moving West United Recording Corp With his Chicago studio so successful Putnam s clients began urging him to open a facility on the West Coast and finally he was convinced In 1957 he sold his interest in Universal Recording started a new company called United Recording Corp and moved to Hollywood taking over a building at 6050 Sunset and starting construc tion on new studios Stereo...

Page 566: ... feet and they were calling them booths he says He built the first of what we now call conventional control rooms with speakers above the windows The whole control room concept we think of today was Bill s The first console that had equalizers in every channel was Bill s the feedback equalizer was Bill s creation he built all his own limiters his own consoles he could tune his own pianos he basica...

Page 567: ...ial style An un disputed leader in music recording and in recording technology with innumerable accolades to his credit it s his son Bill Putnam who perhaps sums it up best in a way Bill Sr himself might like Bill Jr says simply He was a guy who built equipment to solve problems in the studio There s a whole school of what I d call Bill Putnam engineers out there concludes Murray Allen People like...

Page 568: ... cell used to con trol the metering section With its 0 to 40 dB of gain limiting a balanced stereo interconnec tion flat frequency response of 0 1 dB from 30 15 000 Hz and a low noise level better than 70 dB below plus 10 dBm output the LA 2A quickly became a studio standard Originally pat ented by Jim Lawrence it was produced by Teletronix in Pasadena California which became a division of Babcock...

Page 569: ...al due to the fact that it uses several additional sets of windings to pro vide feedback which makes it an integral component in the operation of the output amplifier Putnam spent a great deal of time perfecting the design of this tricky transformer and carefully qualified the few vendors capable of producing it The first major modification to the 1176 circuit was designed by Brad Plunkett in an e...

Page 570: ...vocal and depending on the song I set the attack or release faster attack if I want a bit more bite My preference is for the black face model the 4000 series I think the top end is especially clean The LA 2A is not as versatile but it also has a sound that I really like On certain voices you can crank it heavily to where you almost want to put a piece of tape over the meter because there s so much...

Page 571: ...hinks the 1176 has been so popular for so long It has a unique sound to it that people like it s very easy to operate and it does a great job You have just two controls relative to the ratio of compression You have input and output and you have attack and release That s all there is It s still my favorite limiter for Fender basses and string basses because you don t know it s working It doesn t ch...

Page 572: ...me is the clarity and the improvement in the top end The 1176 has that same kind of phenomenon where when you patch something through a Neve equalizer and you don t even engage the EQ it sounds better It s just a combination of the amps I also use LA 2As all the time I use them on bass and it s one of the compressors I use for re verb Often I ll send a bunch of things to one LA2A and bring it back...

Page 573: ...y give it an energy It seems like when I m mixing I end up using an 1176 on the vocals every time And if I want to compress a room sound I ll take a mono room mic put an 1176 across it and push in all the buttons Bruce Swedien Bruce Swedien is a master engineer who needs no introduction He also is a die hard 1176 fan I have two silverface 1176LNs in my rack that Bill Putnam personally picked out f...

Page 574: ... preferences are set in your registration profile see My Profile on page 53 We always like to hear from our customers and welcome your comments and suggestions If you have any questions you can email us at info uaudio com In case your audio toolbox needs might include hardware such our UA Classics series please be sure to have a look at our web site for more information about the entire UA family ...

Page 575: ...ibration Notes 170 Ampex ATR 102 Manual Calibration Procedure 167 Ampex ATR 102 Operational Overview 148 316 348 Ampex ATR 102 Parameter Dependencies 171 Ampex ATR 102 Primary Controls 151 Ampex ATR 102 Screenshots 147 Ampex ATR 102 Secondary Controls 159 Amplitude Slope 214 Attack 287 Attack Knob 192 Attenuation Knob 477 478 480 Attenuation Selector Switch 478 Audio Interface 45 Authorization 32 ...

Page 576: ...or Output Knob 193 Compressor Ratio Knob 396 Compressor Release Menu 397 Compressor Threshold Knob 396 Configuration Panel 71 Connections 123 Control Bats 175 Control Grouping 441 Control Panel 64 Controls Link 269 Controls View 87 Cooper Time Cube 184 Cooper Time Cube Controls 185 Cooper Time Cube Screenshot 184 Copy Paste Settings 89 Coupons 48 CPS Selector Switch 477 CS 1 Channel Strip 190 Curr...

Page 577: ... 235 EMT 140 Plate Reverb 234 EMT 250 Electronic Reverberator 241 EMT 250 Functional Overview 242 EMT 250 Program Mode Controls 245 EMT 250 Screenshot 242 EMT 250 Webzine Article 253 Enable Button 178 Enable Bypass Switch 192 193 196 199 energy 205 Envelope Mode 409 EP 34 Classic Tape Echo 255 EP 34 Controls 256 EP 34 Hardware History 260 EP 34 Overview 255 EP 34 Tape Echo Screenshot 256 EP 34 Web...

Page 578: ...2C Latency 274 Headroom 373 Headroom Switch 374 Helios 69 Latency 279 Helios Type 69 Band Layout 276 Helios Type 69 Controls 276 Helios Type 69 Equalizer 275 Helios Type 69 Screenshot 275 Help Support Panel 84 Help Menu 71 91 Hi Knob 405 409 416 Hidden Controls 240 High Attenuation Controls 478 480 High Frequency Controls 478 High Frequency Knob 238 High Gain Knob 238 High Resolution 94 High Pass ...

Page 579: ...Little Labs IBP Latency 314 Little Labs IBP Screenshot 312 Little Labs VOG 315 Little Labs VOG Parameters 317 Little Labs VOG Screenshot 316 Little Labs Voice Of God 315 Live Processing 113 LiveTrack Mode 89 Lo Knob 405 408 416 Load Authorization File 49 Load Save Preset 88 Logic Audio 86 Low Cut High Cut Filters 177 Low Frequency Controls 477 480 Low Frequency Knob 237 Low Gain Knob 238 L Pan Kno...

Page 580: ...atency 353 376 459 Neve 1073 Screenshot 349 368 Neve 1073SE 352 376 Neve 1073SE Controls 353 376 Neve 1081 Band Layout 355 Neve 1081 Controls 276 291 355 379 428 437 Neve 1081 Equalizer 354 Neve 1081 Latency 360 Neve 1081 Screenshot 275 290 354 378 Neve 1081SE 360 Neve 1081SE Controls 273 360 Neve 31102 Console EQ 361 Neve 31102 Controls 362 Neve 31102 Latency 366 Neve 31102 Screenshot 361 Neve 31...

Page 581: ...ecision Enhancer Hz Controls 432 435 Precision Enhancer Hz Screenshot 431 Precision Enhancer Hz Usage Notes 435 Precision Enhancer kHz 436 Precision Enhancer kHz Controls 437 Precision Enhancer kHz Screenshot 437 Precision Equalizer 440 Precision Equalizer Controls 441 Precision Limiter 446 Precision Limiter Controls 447 Precision Limiter Latency 445 453 474 Precision Limiter Meters 448 Precision ...

Page 582: ...4 Response Curve Display 174 Retail Packages 47 Reverb Time Meters 236 Reverberation panel 205 213 Roland 503 504 Roland CE 1 Controls 500 Roland CE 1 Overview 499 Roland Dimension D 503 Roland Dimension D Controls 504 Roland Dimension D Overview 503 Roland Dimension D Screenshot 503 Roland RE 201 505 Roland RE 201 Controls 506 Roland RE 201 Interface 506 Roland RE 201 Screenshot 506 Room Shape an...

Page 583: ... A800 Screenshot 543 Studer Operational Overview 543 Support Website 23 Supported Hosts 26 Sweep Hi Knob 405 409 416 Sweep Knobs 404 408 416 Sweep Lo Knob 405 408 416 Sync Button 194 198 System 50 System Information Panel 65 System Overview 38 System Requirements 26 27 116 121 130 T Target Link Speed 80 Tempo Sync 96 Tempo Sync Modes 99 Tempo Sync Plugins 96 Text Entry 92 Thank You 574 The UAD Sys...

Page 584: ... 116 129 UAD 2 SOLO Laptop Important Notes 119 UAD Xpander 39 41 UAD Xpander Details 121 UAD Xpander Important Notes 127 UAD Xtenda 39 40 41 120 UAD Xtenda Installation 120 Unlicensed Plug Ins 35 Upsampled Plug Ins 108 Upsampling Values Table 110 Use Host Mode 77 User Documentation 43 User Interface Settings 77 User Manual 22 Users Forum 23 Using Powered Plug Ins 61 85 101 123 133 Using the Meter ...

Page 585: ...UAD Powered Plug Ins Manual 585 Index INDEX X Xpander Connections 123 Xpander Notes 127 Xpander Operation 123 Xpander System Sleep 126 135 Z Zoom Buttons 175 ...

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